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Swim or Sink Like this post if you're also fed up with Billie Eilish. Jokes aside, her new album is one of the two most powerful pop records of the year so far. I just got around to her release and yesterday I listened to Dua Lipa's new album, so I'm making up for it twice over: I realized what I like about Billie's album compared to "Radical Optimism." "HIT ME HARD AND SOFT" is a sophisticated alt-pop album that doesn’t even try to sound like a hit. I like that Billie intentionally didn’t turn her album into an event: near-zero promo without singles made me forget the album was even about to drop. ā€œI don’t like singles. This album is like a family: I don’t want to leave any of the kids alone.ā€ So, I dived into this release with zero expectations—and that’s probably the coolest strategy for promoting such music. Dua Lipa's promo wasn’t the most outstanding, but it was big enough. But I’m more concerned with one specific part of it: Dua claimed in an interview that she was inspired by ā€œBritish rave culture, Primal Scream, Massive Attack, Britpop, and Gorillaz.ā€ She even invited Kevin Parker and Danny L Harle to make the sound richer and more interesting. But when the album came out, I had only one question: where is all that? ā€œRadical Optimismā€ turned out to be a very timid release, where I hear neither Tricky’s nor Damon Albarn’s approach. And Kevin Parker’s name in the credits just makes you snort—it’s one of those cases where even a talented producer couldn’t save music he’s not used to working with. Billie and Finneas say they were inspired by Tyler, Lana, and Vince Staples' music. But listening to the album, I understand what they really mean—the desire to ignore standards and do something of their own. This approach is closer to me: it sounds more honest and fully unfolds in the music itself. Finneas skillfully mixes pop, folk, and electronics, trying to make not a hit, but just cool music. Listen to the phenomenal transition in ā€œL’amour De Ma Vieā€ā€”this is the level of production we’re talking about. Billie overcomes herself and starts singing at full voice, moving away from the image of a ā€œwhispering languid girl.ā€ The lyrics tell an honest and sometimes touching story of love and self-discovery. Everything works like clockwork here—it seems like the same calculated pop approach as Dua Lipa's, but with the right passion and enjoyment. Now let’s look at the situation from the side of numbers, sales, and all that nonsense. Lipa obviously aimed for the charts—but magically didn’t end up in them. Because even the mass listener can feel when the music doesn’t hit. I don’t like referring to the crowd’s opinion, but here I completely agree with them: ā€œRadical Optimismā€ turned out to be just a dull addition to quite powerful singles. Billie’s album came out without any singles at all. Will Billie and Finneas’s creation become a hit? Probably not. But it wasn’t meant to be—it’s more about talented music that deserves praise. An album not for the masses, but for critics, if you like. Now fans are actively spreading the theory that Billie’s album is actually a double one: firstly, the leaked merch hints at this, and secondly—the final line ā€œBut when can I hear the next one?ā€ makes you want to believe it—because I’d be happy to get another portion of Finneas's refined production. Dua is calmly splashing in the water under the sun, while Billie Eilish is sinking, trying to overcome her main childhood fear (yes, the cover was shot live). I’m not a hater of Lipa, rather the opposite—but I think stories like this should teach something. You can’t update your sound just by inviting Tame Impala, just as you can’t sell an album to the masses if there’s nothing to listen to besides the singles. If you’re inspired by Primal Scream, you’ll have to play by different rules. Because while Dua is resting, Billie and Finneas are setting their own rules for the entire industry. And maybe not immediately, but everyone will appreciate it.
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Jun 21, 2024

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Don’t have much to add other than HMH&S is the first album of either artist I fully listen to, no skips.
Jun 21, 2024

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I don’t think pop music has historically ever had a moment like her ā€œGirl, So Confusingā€ remix verse. It’s not a joke. It’s a triumph for literature. Everyone remembers where they were the first time they heard it. This was a serious revolution and took us out of her usual fever dreaminess of controlled poetic syntax (which I love) , to just unmasked, raw, chaotic feminine brutality and I don’t think we appreciate the prose switch-up enough. I also have said ā€œlet’s work it out on the remix?ā€ to many people I’ve fought with since the song dropped. Sometimes I even write a verse mimicking the song taking accountability of what I’ve done and I send it to who I’m in a conflict with, it actually helps! I’m obsessed with the new singles off her upcoming album Virgin and I’m already studying the cadence of epigrams like ā€˜MDMA in the back garden’,. I’m someone who struggles with severe summer depression, which is taboo in the world of seasonal sadists but taking my discman for a walk by the ocean as ā€œThe Pathā€ starts up on my (files purchased on ITunes!) burnt CD-R copy of ā€˜Solar Power’ is nature’s SSRI. Suck on that, Saint John’s Wort.
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That remix question reminded me of this one.
Taylor Swift is a complicated woman. Whether due to bravery, curiosity, or some sort of witch’s curse, she seems dogged in her attempts to replicate music with which she has no experience or familiarity, the results of which are sometimes—like in this case—frustratingly better than expected. Kendrick Lamar’s entire production team is behind this single for 2022’s Midnights, and it’s got the same direct-injection powertrain of earlier bulldozers like Mine and Cornelia Street, with a great little melody skipping over the top and none of the lyrical mishaps that tend to go bump under the wheels of some of her other songs. And yet: it spends its entire 3 and a half minute runtime blindfolded and tied to a folding chair. We don’t get to see anything it can do. Eventually it sort of tips itself over and waves its legs in the air like a bug and dies. That’s it.
I don’t understand what happened in the studio but there are at least several dozen people, mostly on SoundCloud rather than the remix album she seems to have helmed, that have taken this thing outside and brought it up to cruising speed. Once it gets going you can really feel it all lit up in neon, 14-inch talons, sparks skittering off where it touches the concrete. It’s a fantastic song I think. Probably one of her best. I wish I knew why it got the CIA treatment.
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it’s crazy to think she’s been around 15 years and this is one of the best songs she’s ever put out. It’s silly it’s outrageous the lyrics read like a tumblr post and she’s just out here trying to be that girl. It’s been stuck in my head since I heard it. following up a poetry book which I’m sure not a lot of people read with this unhinged masterpiece is the energy I want to see in the world.
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