Katie Gavin, known for her role as the lead singer of MUNA, has ventured into solo territory with her debut album What a Relief, released today via Saddest Factory Records. This album showcases her remarkable ability to capture raw, introspective emotions, blending powerful lyricism with intricate production.
The album delves into themes of love, intimacy, self-reflection, and healing, resonating deeply not only with MUNA fans but also with anyone drawn to songwriting that is both clever and deeply personal. What a Relief stands as a bold debut, highlighting Gavin’s distinct voice as an artist independent of MUNA, even while carrying hints of the band’s signature sound. Produced with MUNA bandmates Josette Maskin and Naomi McPherson, along with Amber Bain of The Japanese House, the album bears the influence of each collaborator, creating a rich, textured soundscape that enhances Gavin’s introspective storytelling. As a fan of MUNA’s work, I was really interested to see how Katie Gavin’s solo work would differ and what she, as an individual, had to say through her songwriting. Naturally, I dove into What a Relief and broke down every track to get a full sense of her vision.
The album opens with “I Want It All,” a slow, melodic lullaby that sets the tone for the introspection that will follow. Its gentle guitar and tender harmonies reflect a deep yearning for both attention and affection. Gavin’s lyrics, “I want you to film me when you’re not recording,” reveal the vulnerability inherent in her desire to be seen completely by her partner. The repetition in the chorus—“I want it all all the time”—articulates a longing for total emotional fulfillment, something we can all relate to, especially in our closest relationships.
“Aftertaste,” the first single, offers a more upbeat rhythm that mirrors MUNA’s sound, making it a natural bridge for fans of the band. The line “empress in my new clothes” reflects a sense of self-assurance, even in moments of uncertainty or loss, while “I’m living on the aftertaste, don’t you tell me it’s too late” speaks to clinging to the remnants of a relationship, capturing the bittersweet reality of moving on from love.
The standout track “The Baton” slows the pace with its country-infused, fiddle-driven sound. This song feels deeply personal, with the line “so much healing that still needs to be done” echoing a journey of self-repair. It’s a reflection of Gavin’s growth, as she recognizes the cyclical nature of life and love with the poignant lyric, “the baton will be passed again.” The track’s light production gives space to her vocals, allowing the emotions to take center stage.
In “Casual Drug Use,” Gavin’s voice shines, a reminder of her vocal prowess. While the song feels reminiscent of MUNA, it’s important to view it through the lens of her solo artistry. Lyrics like “I’m not in love, but I’m in something” illustrate the nuances of emotional detachment, exploring the gray areas between love and addiction, both to substances and people.
“As Good As It Gets,” a collaboration with Mitski, is a deeply anticipated track. Mitski previously collaborated with MUNA on the song “No Idea” from their last album, and her influence can be felt here as well. The synergy between the two artists is immediately apparent, with Mitski’s rawness complementing Gavin’s softer tones. They harmonize beautifully, blending their voices in the line “I think this is as good as it gets.” It’s a poignant reflection on settling in relationships, accepting imperfection, and coming to terms with life’s compromises, a theme that resonates throughout the album.
The more upbeat “Sanitized” brings a shift in tone, reminiscent of Fiona Apple. The production feels almost sterile, matching the repetitive bell sounds that lend the song a playful yet detached quality. It’s a reflection on the ways we clean up and sanitize our own narratives, smoothing over rough edges to make them more palatable, both to ourselves and others. Amber Bain’s production influence can be especially heard in this track’s sleek, layered sound, a hallmark of her work with The Japanese House.
“Sketches” stands out for its simplicity. Gavin reflects on the transient nature of life and relationships, singing, “I’ve seen that paintings are real life and I’ve seen real lives that are just sketches.” This line captures the essence of the song, a meditation on the blurred line between reality and perception, and how our understanding of the world and those we love is often incomplete.
“Inconsolable,” the third single, introduces a gorgeous fiddle that further solidifies the album’s folk-country influences. It veers away from the pop sensibilities of MUNA, establishing Gavin as an artist with versatility, able to explore new genres while maintaining her emotional depth.
“Sparrow” introduces electronic elements, providing a refreshing contrast to the acoustic-driven tracks that precede it. The track’s swelling production feels cinematic, as though Gavin is painting a visual soundscape. This experimentation showcases her willingness to push boundaries in her solo work, embracing new textures and sonic palettes.
“Sweet Abby Girl” sees Gavin collaborating with her MUNA bandmates Josette and Naomi, along with Amber Bain’s touch on production. The result is a track that blends Gavin’s solo voice with familiar elements from MUNA’s sound. The line “thanks for coming in my world” feels both like a tribute and a goodbye, marking Gavin’s step forward as a solo artist while acknowledging her roots.
With “Keep Walking,” Gavin leans into a ’90s-inspired feel, offering a reflective yet empowering message. The line “What a relief to know that some of this was my fault, I am not a victim after all” highlights the maturity in her songwriting, acknowledging personal responsibility while moving forward with grace. It’s a song about finding peace with the past and choosing to keep moving, even when it’s difficult.
The album closes with “Today,” a track that feels both triumphant and bittersweet. The final line, “I built a kingdom all to myself,” encapsulates the journey of self-discovery and independence that Gavin has undertaken throughout the album. The closing chord leaves a lasting impact, giving the album a sense of completeness and resolution.
Katie Gavin’s What a Relief is an introspective, genre-blending debut that explores the complexities of love, loss, and self-reflection. Through her deft lyricism and compelling melodies, Gavin proves herself as not only a gifted vocalist but also a songwriter unafraid to confront uncomfortable truths with grace. Each song feels like a deeply personal diary entry, inviting listeners to join her in the raw, unfiltered emotions that make up the human experience. This album is not just a departure from MUNA but a bold statement of who Gavin is as a solo artist, and it’s clear that this is only the beginning. With the support of Josette Maskin, Naomi McPherson, and Amber Bain, the album weaves their influence into Gavin’s new chapter, cementing What a Relief as a standout in the indie music landscape.
What A Relief is out now.
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