MX LONELY: ALL MONSTERS

Pitchfork

by Hannah Jocelyn

February 23, 2026

AI-Generated Deep Dive Summary

MX LONELY’s latest album *ALL MONSTERS* is a haunting exploration of self-destruction and identity, crafted by three non-binary artists who bonded over shared struggles and creative frustrations. The band—comprising Jake Harms, Rae Haas, and Gabriel Garman—found common ground in their experiences with mental health, including ADHD, autism, and addiction, which deeply inform the album’s themes. Titled after Haas’ sleep paralysis demon, *ALL MONSTERS* follows a ghostly anti-hero named MX LONELY, a vessel for the band’s collective struggles and coping mechanisms. The album blends shoegaze, grunge, and post-hardcore elements to create a soundscape of loud-quiet dynamics and distorted guitars. Tracks like “Blue Ridge Mtns” showcase emo influences, while “Shape of an Angel” captures the cyclical nature of addiction with sharp lyricism. Haas’ spoken-word interlude on “Big Hips” humorously reflects on self-worth through hypothetical scenarios, adding a layer of surreal absurdity to the album’s introspective tone. Lyrically, *ALL MONSTERS* delves into themes of isolation, validation-seeking, and the complexities of mental health. The song “Anesthetic” doubles as both a love letter to addicts and a critique of self-destructive behaviors. Meanwhile, the album’s centerpiece, “All Monsters Go To Heaven,” questions the notion of redemption and divine judgment, offering a poignant reflection on personal growth versus inevitable flaws. For readers interested in music that bridges emotional depth with genre-blending innovation, *ALL MONSTERS* is a standout release. It captures the raw honesty of its creators’ experiences while infusing them with energy and humor, making it a compelling listen for fans of alternative rock and introspective songwriting. MX LONELY’s ability to merge personal struggles with musical experimentation creates a unique and impactful sound that resonates long after the final note fades.

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Originally published on Pitchfork on 2/23/2026