SPILL ALBUM REVIEW: SYDNEY ROSS MITCHELL – CYNTHIA

SYDNEY ROSS MITCHELL
CYNTHIA
DISRUPTOR RECORDS

Born and raised in Lubbock, Texas (home of Buddy Holly and Natalie Maines of The Chicks), Sydney Ross Mitchell left home to find herself in the music scene of Los Angeles. This EP tells the story of her homecoming and reckoning with the lingering effects of familial and cultural expectations.

The opening track, “Cynthia,” which addresses her relationship with her mother, sets the mood well with a mellow country-tinged sound that gets increasingly more powerful until the midpoint of the song when the powerful drum section kicks in. It culminates with this kicker of a line: “Two days back in Texas, my mama looks me in the eye/She says marriage and havin’ babies are the reason for my life.”

While Mitchell categorizes her music as “freak-folk,” the country influences of her upbringing are well on display here. Witty titles such as in “Victory Lap Whiplash” and “Big Boy Problems” are a staple of country music, and her lyrics play with narrative. At times, this EP feels reminiscent of Kacey Musgraves’ 2024 EP, Deeper Well, but grittier.

“Queen of Homecoming” is another standout song that addresses themes of not living up to traditional expectations. It’s emotionally raw, with lyrics like “Everyone in this restaurant hates me/I got drunk and cried like a baby,” and the heartbreaking line “Even if I’m a star, I’m still disappointing/I don’t have a baby or a diamond to show them.” Featuring heavy reverb reminiscent of ‘90s alt-rock, it’s the sonic equivalent of the way alcohol can burn your throat a little even when it goes down smooth.

“Kisses on Ice” is a pretty song with some inspired sonic choices. An oboe, bongos, and a triangle can all be heard in this track, but somehow it doesn’t feel overdone or insincere. It fits rather well with the “returning to hometown” theme since these instruments can be often found in a high school music room. Combined with its laconic pace, it feels like Lana Del Rey covering The Carpenters.

From beginning to end, this wistful EP tells a cohesive story. While the feeling of falling short of family expectations is relatable to many, Ross’s examination of how her culture measures “success” in women feels particularly relevant today amidst the rise of conservatism and the tradwife movement.

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