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LOS ANGELES, CA- Over the last few years, Devon Thompson has steadily carved out her own lane within alternative music. Earlier releases leaned more heavily into gritty indie and alternative rock influences, but her latest single “Pillory” feels like a more focused and fully realized version of the sound she has been building toward. The track blends dream pop, shoegaze, and post-punk influences into something dark, atmospheric, and emotionally direct.
It’s easy to understand why 99X Atlanta Music Director Will Pendarvis compared the song to a meeting point between The Cure, The Church, and Lush. “Pillory” is built around shimmering guitars, moody textures, and Thompson’s airy vocal delivery, but beneath the dreamy production is a song rooted in anxiety and discomfort.
In the press release accompanying the single, Thompson explained that the song explores the feeling of constantly being watched or followed, particularly from a woman’s perspective:
“‘Pillory’ is about perpetually feeling that something is following you. Whether it be time or an actual person stalking you, something is always right behind you. For me, and for many women, it’s the constant feeling of having to look over my shoulder when I walk down the street.”
That tension runs throughout the lyrics. From the opening lines:
“Flesh and bone
On display
Something for you to claim”
the song immediately establishes themes of objectification and unwanted attention. The title itself is significant. Historically, a pillory was a public punishment device used to humiliate people while they were restrained and put on display. Thompson uses that imagery to frame the emotional experience at the center of the song.
The lyrics grow more unsettling as the song progresses. One of the strongest moments comes during the lines:
“Like a fly
Eating from a fresh wound
Basking in necrose
Lie your eggs and go”
The imagery is intentionally uncomfortable, comparing the unwanted presence in the song to something parasitic and invasive. Rather than spelling everything out directly, Thompson relies on mood and imagery to communicate the emotional weight of the track.
Produced by James Salter, whose credits include work connected to The Raveonettes, The B-52s, and Black Rebel Motorcycle Club, “Pillory” balances polished dream pop textures with darker undertones. According to the press release, the song was recorded inside the reportedly haunted Teatro, and that atmosphere seems to carry into the final recording. Metallic guitars, layered reverb, and soft vocal textures give the track a cinematic quality without overwhelming the songwriting itself.
“Pillory” also feels like an important step forward in Thompson’s artistic identity. In recent interviews and promotional material, she has described her sound as “whimsigoth” and “sparkle music,” and this single probably represents the clearest example of what she means by that. The influences of artists like Siouxsie and the Banshees, Mazzy Star, The Sundays, and The Smiths feel more present than ever, especially in the song’s balance of melancholy and melody.
Still, Thompson avoids sounding overly nostalgic or derivative. “Pillory” works because the song’s emotional core feels genuine rather than aesthetic for aesthetic’s sake. The repeated refrain:
“Why are you hanging around?”
becomes more tense and obsessive each time it returns, reinforcing the feeling that the narrator can never fully escape the presence haunting the song.
With “Pillory,” Devon Thompson continues refining a sound that feels increasingly confident and distinct. It’s a strong step forward for an artist who seems to be settling comfortably into her own artistic identity… and I’m all for it.
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