Stepping aside from her role as pop’s conscience, Eilish looks inward to tell murky love stories on her third album, and returns to her teenage flirtations with the macabre

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As with Billie Eilish’s last album, 2021’s Happier Than Ever, Hit Me Hard and Soft opens with a state of the nation that reflects her personal experiences through the media funhouse mirror. “People say I look happy / Just because I got skinny,” she sings in a bittersweet voice as limpid, bluesy guitar rolls behind her. She wonders whether she’s already past it (she turns 23 today, 18 December), considers the trap of celebrity and laments that she’s just grist for the content mill: “The internet is hungry for the meanest kind of funny / And somebody’s gotta feed it.” Eilish has been pop’s conscience – about body image, sexualisation, industry and relationship abuse, the environment – since her teens, a role she is incredibly good at but really shouldn’t have to play. Then the song pivots, and Eilish addresses an ex, in a nightingale-like voice: “I never did you wrong.”

Culpability in a breakup, and – as with the paradox in the album title – the impossibility of identifying the villain in a complex situation are the murky themes of Eilish’s third album: sometimes anguished, sometimes vindictive, always satisfyingly messy and candid. Rather than reflect generational angst (as her debut did) or the hell of teenage fame, Hit Me Hard and Soft is insular and intimate, right down to the fantastically prosaic lyric in Lunch – about her newfound desire to intimately acquaint herself with the fairer sex – where she’s “pullin’ up a chair” and “puttin’ up my hair” as she prepares to get stuck in. Lunch is an apt title: desire nourishes and depletes across these 10 songs, and by ragged epic The Greatest (as raw as any Sharon Van Etten rager), Eilish wails in frustration about “All the times I waited / For you to want me naked”, recriminating herself and her estranged lover from breath to breath.