Billie Eilish released her third studio album on Friday (May 17) including 10 brand new tracks. Hit Me Hard and Soft is a sharp turn from her sophomore release Happier Than Ever and debut album When We All Fall Asleep Where Do We Go?, but smoothly rounds out the vast discography of the 22- year-old singer.

It’s hard to believe we are seven years into Billie’s career and even harder to believe she shows no signs of stopping. This latest release is another collaboration with her brother and producer Finneas who has co-written on all of Billie’s records. While this time around Billie revealed she felt more freedom to get hands on with the production and editing of this record. With a modest 10 song tracklist, Hit Me Hard and Soft features some of Billie’s strongest vocals yet and heralds Finneas as a music industry vet with his songwriting.

Keep reading to see how Breathe Pop ranks the songs on Eilish’s new LP Hit Me Hard and Soft, from worst to best:

10. “Bittersuite”

The penultimate track “Bittersuite” was a track that didn’t grow on me after a week of listening. Paired with some admittedly great production, some of the lyrics in “Bittersuite” are dull compared to the rest of the album. It feels like a late interlude to introduce the final track “Blue.” With all the hype and lore surrounding “Blue,” “Bittersuite”‘s outro does do a lot to really make its finale pop.

9. “The Diner”

“The Diner” is certainly an interesting addition to the record. Written from the perspective of a Billie obsessed stalker, lyrically it may be the most outlandish of the ten tracks. Here we are reminded of Eilish’s dark-sided humor from When We All Fall Asleep paired with the more beat-focused sounds from songs like “Oxytocin” on Happier Than Ever. Deranged lyrics like “I’m waitin’ on your block/ But please don’t call the cops/ They’ll make me stop,” are exactly what’s drawn me to Billie since her debut, but her vocals have become a little drowned out amidst the instrumentals.

8. “Skinny”

“Skinny” is beautiful and sets up a thesis of the entire record. “Twenty-one took a lifetime/ People say I look happy just because I got skinny,” is one of my favorite lyrics on the entire record and followed “But the old me is still me/ And maybe the real me and I think she’s pretty,” is a gut punch to open an album. HMHAS is the singer’s most honest record yet.

“This whole process has felt like I’m coming back to the girl that I was,” In April Billie spoke to Rolling Stone about making the album and said “This whole process has felt like I’m coming back to the girl that I was.” She continued “I’ve been grieving her. I’ve been looking for her in everything, and it’s almost like she got drowned by the world and the media. I don’t remember when she went away.”

This quote stuck with me during the month long wait for this record and became clear after “Skinny.”

7. “L’Amour de Ma Vie”

Translated to “love of my life,” “L’Amour de Ma Vie” is a two-parter and would probably be lower on the list if it wasn’t for the electric outro. While most of “L’Amour” is a more simplistic approach both lyrically and sonically compared to the rest of the tracks, the outro is one of my favorite bits on the record.

6. “Wildflower”

“Wildflower” is devastating and maybe the most direct of Billie’s songwriting.  The title of the song seems be to an allusion to Wildflower Cases, a brand founded by Devon Carlson, who had previously dated Eilish’s now ex-boyfriend, Jesse Rutherford), frontman of alternative rock band the Neighbourhood. In “Wildflower” Billie sings “Did I cross the line?” as she can’t get past the fact she is dating the ex of a friend. The story telling is a lyrical stand-out on Billie’s part.

5. “Blue”

“Blue” might be one of the most complex songwriting choices on the album. “Blue” is a love-child of two unreleased Billie Eilish songs from different points of her career: “True Blue” and “Born Blue.” The verses of “Blue” are reminiscent of “Goodbye” from When We All Fall Asleep Where Do We Go? each line recalls a previous track from the album, and then brings in the hook of “True Blue.” “Blue” is the last song on the album doing an excellent job to finish the project.

And yes, you heard her correctly at the very end. “When can they hear the next one?” Eilish asks in a quick jab, possibly hinting at a second album coming very soon.

4. “Chihiro”

“Chihiro” is a trip. The structure of this song is completely wide open, but it works. Named after the lead character in Studio Ghibli’s Spirited Away, “Chihiro” is groovy, with great instrumentals and some very ominous song writing. In a recent interview with Apple Music 1’s Zane Lowe, Billie also confirmed she is in the process of filming a music video for the track and we can’t be more excited.

We recently decoded some of the Spirited Away references in “Chihiro” here!

3. “The Greatest”

Rounding up the top three, “The Greatest” is Billie’s best vocal performance yet. One-half breakup ballad, one-hald self love anthem, “The Greatest” is all about yearning for respect. This is an all around powerful track between the lyrics, vocals, and production Billie and Finneas are showing their maturity more-so than ever. We also love a call-back and this album is full of them. “The Greatest” features a melodic reprise of “Skinny,” in the chorus.

2. “Lunch”

Okay, this might be the least serious of Hit Me Hard and Soft. Billie has a lesbian awakening, she wrote a song about it, and I like to dance to it. “Lunch” is cheeky, and goofy but such a fun pop song. Where the rest of Hit Me Hard and Soft is vulnerable, “Lunch” brings in a bit of character much like that of “Bad Guy.” The 22-year-old, has shown she is ready to grow as a musician and person with this release but her playful side will always have a place on my play list.

1. “Birds of a Feather”

Billie can belt! “Birds of a Feather” is a true love-song and takes the top spot on our list. “Birds of a Feather” joins “Lunch” as a radio-ready pop track and shows a softer side to Eilish’s writing skills. It is catchy and sweet on an otherwise dark album. Finneas again shines as producer channeling an 80’s pop vibe comparable to Wham! while Billie does her thing vocally. Singing “Til the day I die,” in the final chorus Billie shows off her highest belting note yet.