B-Side Guys

Sometimes the most honest thing you can do is embrace the role you’ve been assigned, even when that role traditionally carries eternal consequences. madrone has constructed something that operates as both theological meditation and romantic autopsy, where the desire to be called “Lucifer” becomes less about rebellion than about finally accepting responsibility for the destruction you’ve caused.

The track’s indie rock framework provides grounding for what could easily drift into pretentious territory, creating space where biblical imagery can serve emotional rather than religious purposes. madrone’s approach to the subject matter reflects an understanding that mythological references work best when they illuminate personal rather than cosmic truths—here, Lucifer becomes a metaphor for anyone who’s discovered their capacity for causing harm to people they love.

The juxtaposition between watching cars and contemplating fallen angels captures the particular dissociation that follows profound loss. madrone understands that grief operates on multiple levels simultaneously—the mundane observations continue while deeper reckonings unfold underneath. “The innocence of saucer eyes / until the wonder if there’s more” suggests the moment when simple observation transforms into existential questioning.

What makes “Lucifer” compelling is its suggestion that damnation might be preferable to irrelevance. The repeated assertion “I’d be lucky to be called Lucifer” transforms traditional concepts of punishment into forms of recognition, where being remembered as destructive becomes better than being forgotten entirely. madrone has created something that functions as both confession and strange form of self-advocacy.

From their self-proclaimed “Eponymous Debut Masterpiece,” “Lucifer” establishes madrone as an artist willing to find comfort in uncomfortable identities, proving that sometimes the most liberating thing you can do is stop fighting the villain role and start wearing it with dignity.