A Review of Melanie Martinez’ “Portals”

On March 31, Melanie Martinez released her third studio album “Portals,” effectively finishing what has become known as the “Crybaby Trilogy.”

Following her 2012 appearance on “The Voice” (although eliminated in week 5), Martinez began work on her debut album Crybaby, which discusses themes of childhood and family dysfunction. Additionally, it garnered success through songs like “Pity Party,” “Dollhouse” and the deluxe edition’s “Play Date.”

Four years after introducing her “Crybaby” character, Martinez continued the character’s story into her second studio album “K-12,” which navigates through school drama, friends and body image issues. The following year, she released the “After School” EP, which serves as a deluxe edition to “K-12.”

Now, in 2023, Martinez closes Crybaby’s story with a universal human experience, death.

Though Portals is supposed to account Crybaby’s journey from death to the afterlife, or rather, rebirth, Martinez’s third studio album seems detached from the previous two, almost standing as its own thing entirely.

The album opens with a rather unsettling repetition of Martinez saying, “Death is life, is death, is life,” essentially claiming death is a part of life and therefore a part of the human experience. This recitation plays over a slow heartbeat, symbolizing  the end of Crybaby’s earthy life and opening the album’s first track, aptly titled “DEATH.”

However, while Crybaby’s earthly life is clearly over, we see the character hope for an afterlife or even a reincarnation of some kind. As Martinez sings, “my body has died/but I’m still alive/look over your shoulder/I’m back from the dead.”

“DEATH” also shows a slight difference in Martinez’s musical style. While her first two records contained oddball pop with an artsy twist, this song possesses a darker and heavier feel to it. Additionally, Martinez’s vocals are insanely processed, which is a shame as her natural voice is great on its own.

A brief return to form emerges in the album’s second track, “VOID,” as Martinez’s vocals and melodies lean more towards mainstream pop here, but then we go right back into experimental with the atmospheric and slightly over-reverbed “TUNNEL VISION.” While I enjoy the staccato instrumentation in this track, the rest of the song does not have much to offer.

Then comes “LIGHT SHOWER,” which is notable for being the second track (after “VOID”) Martinez ever solely produced. While the song is listenable, it is evident Martinez has a long way to go before full-fledged music production.

The rest of the 13-track album implements these haunting instrumentations and over-processed vocals. While each one bears a unique stamp, many songs within the album sound similar, and near the middle, it almost becomes a chore to get through the record.

In the Apple Music version of the record, “Portals” closes with a minute-long video entitled “THE HATCHING.” Here, we see an egg hatch open with Martinez donning her new persona, a four-eyed cat/swamp creature, which was unusual and weird.

All in all, “Portals” is a stark disappointment as Martinez’ third studio album. While she initially set out to conclude the Crybaby storyline, she instead pulled a complete 180 and relished completely into a new persona which had nothing to do with her previous records. The persona itself and the music found within this record is rather disconcerting at times and a real shame considering her first two records were produced fairly well.

Out of 10 stars, Portals warrants three.