Last week, Japanese Breakfast announced her highly anticipated fourth album, For Melancholy Brunettes (& sad women), due 21 March on Dead Oceans. Today, she shares the video for lead single ‘Orlando in Love’. The video was directed by Michelle Zauner herself with cinematography by Peter Ash Lee.
Zauner shares: “‘Orlando in Love’ is made up of a hodgepodge of odd references. The title comes from an epic poem by Matteo Maria Boiardo called Orlando Innamorato, which ends abruptly at 68.5 cantos because Italy was invaded by French troops, and that’s as far as he got before he had to flee. I fell in love with the title and envisioned a sort of whimsical, foolish male protagonist who lives by the sea in a Winneabeago RV and is seduced by a siren. After writing it, it felt like the perfect thesis statement for an album that is largely about people, often men, who find themselves seduced by temptation and are duly punished for it.
“Somewhere along the way I came across Eduard von Grützner’s painting ‘The Connoisseur’ and I started to picture Orlando as a daydreaming friar who can’t help but tipple of the Abbey’s brews. He dreams of his siren and despite the dream’s foreboding imagery, decides he must run and find her. The siren is played by my dear friend Jungle, whom I spent most of my time with in Korea this year. The friars are played by Missy Dabice from Mannequin Pussy, making her return to the Jbrekkie Cinecanon, and Molly Germer. We filmed half of the video in Korea with Peter Ash Lee, who shot the cover of Jubilee, and half of it at my alma mater, Bryn Mawr College, with my longtime collaborator and DP, Adam Kolodny.”
After quickly selling out shows in Brooklyn, Philadelphia, San Francisco and Toronto, Japanese Breakfast has announced additional nights in each city. The tour kicks off with a performance at the Coachella Music and Arts Festival in Indio, CA and continues with headline shows across North America and Europe this year. The Melancholy Tour is the band’s first tour in three years, following the Jubilee Tour in 2022. All tour dates can be found below and tickets are on-sale now.
Produced by Grammy Award winner Blake Mills — an innovator of uncommon subtlety, known for his work with everyone from Bob Dylan to Fiona Apple and quietly regarded as many a legacy artist’s favorite guitar player — and tracked at the venerable Sound City in Los Angeles — birthplace of After The Gold Rush, Fleetwood Mac and Nevermind among other classics — the record sees front-woman and songwriter Michelle Zauner pull back from the bright extroversion that defined its predecessor Jubilee to examine the darker waves that roil within, the moody, fecund field of melancholy, long held to be the psychic state of poets on the verge of inspiration. The result is an artistic statement of purpose: a mature, intricate, contemplative work that conjures the romantic thrill of a gothic novel.
For Melancholy Brunettes follows a transformative period in Zauner’s life during which her GRAMMY nominated breakthrough album Jubilee and her bestselling memoir Crying In H Mart catapulted her into the cultural mainstream, delivering on her deepest artistic ambitions. Reflecting on that success, Zauner came to appreciate the irony of desire, which so often commingles bliss and doom. “I felt seduced by getting what I always wanted,” she says. “I was flying too close to the sun, and I realized if I kept going I was going to die.”
PRE-ORDER / PRE-SAVE FOR MELANCHOLY BRUNETTES (& SAD WOMEN)
For Melancholy Brunettes (& sad women)
- Here is Someone
- Orlando in Love
- Honey Water
- Mega Circuit
- Little Girl
- Leda
- Picture Window
- Men in Bars (feat. Jeff Bridges)
- Winter in LA
- Magic Mountain
Though Zauner has experimented with science fiction on Soft Sounds from Another Planet and buoyant surrealism on Jubilee, the landscape of European Romanticism that underpins For Melancholy Brunettes and the dense tissue of classical allusion that comes with it marks new territory for a songwriter entering her artistic maturity. She credits a range of antecedents with inspiration. The forlorn café girl in Degas’ L’absinthe. The seascapes of Caspar David Friedrich. The passionate longing and wild, undulating moors in Wuthering Heights. Hans Castorp wrapped in his camel hair blanket, dreaming on the Berghof balcony. It is an atmosphere made palpable by the intricate, interlocking guitar arrangements that accompany much of the record, lapping like waves over the meter, often as oblique in their expression of the chord as Zauner can be in her polyvalence of feeling and insight.
Sadness is the dominant emotional key of this record, but it is sadness of a rarified form: the pensive, prescient sadness of melancholy, in which the recognition of life’s essentially tragic character occurs with sensitivity to its fleeting beauty. Zauner finds space enough inside it for glimmers of hope. They are the consolations of mortals that poets before her have called out to and that poets after will continue to rediscover: love and labor, and though they run like tonic resolutions through the record’s many episodes.
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