Hannah Rand doesn’t body abandonment points as therapeutic. She opens on electrical guitar and goes straight for the admission: “I’m getting good at hiding demons.”
No build-up, no emotional cushioning. The place indie folks typically treats vulnerability as a breakthrough, Rand sits within the quieter actuality the place consciousness modifications nothing.
Launched as the primary single from her upcoming EP Late 20s Life Disaster, It performs much less like a single and extra like a mission assertion.
Rand has described abandonment points as a mirrored image on the worry of being absolutely seen, the worry of being deserted for who you’re, and the quieter hazard of abandoning your self.
She isn’t ready to be deserted. She’s tracing the methods folks begin enhancing themselves lengthy earlier than anybody else leaves.
Her writing stays blunt. “I’ve acquired abandonment points, full physique scar tissue / a coronary heart that’s been misused, a wall you possibly can’t get by way of.”
There’s no poetic disguise right here, only a direct accounting of harm and defence.
Traces like “Shut the door and act like all the pieces’s all proper” seize the strain on the centre of the track: honesty feels dangerous when connection already feels fragile.
Vocally, she avoids dramatic peaks. The supply stays regular, letting phrasing carry the burden quite than quantity.
Harmonies sit simply behind her lead, including closeness with out pushing the track towards theatricality.
It sounds practiced, nearly rehearsed, as if these ideas have been lived with for some time.
The association follows go well with. Electrical guitar units a reflective tone whereas the percussion retains a measured, mid-tempo pulse.
Nothing rushes. Nothing overreaches. Co-produced with Will Honaker, the manufacturing stays lean sufficient to let each line land with out distraction.
The bridge cuts deepest: “So afraid of you strolling away / I’m abandoning items of me.” That’s the actual pivot.
Abandonment stops being one thing completed to her and turns into one thing she participates in, trimming herself all the way down to keep away from rejection that hasn’t even occurred but.
What makes abandonment points linger is the shortage of a breakthrough second ready on the finish, no sudden shift towards closure.
Rand leaves the sample uncovered and unfinished, capturing the uneasy area the place understanding exists with out transformation.
That blend of heat and ache retains the track hovering in a bittersweet spot, the sort that makes you stick with it lengthy after you realise there’s no straightforward decision coming.
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