As winter settles in, MUNA is poised to energize the music scene with their latest offerings. Following the success of their third album in, the band has made headlines by supporting major pop artists, exploring solo projects, and launching a podcast. Amidst this busy schedule, fans have eagerly anticipated new music, which has finally been unveiled this month.
Mark your calendars for May 8, as MUNA’s fourth album, Dancing on the wall, is set to be released. The title track, along with its music video, is already resonating with their dedicated fanbase, particularly within the LGBTQ+ community.
Visual storytelling and lyrical depth
The music video for “Dancing on the wall” captivates with its striking visuals, featuring a bold palette of black leather and red latex. Individual scenes showcase each member in stark, abandoned rooms painted red, evoking the atmosphere of a Saw film set, while energetic scenes depict a lively warehouse party where bodies move in unison. The chemistry between Josette Maskin and Naomi McPherson, who lip-sync alongside Katie Gavin’s lead vocals, emphasizes the band’s collective engagement in every aspect of the song.
Emotional landscapes
At the three-minute mark, the video transitions from vibrant reds to desolate stone walls, symbolizing Gavin’s emotional turmoil. Dressed down from her earlier attire, she metaphorically thrusts herself against these walls, representing a lover who embodies both attraction and disappointment: “the wall that I keep banging my head against.” This poignant moment captures the struggle of navigating a relationship that remains a constant yet unfulfilling presence.
The shift from alluring colors to starkly broken stone suggests a realization that idealized fantasies often cannot withstand reality. Here, Gavin chooses not to break through the wall but instead dances on it, embodying a complicated acceptance of a toxic cycle, her vulnerability evident as she leans back, exposing her throat.
Unity amidst struggle
In a striking scene, the entire band is seen in the back of a truck, drenched by a heavy rainstorm. Interspersed with shots of them running down a deserted street in Los Angeles, these visuals convey a sense of liberation amid personal chaos. The rain acts as a cleansing force, symbolizing a metaphorical homecoming after hardship.
Activism through music
MUNA’s activism distinguishes them from many artists. While promoting their new album, they actively support various causes, including fundraising efforts for Palestinian families and providing mutual aid resources in their Los Angeles community. In a world where advocacy is increasingly vital, MUNA exemplifies how artists can responsibly wield their influence; their track “I Know a Place” clearly reflects this commitment.
As the music video concludes, McPherson opens their MP3 player to unveil another track, “It Gets So Hot.” Previously available only on their website, this song evokes the rhythm of “Runner’s High,” creating a tension that contrasts with the joyful dance tracks for which they are known. This dual release not only showcases MUNA’s versatility but also highlights their eagerness to embark on this exciting new chapter in their musical journey.
The duality of joy and pain
In classic MUNA style, the heartbreaking realities of their lyrics contrast sharply with infectious dance beats that may distract listeners from the underlying warnings. This blend of euphoria and melancholy resonates deeply, reflecting the coexistence of queer joy and personal sorrow. The pursuit of happiness often intertwines with shared experiences, whether at a vibrant party or during collective demonstrations.
The production, led by McPherson, revitalizes MUNA’s signature sound, combining dark synths with expertly crafted drum patterns and polished vocals. This latest track encapsulates the essence of their previous works—melding the pop punch of About U, the introspective lyrics of Saves the World, and the cohesive confidence of their self-titled album. Clearly, MUNA is on a trajectory toward even greater artistic heights.