“Rx” is Tucker Pillsbury’s first ever full length album. It is almost fully committed love songs, which is ironic, considering the up and coming artist’s interview with GQ just four days ago, titled “Role Model Doesn’t Want to Write Love Songs.”
BACKGROUND STORY
An East Coast native, Pillsbury signed to Interscope records in 2017 thanks to Mac Miller’s recognition of “Stolen Car,” a song that appeared on his first EP “ARIZONA IN THE SUMMER.” As a college freshman dropout, he moved to Los Angeles to pursue music, releasing hits like “girl in new york,” “minimal” and “hello!,” all of which have millions of plays on Spotify alone.
Here, he began to develop his signature sound, a rumbling, edgy, eclectic but familiar voice, one that he commands with desperation and emotion. He relies heavily, maybe even without realizing it, on his heartthrob appeal. He often sings about heartbreak with stark honesty and vulgarity. He discusses these topics even when the relational dynamics he describes could be considered unhealthy by a trained therapist, or anyone who has ever been to see a therapist. He addresses the topic directly in the title track, singing:
“But I don’t need therapy/ Just someone who’s there for me” Pillsbury sings in the chorus.
FALLING IN LOVE
Though some songs are dedicated to other things, like feeling the social outcast, Pillsbury dedicates much of the album to describing the relationship he now shares with Emma Chamberlain, though those details were never officially confirmed. Most of the relationship is intentionally rumored, as both young stars prefer to leave their love life in the shadows.
“When you fall in love, it takes up every ounce of your brain,” Pillsbury explained in his interview with GQ. “I sat her down, one month in and explained this: I’ve always taken pride in the fact that people who follow me, follow me… She has an insane amount of influence, and people constantly watch her every move. I don’t want anyone following me for any reason other than my music.”
His relational status is obvious in songs like “neverletyougo” and the catchy and fantastic “forever&more,” released ahead of the album. The sound, as a whole, is a progression from his previous works while maintaining his original sound. Drums drive the album at times, while other songs like “life is funny” are soft, edging on the border of hopeless romanticism. It seems fitting.
