Hayley Williams Sheds Her Skin on Petals For Armor

Hayley Williams is an alternative American sweetheart, capturing the hearts of millions with her band Paramore. Her crossover appeal has made her a favorite among angsty teens and vaguely familiar amongst even the most culturally unaware. Williams’ striking voice and lyricism set her apart from her emo counterparts as Paramore found the sweet spot between counterculture and pop stardom. Over the past decade, Williams has slowly forayed into a solo career with the occasional guest vocal spot, ultimately culminating with Petals For Armor, her solo debut. After her decade-long relationship with and highly publicized divorce from New Found Glory guitarist Chad Gilbert, the now 31-year old Williams took to her solo work as a way to open up about her struggles with mental health and romance. While Williams used Paramore’s later efforts as an opportunity to express herself without the constraints of their original pop-punk roots, Petals For Armor feels like a true liberation made not out of frustration, but out of realization.

The opening track “Simmer” uses vocal loops and delicate percussion to create a tense yet atmospheric introduction to this new world that Petals For Armor builds. Williams pushes her vocal limits as she dances between sensual whispers and expertly restrained high notes. In many ways, it’s a humble reintroduction to her, showcasing her true range. “Cinnamon,” the album’s most off-kilter track, features almost primal vocalizations over syncopated snares which eventually evolve into a tight dance groove. Williams’ lyricism shines on the first half of the record, particularly on “Creepin,’.” where we finally get deep into the crevices of her trauma, beautifully articulated over her distorted vocals: “It always starts as something so simple and innocent but / Too much of anything you’ll never know how to quit, ah / You had a taste but you don’t want to forget it / Oh, just keep on suckin’ on the memory of him.” While the first half of the album’s instrumentation is subtle and repetitive at times, fellow Paramore bandmate Taylor York’s production radiates. The emphasis on certain drum sounds, basslines and Williams’ vocal quirks make it an enthralling listen.

Towards the middle of the album, the poppier influences come out, and, unsurprisingly, this is where Petals For Armor almost loses its footing. “Dead Horse” (which is featured in Spotify’s special video series in honor of the album, which has been unfurling on their social accounts throughout the day) tells of Williams’ early relationship with Gilbert—when she was the other woman. It’s a tough subject to tackle, and the message feels lost in the Caribbean-inspired percussion and guitar grooves. “Over Yet,” which sounds like an homage to Like a Virgin-era Madonna, is a much more focused and less disconcerting pop attempt, particularly in the chorus’ layered vocals that again emphasize Williams’ skill.