Irene Wilde just dropped her new album “Pyrrhicae (Narrator’s Edition)”, and it doesn’t take long to realize this isn’t something you just casually throw on in the background. It asks for attention or at least a certain mood.
The opener, “Having Begun to love you”, sets that tone right away. It’s spoken, quiet, kind of fragile, but it works. It’s like stepping into a space instead of just starting an album. Then “I’m awake” follows and things get darker, not in a heavy way, more like a slow creeping feeling. Her vocals there stick with you.
There’s a stretch early on that really hits. “Made a wish” is honestly one of the highlights, very soft but full of emotion, the kind that doesn’t feel forced. And then “Righteous virtuous woman (Friend of Mine)” stands out for different reasons, the acoustic sound is warm, her delivery is locked in, and the writing just clicks. It’s one of those songs where everything fits together naturally.
Not every track is a full song, and that actually helps the album. The spoken pieces like “Tess of the D’urbervilles” and “Jane Eyre” break things up and keep the flow interesting. It never feels repetitive, even though the sound palette stays pretty minimal.
“I am here” and “Body” keep things grounded, simple but emotional, while “Terrified” is rougher around the edges in a good way. That unpolished sound shows up again later and kind of becomes part of the album’s identity. It’s not trying to be perfect.
As it goes on, songs like “Water wash me” and “Weak as me” bring more layers, more texture, and you start to notice how much detail is actually in the production. It’s subtle, but it’s there. “I want to unfold” and “Turbulent, me” feel connected, like two sides of the same thought.
Near the end, it really pulls you back in. “I am not afraid anymore” has this almost distant and haunting quality, and “Yours to trace” strips things down again with piano and vocals that feel very direct. Then “Balance” and “Morning dew” close it out in a way that is complete and unique.
This album is a unique experience from start to finish. The writing is honest, sometimes heavy, sometimes soft, and the sound design adds a lot without taking over. It’s not always easy, but it sounds real.
We liked how raw it all is. It doesn’t try to smooth things out too much, and that’s probably why it sticks. It’s like an artist figuring things out in real time, and letting us hear that process instead of hiding it.
ABOUT THE ARTIST:
Leading with a sea of naked portraits and intimate musings, Irene Wilde’s avant-pop artistry is irrevocably sentient. As she echoes “You are not alone in feeling,” she lends to others the same kindness she hopes to receive. The very name Irene Wilde – a surname taken from the perception of her character based on her Bipolar I diagnosis – allows her to flow between who she is authentically and what stigma dictates.
Wilde initially began pursuing a degree in architecture citing, “I want to create art you can step into.” Her ambitions were skewed, however, when she was diagnosed with bipolar disorder when seeking treatment from a traumatic event. These experiences left her feeling alone and invalidated; often leading her to self-isolate. Years later, Irene chose to vocalize these experiences through her art to generate those conversations on mental health, consent, and self-worth that she wished would have occurred during that time. Irene realized she no longer needed to create art you could step into – she needed to create a safe space we could go to heal.
With the creation of “The Blackest Bile” – a body of work three parts: Melancholia (2020), Spleen (2020), and Pyrrhicae (2021) – Irene was able to communicate the realities of (re)learning to accept love from self and others despite the presence of a mental health condition or experienced trauma. She is intimate with the purpose to convey two simple truths: you are not alone in this and your experience is valid.
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