‘For Cryin’ Out Loud!’ is a far cry from fulfilling

FINNEAS’ second album is a vulnerable shot in the dark

Jillian Ju • October 16, 2024

Following 2021’s “Optimist” and a series of scattered singles, “For Cryin’ Out Loud!” is FINNEAS’ second album. The music video for the title track shows FINNEAS falling down an elevator shaft and getting hit by a car, representing his emotions in a frustrating relationship. Interscope Records | Used with permission

Grammy-winning producer and artist FINNEAS released his second album “For Cryin’ Out Loud!” on Friday, Oct. 3. Produced in just 14 days, the album follows the success of his sister and musical partner Billie Eilish’s latest album “HIT ME HARD AND SOFT,” which he helped write and produce. But while Eilish’s album anchors itself around moody synths and airy vocals, FINNEAS instead chooses to lament love in a more casual way.

View this post on Instagram

A post shared by FINNEAS (@finneas)

The album’s subject matter is unambitious but accessible, with most tracks revolving around love. While it doesn’t appear that he has anything new to add about the topics, some of the premises are interesting — “Cleats” is about falling in love with a lesbian childhood friend, and “Lotus Eater” is about using sex as a means of avoidance in a failing relationship.

There’s some deviation from the average deluge of love songs, resulting in mixed effects. Track four, “Little Window,” inexplicably interrupts FINNEAS’ confessional streak with a song about phones. Even though the track contains the artist’s favorite line — “Honey, what’s on your mind? / ‘Everything, all the time’” — the song doesn’t read as insightful so much as a boomer’s low-res post on Facebook, reflecting a general lack of new commentary from the album.

But on the other end of the spectrum, the non-love songs include “Family Feud,” where he reflects on his relationship with his sister, elaborating on moments from their childhood and his concerns about her sudden fame. He describes their close connection with a reference to one of her songs, “BLUE”: “Part of me is part of you / Just a diffеrent shade of blue.” Although bearing the same nondescript writing as the other songs, it offers an emotional touch that pulls the listener in and hints at more lyrical depth.

Ultimately, the shallow lyricism holds “For Cryin’ Out Loud!” back from being impactful. Most verses contain simple and repetitive rhymes, placing most tracks squarely in unimpressive territory. The end product is quaint, but makes for a boring 40-minute runtime. While the constant rhyming isn’t noticeable on a casual listen, any attempt to find meaning within the songs will be thwarted by forced lines like “Did I get boring, or did I wear you out? / It’s a nice couch.”

Despite the restricted lyrics, FINNEAS seems focused on creating a tender atmosphere with the instrumentals and vocals more than anything else. Tracks like “Starf—er” show a balance between casualness and intimacy that’s difficult to get right, with the artist singing like an anguished old friend. “For Cryin’ Out Loud!” sets a desperate emotional tone against upbeat music, managing to be catchy and tragic at the same time. In an era where unfulfilled romance reigns supreme, FINNEAS’ relaxed takes on his own complicated relationships can make listeners feel less alone.

“Sweet Cherries,” a song split into two equally strong halves, is the perfect example of the range that FINNEAS only dabbles in for the rest of the album. Featuring backing vocals from songwriter Lucy Healey, the seventh track begins with an infectious rhythm that melts into FINNEAS’ voice. The three elements act together seamlessly, but just as the listener is getting used to the mood, the song quickly shifts into a heartfelt solo from the artist. From the powerful vocals to the gentle instrumentals, the song demonstrates an intriguing control of tone that isn’t displayed anywhere else, making it both a highlight overall and a slight disappointment for the rest of the experience.

That’s not to say the album doesn’t have its merits — the production is gentle but confident, supplementing the flow of FINNEAS’ voice. Thoughtful choices line the margins of otherwise forgettable songs, such as twinkling piano notes in “Starf—er” and peppy guitar sounds in “Cleats.” While these unique touches often aren’t enough to save the album from its insistence on mediocrity, they provide a smooth listening experience and remind listeners of FINNEAS’ skill as a producer.

“For Cryin’ Out Loud” seems like it wants to stay in its own lane, but only because it’s comfortable where it already is. With its tacit emotions, underdeveloped lyrics and emphasis on feeling, the album brings listeners into a world where its casual confessions are okay. Even if his message can only be conveyed through flat rhymes, FINNEAS puts vulnerability at the heart of the experience — the feelings may not be fully polished, but they’re all he can offer for now.