Since Pom Pom Squad’s debut album, Death of a Cheerleader, I’ve fallen through the roof into its musical arms with gusto. Evoking the musical spirit of the Riotgrrl era of music brings a modern twist as the music evolves and takes form to be bigger than life with a grounded feminist punk vibe. However, their follow-up feels like a mild parting, in that we hear a more tender side to Mia Berrin, instead of the angsty. Berrin’s vocals are heavily focused on Mirror Starts Moving Without Me, like the duality in certain feelings that are personable to one. It has a steady throughline that makes you feel similarly through what gets heard, but it, unfortunately, cuts the run short as the music keeps going. It’s a slight disappointment that doesn’t translate heavily since I am very positive after the many listens I gave the album. There is a tenderness to Berrin’s vocals that admonishes some downbeat moments that feel too safe as if she is leaning into a comfort zone despite quality storytelling/writing emanating from the music. Mirror Starts Moving Without Me is a fantastic follow-up that leads us through a different path of musical bliss.
As written on Pom Pom Squad’s site, “…each day is full of mind-bending, perspective-shifting adventure, but now Berrin has found a surefire way to soften the hardest edges of the changing storm: acknowledging every funhouse mirror while empowering her heart beating at the core of it all.” It indicates a unified concept that is more surface-layer, with the meat on the bones coming from the lyrical depth, bringing a refined light on its themes. The interconnectivity brings a refined softness that rounds the edges, imploring new ideas from the grunge-angst of previous records. There is more focus on the writing over the production, allowing one to see a clean separation as they bolster each other to new heights. It makes the length feel more digestible as the songs become more entrenched in what Mia Berrin wants to deliver, whether it’s showing a heel turn in “Street Fighter,” which becomes an interesting dynamic when speaking about a relationship, or bridging reality with fiction in “The Tower,” using it as a way to express self-worth. It works fluidly in being what it describes, which is why the negatives feel minor in comparison.
Mirror Starts Moving Without Me has this uniqueness that revolves around mystery while maintaining directness with the lyrics. As described, Berrin is approaching the album as if she is looking through varying mirrors that show a different inflection point, which is then shown by the artistic choice made with the production and vocals, like how “Villain” has a bombastic, riotous performance in the chorus while having a milder focus with the melodies on the verses, showcasing a duality in persona over a mild grunge-like instrumentation. The song that follows, “Running From Yourself” is more poppy, showcasing great pop-punk production that heightens the range she can attract and connect with. We also hear it with the wonderful “Street Fighter” and “Messages,” where you can hear the parallels between the edginess in the former and the smooth cadence in the latter. At its core, Pom Pom Squad’s instrumentations help Berrin elevate these reflections with her vocals, creating something multidimensional; however, it does make me feel tepid with two of the slower tracks. Though we love to hear someone demonstrating such vulnerability, not all instrumentations match the potency, “Doll Song” and “Everybody’s Moving On” tread too much familiarity.
Using the conceptual journey I established with the anecdote from their label, you can sense the depth of what she wants to say, and when you combine that with the illustrious production on edgier tracks or those that take a softer approach. It makes the notion of one being in a house of mirrors feel more actualized as these reflections come with a unique range that focuses heavily on lessons learned and dreams with some doubts sprinkled in between, like with “Messages” where she reflects on sentiments reflecting longing after the making a momentous move. “Montauk” speaks about ruined expectations by how certain situations played out, using the brightness of stars as a shot at positivity. As a fan, I was surprised by the gap between releases, but that made its impact hit greatly because we hear a maturity in sound that elevates them to a new plateau. It’s a delicate album brought forward and excels in being itself. Though I held some qualms because it’s pacing speedy and still offers little to keep the mood flowing with the two I was tepid on, it isn’t as glaring as one would think. It’s a mild disappointment from expectancy because length is usually intended, and Berrin gives us a lot in 28 minutes.
Mirror Starts Moving Without Me is a fantastic follow-up that exhumes growth from various angles. I have small quibbles about certain aspects like elements in “Doll Song” and “Everybody’s Moving On” or its run time, but the latter helps consume a great album, over and over again. It may not be up your alley, but the gunge-punk-pop combos are a significant punch that shows Pom Pom Squad is here for a long time, and as a fan, one can’t help but be delighted for it. It’s worth the time and I hope you see what I see, especially as they comb through the house of mirrors concept with sheer force. Give this album a few spins, and I hope you enjoy it as much as I did.
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