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The Land Is Inhospitable and So Are We | Mitski

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What percent of global Internet users visit Mitski.bandcamp.com?

• 4.4E-6% of global Internet users visit Mitski.bandcamp.com

How many people visit Mitski.bandcamp.com each day?

• Mitski.bandcamp.com receives approximately 217 visitors and 828 page impressions per day.

Which countries does Mitski.bandcamp.com receive most of its visitors from?

• Mitski.bandcamp.com is mostly visited by people located in United States,Russian Federation,Netherlands.

How much Mitski.bandcamp.com can earn?

• Mitski.bandcamp.com should earn about $3.00/day from advertising revenue.

What is Mitski.bandcamp.com estimated value?

• Estimated value of Mitski.bandcamp.com is $2,405.90.

What IP addresses does Mitski.bandcamp.com resolve to?

• Mitski.bandcamp.com resolves to the IP addresses 151.101.129.91.

Where are Mitski.bandcamp.com servers located in?

• Mitski.bandcamp.com has servers located in United States.

mitski.bandcamp.com Profile

Title:The Land Is Inhospitable and So Are We | Mitski Description: The Land Is Inhospitable and So Are We by Mitski, released 15 September 2023 1. Bug Like an Angel 2. Buffalo Replaced 3. Heaven 4. I Don't Like My Mind 5. The Deal 6. When Memories Snow 7. My Love Mine All Mine 8. The Frost 9. Star 10. I'm Your Man 11. I Love Me After You Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what’s truly hers, what can’t be repossessed or demolished, she sees love. “The best thing I ever did in my life was to love people,” Mitski says. “I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I’ve created onto other people.” She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she’s gone. Listening to it, that’s precisely how it feels: like a love that’s haunting the land. Love is always radical, which means that it always disrupts, which means that it always takes work to receive it. This land, which already feels inhospitable to so many of its inhabitants, is about to feel hopelessly torn and tossed again – at times, devoid of love. This album offers the anodyne. “This is my most American album,” Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. But “maybe it’s beyond witnessing,” she says. At times, it feels like the album is an exercise in negative capability – a fearless embodiment and absorption of the pain of other bodies. When I ask her what the album would look like, if it were a person, she says it would be someone middle-aged and exhausted, perhaps someone having a midlife crisis. But through the daily indignity and exhaustion, something enormous and ecstatic is calling out. In this album, which is sonically Mitski’s most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time-traveling to bless our tender days, like the light from a distant star. Mitski wrote these songs in little bursts over the past few years, and they feel informed by moments of noticing – noticing a sound that’s out of place, a building that groans in decay, an opinion that splits a room, a feeling that can’t be contained in a body. It was recorded at both the Bomb Shelter in East Nashville and the Sunset Sound Studios in Los Angeles. The album incorporates an orchestra arranged and conducted by Drew Erickson, as well as a full choir of 17 people - 12 in LA and 5 in Nashville - arranged by Mitski. And for the first time, it felt important to Mitski to have a band recording live together in the studio, to create this new sublime sound. Working with her longtime producer Patrick Hyland, the album has a wide-range of references, from Ennio Morricone’s bombastic Spaghetti Western scores to Carter Burwell’s tundra-filling Fargo soundtrack, from the breathy intimacy of Arthur Russell to the strident aliveness of Scott Walker or Igor Stravinsky, from the jubilation of Caetano Veloso to the twangy longing of Faron Young. From the first track, the album introduces and then heals a wound. “Bug Like an Angel” finds the divine in the ordinary, in the boozy drowning of sorrow. The narrator sings from the strange comfort of rock bottom: “sometimes a drink feels like family.” And suddenly, that choir of angels sings: “FAMILY!” This first track introduces a cosmic paradox: “The wrath of the devil was also given him by God.” This is an album in which dark and light exist in the same gesture, the same broken prayer. Like the Buddha inviting the demon Mara in for tea, The Land embraces ***, daily pain — the necessary toll of transcendent love. In “Buffalo Replaced,” the wail of a freight train replaces the vibrations of the long-gone stampeding buffalo. Here, hope itself is personified, anthropomorphized into a sleeping creature, and our narrator wonders if life would be easier without her. But then, as though in response, “Heaven” offers a beautiful moment of passion, preserved like a fossil in time even though the “dark awaits us all around the corner.” This oasis is aggressively interrupted by “I Don’t Like My Mind,” a song from the perspective of someone in extraordinary pain. They are begging to keep their job, while actively keeping terrible traumatic memories at bay. Without their employment, these memories might take over, consuming them as relentlessly as the cake that they ate one “inconvenient Christmas.” The toggling between hope and despair in these four songs is masterful — the good, the bad, and the ugly in America’s backyard. This mythology continues to deepen with the stunning “The Deal,” in which someone is so burdened by their soul that they beg for it to be taken from them. Soon, the singer’s soul is revealed to be a bird perched on a streetlight. In a coup of songwriting, the narration does not switch into the newly-souled bird’s voice. No, we stay with the soulless “I.” The bird calls down: “You’re a cage without me. / Your pain is eased but you’ll never be free.” This song reinforces the album’s tug-of-war between the intoxication of love and the pain of isolation. Close on its heels is “My Love Mine All Mine,” an instant classic and the beating heart of the album, wherein the singer imagines their love shining down on the earth from the moon, long after the speaker is gone. “It’s just witness-less me,” she sings on “The Frost,” which suddenly takes us from the anticipation of loss right into the aching loneliness of it. On the subject of witnessing, Mitski says: “I’ve always been the person on the outside watching. And I’ve also done that with myself... outside of myself, witnessing myself, watching myself.” She thinks that she might have adopted this habit as a condition of being a woman of color, and that it’s led to the occasional post-apocalyptic fantasy of being the only person left in the world. We talked about Samuel Beckett’s Krapp’s Last Tape, in which a man is profoundly alone, with only an archive of old tapes to keep him company. He remembers the seismic event of an old *** encounter, but now it’s: “Past midnight. Never knew such silence. The earth might be uninhabited.” The Land repeatedly offers that same hypothesis. Without love, is there anyone here? After the alien lift of “Star” comes the album’s showdown. “I’m Your Man” feels as inevitable, bloody, and haunting as a Sergio Leone duel scene. The “Man” in the title isn’t some fella proclaiming devotion, Mitski says, but rather the man inside her head, the haunting patriarch who treats her like a dog and can destroy her at whim. Despite his confidence and swagger, he is tracked down by a pack of hounds — who have unionized in the name of catharsis. After this *** reckoning, a Fowler’s Toad calls out in what sounds like a human scream. The night settles into silence. The earth might be uninhabited. We glide into the liberating closer, “I Love Me After You,” in which someone is truly alone but truly free. King of all the land. “I don’t have a self,” Mitski observes. “I have a million selves, and they’re all me, and I inhabit them, and they all live inside me.” Loving all of these selves does not yield the easy burst of a pop song. It’s the “long, complex, deep love, that you can never get to the end of, that’s always evolving, like a person. And there’s just no end to it. It feels like space travel.” The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It’s a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Maybe this is what our best artists do: take a spaceship into the furthest reaches of pain, in order to bring back the elixir that we already had inside us. The unknowable known of love. “You have to go to both worlds all the time,” Mitski says, by which she means the mysterious world of making and the *** world of living. This album is an act of hyperlocal space travel. Love is that inhospitable land, beckoning us and then rejecting us. To love this place — this earth, this America, this body — takes active work. It might be impossible. The best things are.
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mitski.bandcamp.com Traffic Analysis

This website is viewed by an estimated 217 visitors daily, generating a total of 828 pageviews. This equates to about 6.6K monthly visitors.
Daily Visitors217
Monthly Visits6.6K
Pages per Visit3.81
Visit duration00:02
Bounce Rate23.40%
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Daily Unique Visitors:
217
Monthly Visits:
6,575
Pages per Visit:
3.81
Daily Pageviews:
828
Avg. visit duration:
00:02
Bounce rate:
23.40%
Global Reach:
4.4E-6%
Monthly Visits (SimilarWeb):
6,589
HypeRank:
n/a
*All traffic values are estimates only.

Total Visits Last 3 Months

17.9K
JAN
6.6K
FEB
6.6K
MAR

Visitors by country

Country
Users%
 
United States 58.76%
 
Russian Federation 14.07%
 
Netherlands 8.90%
 
Australia 8.48%
 
Spain 7.06%
Last update was 198 days ago
     
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Organic Keywords:
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Organic Traffic:
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Organic Cost:
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Revenue report ▼

Google.com would generate approximately $3 per day if the source of income were advertisements, which equates to an estimated monthly revenue of $90 and annual gross revenue of approximately $1.1K. Based on these figures, the site's net worth is estimated at around $2.4K.

How much would mitski.bandcamp.com make?

Daily Revenue:
$3.00
Monthly Revenue:
$90.00
Yearly Revenue:
$1,095.00
*All earnings values are estimates only.

Daily earning by country

 
CountryPageviewsEarning
 
United States 486$2.35
 
Australia 70$0.34
 
Netherlands 74$0.14
 
Russian Federation 116$0.05
 
Spain 58$0.03

Loss of money due to Adblock?

Daily Revenue Loss:
$0.52
Monthly Revenue Loss:
$15.68
Yearly Revenue Loss:
$190.80
Daily Pageviews Blocked:
132
Monthly Pageviews Blocked:
3,967
Yearly Pageviews Blocked:
48,262

Daily revenue loss by country

 
CountryBlockedLost Money
 
United States 88$0.42
 
Australia 14$0.07
 
Netherlands 13$0.02
 
Spain 11$0.01
 
Russian Federation 7$0.00

How much is mitski.bandcamp.com worth?

Website Value:
$2.4K

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Server IP:
151.101.129.91
ASN:
AS54113 
ISP:
Fastly 
Server Location:

United States, US
 

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The average loading time of mitski.bandcamp.com is 820 ms.
Average Load Time:
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mitski.bandcamp.com use gzip compression.
Original size: 369.91 KB
Compressed size: 69.95 KB
File reduced by: 299.97 KB (81%)

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An SSL (Secure Sockets Layer) certificate is a digital certificate that establishes a secure encrypted connection between a web server and a user's web browser. It provides authentication and encryption, ensuring that data transmitted between the server and the browser remains private and protected. mitski.bandcamp.com supports HTTPS.
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Common Name: *.bandcamp.com
Organization:
Location:
Issuer: GlobalSign Atlas R3 DV TLS CA 2024 Q3
Valid from: Jul 19 22:55:23 2024 GMT
Valid until: Aug 20 22:55:22 2025 GMT
Authority: CA:FALSE
Keysize: 2048 Bits
Common Name: GlobalSign Atlas R3 DV TLS CA 2024 Q3
Organization: GlobalSign nv-sa
Location: BE
Issuer: GlobalSign
Valid from: Apr 17 03:17:30 2024 GMT
Valid until: Apr 17 00:00:00 2026 GMT
Authority: CA:TRUE
Keysize: 2048 Bits

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Http Header ▼

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via: 1.1 varnish, 1.1 varnish
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referrer-policy: no-referrer-when-downgrade
server: nginx
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set-cookie: BACKENDID3=flexocentral-cs7b-7; path=/; Secure
accept-ranges: bytes
date: Wed, 30 Apr 2025 00:16:01 GMT
x-served-by: cache-chi-klot8100057-CHI, cache-chi-klot8100086-CHI
x-cache: MISS, MISS
x-cache-hits: 0, 0
x-timer: S1745972162.779444,VS0,VE62
strict-transport-security: max-age=63072000
content-length: 214

HTTP/2 200 
via: 1.1 varnish, 1.1 varnish
content-type: text/html; charset=UTF-8
referrer-policy: no-referrer-when-downgrade
content-encoding: gzip
server: nginx
content-security-policy: base-uri 'none'; object-src 'none'; report-uri https://bandcamp.com/api/cspreport/1/violation; script-src http: https: 'nonce-Q35kegIy5XDK+LzzyhvqDg==' 'report-sample' 'strict-dynamic'
link: <https://mitski.bandcamp.com/album/the-land-is-inhospitable-and-so-are-we>;   rel="canonical"
set-cookie: BACKENDID3=flexocentral-8791-3; path=/; Secure
cache-control: no-cache, no-store
accept-ranges: bytes
date: Wed, 30 Apr 2025 00:16:02 GMT
x-served-by: cache-chi-kigq8000158-CHI, cache-chi-klot8100086-CHI
x-cache: MISS, MISS
x-cache-hits: 0, 0
x-timer: S1745972162.844816,VS0,VE737
vary: Accept-Encoding
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DNS Lookup ▼

DNS entries (Domain Name System) are a critical component of the Internet infrastructure. They act as directories that translate human-readable domain names (such as example.com) to machine-readable IP addresses. DNS records are stored on DNS servers and help forward internet traffic efficiently.
Type Ip Target/Txt TTL
A 151.101.1.91 86348
A 151.101.65.91 86348
A 151.101.129.91 86348
A 151.101.193.91 86348