Pom Pom Squad Mirror Starts Moving Without Me

Critic's Take

Pom Pom Squad's Mirror Starts Moving Without Me pivots into sharp-edged pop while still mining imposter syndrome, and the best songs show that tension plainly. The opener “Downhill” stakes the album's drug-metaphor honesty and urgency, while “Montauk” is the wistful highlight that cools the record into something quietly devastating. For punchy, cathartic release the new-wave burn of “Street Fighter” and the grotesque vengeance of “Villain” stand out as contrasting strengths, and the stadium-sized closer “The Tower” caps the emotional arc with dramatic force. This is an album whose best tracks balance theatricality and vulnerability to answer the question: which are the best songs on Mirror Starts Moving Without Me - the ones that feel like both confession and performance.

Key Points

• “Montauk” is the best song because its subdued acoustic arrangement and weary lyrics crystallize the album’s emotional core.
• The album’s core strengths are theatrical vocals, candid lyrics about attention and imposter syndrome, and a knack for balancing pop sheen with vulnerability.

Themes

Critic's Take

In his vivid, descriptive voice, Josh Korngut frames Pom Pom Squad's Mirror Starts Moving Without Me as a late-'90s-styled catharsis where the best songs shine by marrying nostalgia with emotional honesty. He elevates “Everybody's Moving On” as the album's thesis track and highlights “Doll Song” as a haunting anthem that captures the record's uneasy charm. Korngut also praises opener “Downhill” and “Spinning” for their Y2K pop-punk fire, arguing these best tracks prove the band can remake nostalgia into something urgent and new.

Key Points

• The best song is "Everybody's Moving On" because it's framed as the album's thesis and delivers haunting, reflective lyrics.
• The album's core strengths are its meticulous '90s nostalgia, evocative horror-tinged production, and emotionally direct vocals.

Themes

Critic's Take

Pom Pom Squad's Mirror Starts Moving Without Me privileges mood and character, and the review makes clear the best tracks are those where Mia Berrin fully inhabits a persona - notably “Downhill” and “Villain”. The reviewer foregrounds how “Downhill” opens a descent into a darker sound, and how “Villain” channels claustrophobic breaths into a fiery torrent, making them the standout songs on the album. There is praise for the record's tonal consistency and grunge-leaning 90s indie rock that lets these best tracks land with real force. Overall the album's strength is its risky pivot to shadowier territory, which elevates the best songs and the album as a whole.

Key Points

• The best song work when Berrin fully inhabits a persona, with "Downhill" and "Villain" turning darker textures into emotional immediacy.
• The album's core strengths are its darker aesthetic, consistent grunge/90s indie tone, and bold character-driven songwriting.

Themes

Critic's Take

Pom Pom Squad’s Mirror Starts Moving Without Me finds its best moments in songs that dramatize a fractured self, with the bruised immediacy of “Downhill” and the glassy ache of “Spinning”. Georgi’s eye for horror-tinged metaphor means the best tracks on Mirror Starts Moving Without Me - particularly “Downhill” and “The Tower” - feel like chapters in a warped coming-of-age, equal parts punk defiance and intimate confession. The record’s quieter peaks, like “Montauk” and “Doll Song”, underline why the best songs on this album land: they pair sharp songwriting with visceral emotional stakes, leaving Pom Pom Squad sounding more ambitious and immediate than before.

Key Points

• “Downhill” is the best song because it sets the album’s darker tone and contains the striking promise to 'come back from the dead.'
• The album’s core strength is marrying punk-snarl hooks with vivid, horror-tinged identity storytelling and sharper production.

Themes

Critic's Take

In a voice that moves between wry observation and clear affection, Pom Pom Squad’s Mirror Starts Moving Without Me finds its best songs when it leans into uneasy guitars and intimate folk textures. The review repeatedly praises “Montauk” and album centrepiece “Everybody’s Moving On” as folk-tinged standouts, and highlights “Messages” and “The Tower” for bristling unease and big guitar moments. There is reserve for some glossy early tracks like “Street Fighter” which lose impact in sugary production, but overall the strongest tracks anchor the album and answer the question of the best songs on Mirror Starts Moving Without Me with clear, memorable moments.

Key Points

• “Everybody’s Moving On” is the album’s centrepiece because of its folky, almost country sound and central placement.
• The album’s core strengths are uneasy, guitar-driven moments and a successful shift from synth-pop to grungy, folk-tinged textures.

Themes

Critic's Take

In this review I found Pom Pom Squad’s Mirror Starts Moving Without Me strongest when it leans into confrontation and introspection, with “Downhill” and “Spinning” supplying the dizzy centre and “Villain” the necessary bite. Matt Young frames the record as a hall-of-mirrors Alice story, where tracks like “Street Fighter” and “Running From Myself” pivot from confusion to reclamation, making them the best tracks on Mirror Starts Moving Without Me. The balance of lo-fi production and raw vocal presence lets those moments land, so if you search for the best songs on Mirror Starts Moving Without Me, start with “Downhill”, “Spinning” and “Villain” for the clearest statements of intent.

Key Points

• The best song is "Downhill" because it embodies the album's hall-of-mirrors metaphor and personal descent with vivid lyrical framing.
• The album's core strengths are raw emotional storytelling, lo-fi production that amplifies authenticity, and a journey from disorientation to reclamation.

Themes

Critic's Take

In a voice that is bruised and candid, Pom Pom Squad deliver on Mirror Starts Moving Without Me with standout moments like “Everybody's Moving On” and “Doll Song” that trade noisy ferocity for aching tenderness. Elle Palmer writes with violent vulnerability, praising tracks that let the grunge gnarl soften into strings and synths - the best tracks on the album are those that balance aggression with clarity. The record’s best songs, particularly “Montauk”, “Everybody's Moving On” and “Doll Song”, feel like coming-of-age vignettes scored for both a bruised teen movie and something quietly profound.

Key Points

• The best song, as the reviewer implies, is the tender and reflective "Everybody's Moving On" for its emotional clarity and memorable melody.
• The album’s core strengths are Mia Berrin's violently vulnerable lyricism and the blend of grunge guitars with moments of strings and synths.

Themes

Critic's Take

Anchored by Mia Berrin's voice, Pom Pom Squad's Mirror Starts Moving Without Me stakes its best-case claims on songs like “Doll Song” and “Running From Myself”. The record trades some of the punk urgency of their debut for a more introspective alternative-pop palette, which makes the best tracks - notably “Street Fighter” and “Doll Song” - stand out as the album's high-water marks. The reviewer finds the hooks on the singles irresistible, but also notes that tracks like “Montauk” and “Everybody's Moving On” feel too airy to leave a lasting impression. Overall, the album's emotional potency and lyrical craft make the best songs shine even when the production choices divide opinion.

Key Points

• Doll Song is the best because of its instrumental density, risky samples, and climactic lyrical resolution.
• The album's core strengths are emotional potency, incisive songwriting, and compelling vocal performances despite divisive production choices.

Themes