Suki Waterhouse’s sophomore album, Memoir of a Sparklemuffin, is a stunning pop-rock record, showcasing the singer’s deserved confidence in her signature dream-pop sound. The album not only solidifies her unique musical identity but also demonstrates her ability to transcend expectations and experiment, which results in a truly mesmerising listening experience.
‘Gateway Drug’ is the perfect opener to this sonically experimental and rock-infused album. Initially feeling similar to ‘Moves’, the opener on her debut album, I Can’t Let Go, with its slow-paced and dreamy guitar intro, it quickly promises a different listening experience. By the end of the first chorus, the track undergoes a dramatic shift, the guitars and drums suddenly kicking in with a burst of energy. Waterhouse promises: “I’ll show you places that only exist in your dreams”, comparing her love to an addictive, one-of-a-kind substance. Her powerful vocals on the second chorus are unlike anything the singer has previously done, encapsulating the album’s metamorphic theme and illustrating her ability to transition seamlessly into a more pop-rock style. The track itself, in which Waterhouse invites the subject to give in to her love: “Let me be your gateway drug / I can show you things”, doubles perfectly as a seduction of the listener, drawing them into the album completely.
The next two tracks, ‘Supersad’ and ‘Blackout Drunk’, both released as singles earlier this year, continue this upbeat, pop-rock energy, with their catchy choruses and richly layered background harmonies. The first three songs form a cohesive narrative, both musically and thematically, highlighting the singer’s resilience and refusal to tolerate bad behaviour. This is perfectly encapsulated in the delightfully cutting line from ‘Blackout Drunk’: “Cause I can hardly wait to tell you all the shitty things that you’ve done”.
Following these high-energy tracks, Waterhouse switches to more subdued acoustic instrumentals with ‘Faded’ and ‘Nonchalant’. ‘Faded’ introduces the colourful imagery that becomes more prominent in later tracks like ‘Legendary’, as the singer mourns a past love changing beyond recognition: “You never should have changed your ways and faded / The colours you painted were perfectly simple”. ‘Nonchalant’ serves as a perfect bridge between this track and ‘My Fun’, capturing the tension of being obsessed in the early stages of a relationship whilst desperately trying to act nonchalant. Her vocals shine in the chorus, as she croons: “I’m not calling you back / Cause then you’ll know that / Cause then you’ll know me”.
The transition into ‘My Fun’ is seamless, with Waterhouse embracing her inability to act detached, celebrating how “It feels good to find someone / Who loves me / Who loves me like I love my fun”. The folky woodwind and acoustic elements in the instrumentation reflect the joy she experiences in the relationship, infusing the track with her obvious happiness.
‘Model, Actress, Whatever’ is an undeniable highlight of the album, featuring some of Waterhouse’s most vulnerable and beautiful lyrics. One of the slower songs on the record, it opens with soft acoustic arpeggios, as Waterhouse expresses her wish to be recognised for her talent beyond her modelling: “I’ll be the girl with that twisted fate / And I’d have a story / They’d know my name”. The song gradually builds in intensity, reaching a powerful chorus where the singer brutally dissects the lack of control that high-profile celebrities have over their own lives. The titular line, “Call me a model, an actress, whatever”, transforms heartbreakingly into “Call me a lover, disaster, whatever” by the chorus’s end. The bridge is especially striking, with the singer belting “Fuck what you heard / About me at my worst / The bridges I’ve burned”, in a staunch rejection of the rumours and gossip that often accompany fame. The final line, where Waterhouse defiantly declares: “Call me a model, an actress forever”, underscores her rejection of reductive labels, and her enduring self-assurance. One of the strongest songs in her discography, it is lyrically and thematically remarkable.
Waterhouse called ‘To Get You’ one of her highlights from the album, a track which is stripped back to focus on the singer’s hauntingly beautiful voice. The album’s experimental nature is particularly evident here, with distorted vocal echoes and melancholy harmonies mirroring her feelings of being lost and untethered. The sudden change in pitch for the bridge, with the line “Burned all my bridges / The fire kept falling down” paralleling the bridge in ‘Model, Actress, Whatever’, makes this track a slow burn that grows more impactful with each listen. The short but sweet ‘Lullaby’ is a soft and lyrically devastating continuation of the theme of losing oneself within a relationship and struggling to cope.
‘Big Love’ is another incredible track, with the intense electric guitar and grandiose production masking the heartbreaking lyrics, reminiscent of the brilliant lead single ‘OMG’. The opening line, “Sometimes when I take a deep breath, it brings up all my sadness”, is heartwrenching in its simplicity, and the heavy instrumentals effectively represent the overwhelming nature of the singer’s emotions. An excellent song all around, ‘Big Love’ proves that Waterhouse’s voice is perfectly suited for pop-rock.
‘Lawsuit’ is such a fun song, with Waterhouse revelling in the karma her unnamed subject will receive, casually repeating “Good luck with that lawsuit, baby” in the outro. There is a unique thrill in a song so openly celebratory of a person getting what they deserve, making this an undeniable hit. ‘OMG’ is the most addictive single on the album, blending dancy, upbeat production with heartbreakingly raw lyrics: “I’m with the crowd, I cannot breathe / My baby’s no good for me”.
A painfully relatable song, ‘Think Twice’ sees Waterhouse reminiscing on past mistakes, highlighted by the tongue-in-cheek lyric: “I always think twice then go back for a third time”. Her vocals are notably more mellow throughout, with the impressively belted bridge adding an indie-rock edge to the song. The sorrowful ballad ‘Could’ve Been A Star’ parallels ‘Model, Actress, Whatever’ thematically, but the lyrical contrast of “All I’m good at is ruining you” versus the seductive, destructive promise of addictive love in ‘Gateway Drug’, weaves a cohesive narrative through the album.
The tender and understated ‘Legendary’ offers a beautiful contrast to its title through its soft, acoustic guitar and contemplative vocals, allowing the lyrics to shine. The line “How’d you take away the colour blue” echoes the memorable “The bigger the ocean / The deeper the blue” from ‘Model, Actress, Whatever’. ‘Everybody Breaks Up Anyway’ is similarly stripped back, featuring only minimal piano and violin. The vocal harmonies in the chorus, combined with the minor key, give the track a more melancholic tone. The abrupt ending is initially slightly jarring but feels reflective of how a sudden end of a relationship can feel. The transition into ‘Helpless’ is seamless, with its slower, narrative-driven beginning gradually building in intensity. Waterhouse’s powerful vocals prior to the chorus illustrate her vocal prowess, while the chorus itself, with its relentless beat, culminates in ethereal harmonies as “You’re calling me helpless / I can set you free” fades out.
No other song would have been as perfect for the closing track as ‘To Love’. One of Waterhouse’s most beloved songs for a reason, this is a flawless song in every sense. The album concludes with a powerful expression of hope and love, which also musically transitions perfectly into the opening track. Waterhouse’s celestial voice captures the intensity of falling completely in love with someone, while the bombastic instrumentals reflect the euphoria she experiences.
Suki Waterhouse’s second album somehow surpasses her first, showcasing an impressive level of instrumental experimentation and confidence in her established sound. Each track on Memoir of a Sparklemuffin feels essential, and the album’s cohesive narrative creates a satisfying and delightful sonic experience from start to finish.
Words by Emily Nutbean
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