Mal Blum storms back with The Villain (out July 11 via Get Better Records), their first full-length album in five years—and it’s a bold, witty, and emotionally nuanced dive into the complexity of identity, morality, and perception. Produced by Jessica Boudreaux, the album’s 11 tracks bend indie rock, alt-pop, and textured storytelling into a sharp-edged mirror that reflects both internal and societal villainy—with a wink and a gut-punch.
Blum isn’t just writing breakup songs here—though the lead single “Must Get Lonely” is a masterclass in melancholy absurdity, casting an ex as a commercial-flight-arriving archangel delivering the final blow. It’s about more than heartbreak; it’s about the ridiculous pain of being the messenger too. That balance of dry humor and raw vulnerability defines the album’s power.
The Villain questions what it means to be “bad,” especially in a world eager to scapegoat trans identities. Tracks like “Killer” and “A Small Request” poke at the cultural obsession with binaries—hero vs. villain, male vs. female—while Blum digs into the grey areas of self-reckoning, masculinity, and being misunderstood. It’s their first album written in their lower register, post-testosterone, and the result is resonant in every sense—vocally, thematically, and emotionally.
This isn’t just a return; it’s a reclamation. Blum embraces the villain role with theatrical flair and honest reflection, proving once again that their music is as sharp as it is deeply human. The Villain doesn’t just entertain—it confronts, disarms, and invites you to rethink what being “the bad guy” really means.