Hit Me Hard And Soft (studio album) by Billie Eilish

Hit Me Hard And Soft by Billie Eilish
Year: 2024
Release date: New2024-05-17 (released 59 days ago)
Overall rank: 8,320th
Average Rating: 
75/100 (from 106 votes)
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Accolades:
Award Top 10 albums of 2024 (10th)
Award Top albums of the 2020s (391st)
Award Best albums of all time (8,320th)
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Billie Eilish bestography

Hit Me Hard And Soft is ranked 4th best out of 5 albums by Billie Eilish on BestEverAlbums.com.

The best album by Billie Eilish is When We All Fall Asleep, Where Do We Go? which is ranked number 758 in the list of all-time albums with a total rank score of 2,368.

Billie Eilish album bestography « Higher ranked (5,816th) This album (8,320th) Lower ranked (67,147th) »
Dont Smile At MeHit Me Hard And SoftLive At Third Man Records

Upcoming concerts

Oct
04
Fri
19:00
BILLIE EILISH: HIT ME HARD AND SOFT: THE TOUR
CFG Bank Arena, Baltimore, United States. United States
Tickets from $53.50 (Ticketmaster) Get tickets
 
Oct
05
Sat
19:00
BILLIE EILISH: HIT ME HARD AND SOFT: THE TOUR
Wells Fargo Center, Philadelphia, United States. United States
Tickets from $59.50 (Ticketmaster) Get tickets
 
Oct
07
Mon
19:00
BILLIE EILISH: HIT ME HARD AND SOFT: THE TOUR
Little Caesars Arena, Detroit, United States. United States
Tickets from $59.50 (Ticketmaster) Get tickets
 
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Hit Me Hard And Soft track list

  Track ratingsTrack ratings The tracks on this album have an average rating of 79 out of 100 (all tracks have been rated).

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1.
Rating: 80 (35 votes)Comments: 0
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2.
Rating: 80 (35 votes)Comments: 0
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3.
Rating: 82 (39 votes)Comments: 0
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5.
Rating: 79 (33 votes)Comments: 0
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Rating: 80 (33 votes)Comments: 1
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8.
Rating: 74 (33 votes)Comments: 0
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Rating: 77 (33 votes)Comments: 0
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10.
Rating: 81 (36 votes)Comments: 0
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Hit Me Hard And Soft rankings

Hit Me Hard And Soft collection

Hit Me Hard And Soft ratings

Average Rating: 
75/100 (from 106 votes)
  Ratings distributionRatings distribution Average Rating = (n ÷ (n + m)) × av + (m ÷ (n + m)) × AV
where:
av = trimmed mean average rating an item has currently received.
n = number of ratings an item has currently received.
m = minimum number of ratings required for an item to appear in a 'top-rated' chart (currently 10).
AV = the site mean average rating.

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75/100
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20 minutes ago AngelBecerra  Ratings distributionRatings distribution 86078/100
 
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11 hours ago Radioscope  Ratings distributionRatings distribution 52977/100
 
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20 hours ago pjohnsongolf  Ratings distributionRatings distribution 1,27676/100
 
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07/10/2024 16:18 sebfox  Ratings distributionRatings distribution 2,49678/100

Rating metrics: Outliers can be removed when calculating a mean average to dampen the effects of ratings outside the normal distribution. This figure is provided as the trimmed mean. A high standard deviation can be legitimate, but can sometimes indicate 'gaming' is occurring. Consider a simplified example* of an item receiving ratings of 100, 50, & 0. The mean average rating would be 50. However, ratings of 55, 50 & 45 could also result in the same average. The second average might be more trusted because there is more consensus around a particular rating (a lower deviation).
(*In practice, some albums can have several thousand ratings)

This album is rated in the top 7% of all albums on BestEverAlbums.com. This album has a Bayesian average rating of 75.4/100, a mean average of 75.7/100, and a trimmed mean (excluding outliers) of 75.7/100. The standard deviation for this album is 12.8.

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Hit Me Hard And Soft comments

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Rating:  
50/100
From 05/30/2024 23:42
“Hit Me Hard and Soft” is constrained by its production. Almost the entire album is centered on quiet, tame guitar-led songs. This can be made striking with the right hand, but Phineas chooses the most toothless direction. Its flat sound makes Eilish’s lyricism feel meandering and hashed out. The break-up anthems don’t feel torn up as much as they do tired. Positively, the vocals feel more confident and Eilish seems to be becoming more comfortable exploring her range. “Lunch” is also fun with its flirtatiousness and more energetic feel. “Hit Me Hard and Soft” does not have any callous moments, but nor does it have any standouts. It is just unremarkable.
Helpful?  (Log in to vote) | +2 votes (2 helpful | 0 unhelpful)
Rating:  
100/100
From 05/27/2024 21:51
I don't know if it's the best album of the year, but it's what I like the most, there are classy details in each song!! what a genius!!
Helpful?  (Log in to vote) | +2 votes (2 helpful | 0 unhelpful)
Rating:  
70/100
From 05/27/2024 11:33
I was in the process of writing something about this album, but I refreshed the page and saw that there had been a tremendous review of this record posted right below this comment, so instead of relitigating an opinion I basically completely agree with, I'll just take the easy way out and say:

For such a competent, creative record, it sure was dull. It's mostly totally inoffensive, but despite deviating from a lot of today's popular music trends (but not all of them), somehow a lot of the tracks are indiscernible from others on the album, others in her career, and indeed, other trends in the music industry as a whole. How can this be?

In a year full of irritating, homogenous, huge pop music releases the algorithm tells me I need to care about since I spend a lot of time listening to music, Billie's release is the least annoying, but also, somehow, the least anything at all. A truly contradictory experience.
Helpful?  (Log in to vote) | +1 votes (2 helpful | 1 unhelpful)
Rating:  
65/100
From 05/26/2024 20:17
Billie Balearic Beat

Yeah 've had varying responses to the Billie phenomenon, her first album was one of the first times listening to it I just felt old- what seemed to be heralded as this brilliant bit of noir pop I just saw a lot of teenage I-cracked-the-code posturing and the fact that the sound just felt far too much like nearly everybody who'd blasted out of the post Odd Future hype, though there were a couple of moments (especially "Bury a Friend" and "I Love You") that I could see some real talent and promise for the future. Then came the messy Pandemic release of "Happier than Ever", which I found far more interesting, not only in it's Kid-in-a-candy-store endless genre hopping but in that she was exploring some geniunely conflicted and difficult emotions that made the album feel more directly confessional, even if admittedely the throw-it-on-the-wall approach meant a good number of the songs didn't work (surprisingly the limpest ones were the more directly venomous kiss-offs) and didn't really cohere as an album despite the consistient overarching theme of the emotional torment of sudden fame.

Now I can see why this album has gotten the positive acclaim it has, it's an incredibly lean release full of the kind of shimmering, attractive compositions that Billie and her longtime bro producer Finneas have mastered over the course of her career, and on the surface there is a feeling of more direct and less put-upon angsty singer-songwriter appeal to the overall songs & LP. But... uh... well I guess to go bit by bit: "Skinny" is a solid and incredibly succinct summination of her previous album, both the cost of fame and the invasive personal scrunity (particularly the crassest kind, especially on her own body or love life), if maybe a bit slight overall it still effectively lets the ink dry on the chapter to move forward. Now "Lunch" was oddly ballyhooed as something shocking and daring because of it's dip into direct Sapphic attraction, but uh, which current left-of-center girl singer DOESN't have a lesbian-crush song out there? It's as on-trend as it gets, which doesn't mean it isn't earnest and perhaps an FU to those Twitter weirdos who endlessly hounded her with Queerbaiting accusations, but I mean "Bad Guy" honestly was more risque than this. And mentioning that song of course highlights a major reason why I think a number will have a number of major "... that's it?" reactions to this song, since it has all the elements to be a major banger in theory, but it doesn't bang at all in practice. I think in many ways Billie's usual detached cool hampers this here as her voice should really morph into a more hormonal throttle, but I donno maybe it's some annoying & dated tricks (f*king hell those perfunctory hand-claps, giving late Aughties flashbacks). It's maybe disappointing that this is what's going to get the most attention when the following tracks are much stronger, a far better mix of the more spacious and fluid compositions anchored strongly in the nucleus by Billie's much more confident though still appealingly delicate husk of a voice. The only somewhat peculiar thing here is why the album went from talking about newfound infatuation to immediately pivoting towards breakup song after breakup song (or more so, Near-Breakup or Missed Ships in the Night songs), there seems to be a track or two that's lying somewhere on an editing room floor.

Only by "The Greatest" am I starting to see some problem with the overall production, as the late additions of percussion and chopped-up distortion feel pounded flat into the composition when they should feel a lot more dynamic and intrusive. Then there's "L'amour de ma vie" which, no, the French title doesn't mean a damn thing, which ultimately is another Ironic not-in-love ballad with a decent but for Billie predictable punchline.... but then that's where the album gets really weird. And I Don't mean that in a good way. Cause just after the song seems to end it suddenly swerves instantly into this 2000s Ibiza-ready deafining Euro Club song though if it were thrown threw a Hyperpop cheese grater, which I admit for the first time I was actually taken aback and surprised when listening, but thematically and musically it has no connection to what came before or after and feels like the equivalent of mustard suddenly and needlessly squeezed onto a sundress. Though I'll take that over the next track, next to that one Micheal Scarn moment from When We All Fall Asleep as one of the only truly terrible tracks she's produced, a ridiciously cheesy electro beat with no humor or progression to make it feel Ironic or Campy or whatever the fuck. At first it was confounding, but when the next track rips-off her own Wish You Were Gay beat but without pithy lyrics or a discernible point at all, it came clearer but also... why? are you going back scrounging for Z-sides from your late 2010 days?

After that bizzare extended interlude, the album does admirably close with a song that could've been a 120-minutes underground smash in the mid 90s, a dense, subtly swirling and smartly layered Electro-accented bit of 90s alt-rock that both lyrically and sonically actually closes the album pretty effectively, even if it's making me question why we needed that needless and jarring bit of leftovers thrown in as the penultimate track(s).

So yeah that's kind of why I find this a mixed bag, less than being hit Hard and Soft on both sides it feels like an album that starts off on a steady Gallop but then kind of Waddles on the edges before gracefully crossing the finish Line. it's certaintly lovely to listen to despite some really questionable choices late in the run but it also has already felt less than meets-the-ear after giving it a couple of repeat listens, maybe her and Finneas's musical choices are starting to feel a bit too lameneted and "Safe Edgy", but also Billie seems to pick and choose when she wants to be more detailed and upfront with her lyrics to skewing a more dead-eyed Coyness and simply straining the emotional crux of the songs to feel more generalized and universal rather than directly personal. It's solid and I can see why some view it as her best, but I find it a slight step down from the previous release and it's following singles which just felt much more from-the-gut even if it led to messier results. Maybe this is just the start as many have already worked the theory this is just the beginning of several colour-coded releases, but for now I'll rate this as a (mostly) musically pleasing release that just feels a bit too tentative at key moments to take that next leap forward.
Helpful?  (Log in to vote) | +2 votes (3 helpful | 1 unhelpful)
Rating:  
95/100
From 05/17/2024 17:58
Billie Eilish's best album. What it lacks in the punch of its predecessors, it makes up for in opening up. Finneas's production is fuller and wider than ever before. The trademark humor and powers of observation that make Eilish so singular are still as sharp as ever, cutting deeper than before, while finding affection and joy that previous albums are renascent to touch. By no means is it seismic, but it's a massive leap in maturity and reinvention.
Helpful?  (Log in to vote) | +4 votes (4 helpful | 0 unhelpful)
From 05/17/2024 09:36
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