Best Ex is the solo project of Mariel Loveland, and on her second LP “Good Girl” she expands on the pop direction first hinted at during her time with Candy Hearts. The record doubles down on catchy hooks and memorable melodies while drawing on influences named in the source such as Juliana Hatfield and Belly. Its opening title track is presented as a thesis statement for an album that addresses what it means to come of age as a woman. Best Ex has spent more than a decade in the music business, and this LP places those experiences at the centre of its songwriting and subject matter.
Best Ex places several songs in clear relation to specific influences and instrumentation choices noted in the source: “Eurydice” recalls the guitar, drums and bass approach associated with artists like Juliana Hatfield and Belly, while “Is This It” introduces synths and pop-heavy drumming likened to The Rentals. The mid-tempo “Sick of Myself” is identified as a deeply personal song with self-critical lyrics, and “Losing Streak” is described as taking a surprisingly optimistic view despite its title. These songs are presented as examples of how the album balances melodic pop elements with framed references to earlier alternative acts.
Best Ex addresses feminist and social themes across multiple tracks on the album, with songs that take aim at expectations placed on women and instances of exploitation. The source highlights “Papercut” as a biting track targeting irrational expectations, and singles out “Man Like You” as a direct indictment of an abusive older man exploiting a younger woman and a society that looks away, quoting the line about a daughter and secrets. Those songs are described as among the record’s most pointed writing, and the album is framed as channeling Loveland’s experience navigating a misogynistic industry.
Best Ex also includes moments the source identifies as outliers and strong closers: “Boring” is noted for programmed beats, synths and Auto-Tuned vocals and is called an odd track that feels out of place, while the album is said to close with the sing-along “Living in Hell” and the infectious “Parallel Lines,” the latter dealing with people drifting apart. Overall, the source presents “Good Girl” as a record that pairs pop instincts and strong hooks with sharper, personal songwriting drawn from Loveland’s career and observations about society and the music business.
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