DIE ON EVERY HILL, the debut album from multi-hyphenate TwoLips out via Final Girl Records, was a long time coming in more ways than one.
On one hand, the modern politics on display leave little to the imagination, and the album is better for it. On the other hand, the five years between Psychowave in 2021 and now have seen TwoLips, real name Kianah LongChase, make a habit of shapeshifting in music. In short, a dance track is just as likely as a protest song for the modern day.
The same is true for DIE ON EVERY HILL, which comes in at nearly 20 songs yet never shows a minute of filler in the slightest. Produced by frequent collaborator Lightfoot, the singles and EPs released over the last few years can be heard in the way TwoLips unabashedly tackles identity with the sort of confrontational energy fitting for an album that oscillates with themes.
When it comes to that in-your-face approach, TwoLips doesn’t waste time in making her intentions clear on album opener “RESISTANCE.” Rather than presenting identity as a matter of debate, she frames living as its own form of resistance via spoken word, powered by a booming bass and space-ray synths that serve more as a warning than texture to a song.
The bass-heavy beats of “THE DIRT” will send goosebumps up your legs because of how fierce they are alongside TwoLips’ cheerleader-like chants. It’s the kind of banger that instills confidence and inspires head bobs worthy of whiplash. It’s also the perfect track for an epic dance battle.
For as well-constructed as TwoLips’ lyrics and messaging are, the production helps to punctuate those sentiments. The previously released “VI0LENCE” finds her taking after rap as much as she does opera. As a whole, the song tackles violence as a concept, challenging who or what can get away with violence without consequence – all while on top of ’90s rave production with sounds that pay homage to TwoLips’ indigenous Dena’ina and Lakota heritage.
Of course, simplifying the album to its most abrasive moments would be underselling all that it has to offer. Lush instrumentation like the smooth bassline and alt-pop melodies on “CALIFORNIA SERENADE” expand the album’s spread of genres without sacrificing its edge. In similar respects, “let it change you” does the same on an atmospheric R&B cut that haunts as much as it astounds.
It says a lot that TwoLips’ intention behind DIE ON EVERY HILL, which can be boiled down to the phrase “conflict isn’t a flaw, it’s the environment,” can be felt in the way nurture vs. nature is explored throughout.
At the same time, she shows how identity itself is a form of protest. Even when marginalized or unseen, simply existing disproves any rhetoric meant to disparage by the powers that be. It’s a prescient message, made more important by an artist who refuses to be boxed into a genre or label.
Previous singles, “Overflow,“ a dance-ready darkwave track, and the manicly playful “PPL R“ set a tone of urgency that carries throughout the album’s overarching themes. Track after track, DIE ON EVERY HILL is steeped in suspense, with songs that create a palpable sense of anxiety and keep listeners on edge. Yet those epic moments of high energy are at times balanced by welcoming comedowns, where the production and TwoLips’ vocals provide space to rest, recharge, and prepare for the next surge.
Similar to dissent and acts of resistance, especially in today’s social and political landscape, it’s important to know when to rest and recalibrate so you can return stronger and wiser. TwoLips’ new album, DIE ON EVERY HILL, is the perfect soundtrack for that journey (but it’s also the perfect soundtrack for your pre-game and/or afters).
DIE ON EVERY HILL by TwoLips is out on streaming services. The artist has upcoming shows in Los Angeles, opening for Big Sis at the Echoplex on July 31 and a show in San Diego at Soda Bar on Aug. 4.
Follow TwoLips for more tour dates and announcements.
