Paris Paloma is an untamed poet on “The Fatal Flaw.”
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TOP 5
5. Bleeding Part of Me
In “Bleeding Part of Me,” Paris Paloma recounts the kinds of daydreams she has about the person she loves. Instead of happy fantasies, they’re fantasies of being injured and cared for. In one particular moment, she describes being carried off the battlefield, having arrows picked out of her shoulder blades, and watching her blood mix with that of the person she loves. Paris wonders if the only part of her that loves is the wounded part because that’s what these fantasies feel like.
There are elements of folk, acoustic pop, and baroque rock on this track, sometimes within the same second. The drums are reminiscent of war drums. The bridge is a swarm of whispered vocals that sound like they’re surrounding her and orchestrating her thoughts.
What makes this song so profound is how it takes the desire to be cared for by someone you love to its most extreme conclusion: they’re literally rescuing her from the brink of death. The fantasy carries an unsettling mixture of unhealthy romanticization and sharp self-awareness, especially as she questions why love and suffering have become so deeply intertwined in her mind.
4. Silhouette on the Hill
“Silhouette on the Hill” initially sounds like background music from a paranormal film. Paris is ghostlike within the song’s narrative, haunting the subject for the rest of their life. She even references the chillingly prophetic Fleetwood Mac song “Silver Springs,” penned by Stevie Nicks about Lindsey Buckingham.
Paris is definitely terrifying on this track: “There was a time I would have gone hunting / For the blood of an already dead man / Just to have the satisfaction / That when you died, it was by my hand.” This person should be glad that she’s speaking in the past tense because this ghostly, murderous, mysterious version of Paris Paloma is a treat to listen to, but she’s also somewhat fearsome and delightfully feral.
3. Stem the Flow
“Stem the Flow” is about the cycle of tolerating and forgiving bad behavior when it comes from someone you love. Paris accepts that the subject isn’t trying at all, and she can’t see what they’re doing as love. If she does, she’ll look for it again because of the heightened emotions tied to the relationship.
The simplest yet most devastating lines appear in the chorus: “I want you to try so I can thank you for trying / And then maybe that’ll make you try some more.” The production gradually builds to a cinematic peak before returning to a quieter place for the final chorus.
It feels as though Paris is reaching the point of leaving, and the ending could represent one of two things: the devastation of staying or the quiet, heartbroken catharsis of walking away. Either interpretation works. However, it is notable that during the final iteration of the chorus, she says she does not forgive the person’s bad behavior—breaking the pattern of forgiveness she acknowledged during the earlier choruses.
2. I Cry in Front of Paintings
I wrote a review of “I Cry in Front of Paintings” when it first came out, and I don’t have many new things to say about the song itself. It’s absolutely brilliant.
What I do have now, however, are more opinions about the song within the context of the album. The Fatal Flaw contains a lot of conflict. Paris is deeply interested in writing about patriarchal power structures within both interpersonal and societal dynamics, and those themes make up the majority of The Fatal Flaw. “I Cry in Front of Paintings” is the album’s finale and its only true moment of peace.
There are celebrations throughout The Fatal Flaw, especially on “Pre-Raphaelite” and “Good Girl,” but the patriarchy still looms over them. They celebrate womanhood despite rebelling against those structures.
“I Cry in Front of Paintings,” however, is simply about Paris and her lover. No oppression exists in this relationship; the only conflict is the internal struggle she is working to heal. Ending The Fatal Flaw with “I Cry in Front of Paintings” shows that, despite all the conflict and pain in the world, sometimes all it takes is one person loving you for who you are to finally feel at peace. Crying in front of paintings can also be interpreted as Paris surveying the work she created for the album and allowing herself to cry after channeling all that pain into it.
1. Pyrrhus (you go where I cannot)
“Pyrrhus (you go where I cannot)” is about Pyrrhus, the son of Achilles, told from a maternal perspective; possibly that of Deidamia or Iphigenia.
Pyrrhus killed many people during the Trojan War, including the elderly King Priam and Hector’s infant son, Astyanax. Paris uses this maternal voice to ask him how he became capable of such violence. She also questions whether he regrets the people he murdered and whether their deaths appear in his dreams, particularly the killing of Astyanax. Pyrrhus searches for “godhood and honor,” but Paris reminds him that his mother was once his god.
Something this song does especially well is draw parallels to the modern world without ever changing the myth or abandoning its setting. The entire song centers on Pyrrhus and this maternal figure, yet its message can apply to anyone who has hurt others and drifted far from the innocence they possessed as a child; particularly those who believe the pain they cause serves some greater purpose.
SONG BY SONG RATING
Miyazaki (4.5/5)
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Check out the individual track ratings we gave—these are what we used to calculate the overall score
RGM RATING
I am simply blown away by The Fatal Flaw. I loved Cacophony, but Paris Paloma has absolutely outdone herself here. Few artists can say they reference the Trojan War, Rothko, Rosetti, Jane Austen, Studio Ghibli, and Fleetwood Mac on one album, but Paris does it seamlessly, creating a diverse yet cohesive body of work.
Paris doesn’t tie herself down to one genre, either. The Fatal Flaw has hints of folk-pop, indie rock, dark pop, baroque pop, dance pop, and many more, oftentimes within one song. Paris writes stunning, clever lyrics and gorgeous, cinematic music, and they never conflict. Every single song on this album was well-written and well-placed. If you’re someone who loves antiquity and female rage, this album will be an absolute treat for you.
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