[Editorial note: This is our second review of this album; you can read the first one here.]
The most fun I’m anticipating in this album review is sharing my thoughts on it, having Orchid Mantis read this and think “this interpretation is not what I expected, but it is so deliberately written so I know it was sincere, so let’s see if we can reach an understanding” and therefore sparking a conversation on the meaning behind this work of art. I’ve listened to this album several times and have experienced a new set of emotions and perspectives on life with each listen. Between the unique song structures, compelling instrument arrangements, and a third thing, In Airports is an absolute mind opener on our idea of connection in a world full of empty promises and impending tragedies. In a way parallel to Orchid Mantis’ ability to depict an atmosphere to the audience, I will bring a view of what incredible ways Orchid Mantis’ In Airports captures the feelings of loss, yearning, and acceptance.
The artist mentions on Bandcamp about spending a week in the airport and observing people in hectic and temporary periods of time in spaces designed to transport a person from place to place, that the attitude of being in an airport keeps you in a mindset of waiting for something rather than pursuing a passion and purpose. When you think of what transportation actually is, it is the ability for one body to move from one place to another, whether it is moving a person from city to city, country to country, or even planet to planet (like a metaphor, but we’ll see that later), or even the thought of transporting values or memories between two individuals. This concept of transportation is a means for connection (and we are reminded that this is temporary), whether it is between two people, or a person with a younger self, possibly before a regrettable action or something they often dream about doing differently. Regret seems to revisit the songs repeatedly with lingering thoughts of what-ifs and preserving memories, but maybe we can be more intentional with where we travel and who we spend our time with.
The first song immediately shares the concept of Generation Loss: the loss of quality through copies of data, and holds this parallel to the idea that every time you recall a memory, you remember the last time you thought of it, not the event itself. The lyrics reflect a balance between clinging to a memory and the act of letting go and moving on, a battle often fought within the hearts of restless souls remembering a fond moment in time. This concept is revisited in “Highway Pileup” through “memory fills with dust, and I forget how it was, still I’ll always picture us” as a portrayal of presence having a larger impact on memory retention despite the occlusion of some of the details. This depicts the result that grief and loss have on yearning. “Comedown Phase” focuses the direction of yearning into a separate individual, whereas “Something You Said” shows an abrupt ending, likely the loss sparking the sentiment carried throughout the rest of the album. Following a loss, it’s only natural to yearn for and imagine life before. Songs like “Falling Back Asleep” desire to slip into dreams where the memory is still strong and vivid enough to live in, asking to “leave the light on” with a ringing effect in the panning, adding a hypnotic feel of choosing to live in the memory over the bleak reality.
“Talk in Technicolor” refers to how we are the results of all circumstances preceding our present. To turn back time is to damage your present self (turning back time is a concept often associated with regret), and at some point in your life, you had your hesitations about partaking in a mortal life. The theme of temporary nature plays morbidly hand in hand with mortality, and you will need to realize (in a positive way) that nothing is permanent, and this begins a journey to acceptance and healing. Through “Blissful Moon”, the action of regret and spending your mental space on hypothetical what-ifs is shown to be ineffectual, as good things will happen in all timelines. There is also some kind of inherent guilt that comes with embracing a regret (thank you K-Pop Demon Hunters) seen through “can’t call home or change my mind” leading to “it’s not a waste to lean into the pain, but it’s always felt this way”, that eventually leads to a question of “what’s the use in running through what once was or wasn’t us, flowers bloom in every room and bright green curtains the light comes through” depicts the presence of bright lights and the birth of good things in all possible scenarios, regardless of the regret.
There are songs that highlight a rationalization of the loss (a form of acceptance), with the emphasis on the temporary nature of everything in the world, especially in connection. Songs like “Heart Still Hangs” and “Orbiting Your Head” invoke such concepts, referring to shared time and memories, with the former song highlighting an imbalanced devotion while the latter song reaching more of a reluctant acceptance. I’ve always enjoyed the concept of individuals portrayed as planets containing a reflection of the world they’d encompass if their entire population adopted their same values. The collision, interaction, and orbiting (especially) of planets is easily used as metaphors for human relationships. The reference revolves around a central object, admitting that the relationship may not be permanent, but despite the temporary nature, it is still worth it. Meanwhile, “I’ll Wake Up Soon” depicts a sort of overlap between acceptance and bargaining, with words depicting the sudden nature of an absence, a desire to dream a reality where the loss didn’t occur, and an everlasting guilt of unresolved conflict with a helpless plea to make things right. I also like to think that “I’ll Wake Up Soon” is an active acknowledgement of having to wake up from “Falling Back Asleep” and to finally face a reality where the loss is accepted.
I also wanted to mention that my favorite track in the album is “On Your Mind” as it provides a somber motivator despite the devoid nature of the world and universe. To recall the artist’s motive of finding purpose and not falling victim to complacency, there are repeated mentions of changing your life, and despite hesitation, you are the one who knows yourself more than the empty world could ever understand you, and this bleak reminder is motivation enough for me to remember to live in ways that make me feel fulfilled and happy.
As much as I could go further in depth with the thematic and lyrical topics, it’s also important to mention the phenomenal arrangements of instruments and the effects used to deliver these songs to the listener. Whether it is the use of volume as an element (“Generation Loss”, “In The Dawn”), the gradual filling of space with different instrumentation (“Comedown Phase”), or the use of panning to emulate a space-like atmosphere that represents the loneliness that comes with regret (“Falling Back Asleep”), it all enhances the experience of grasping one’s own attachment styles in an inquisitive and open-minded way.
Overall, this is a captivating album that approaches ubiquitous heartaches from a different perspective, using carefully picked lyrics to capture broad experiences shared by many, and depicts a particular attitude towards healing that one may or may not adopt. I think it’s important to note as well that while the concepts and themes throughout this album may not be presented in linear order, we should remember that healing isn’t linear either.
Written by Christian Ang
