Song of the Week: Jimin Gets Lost in the Lights with “Like Crazy”
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The post Song of the Week: Jimin Gets Lost in the Lights with “Like Crazy” appeared first on Consequence.
Song of the Week delves into the newest songs we just can’t get out of our heads. Find these tracks and more on our Spotify Top Songs playlist, and for our favorite new songs from emerging artists, check out our Spotify New Sounds playlist. This week, Jimin of BTS brings us into the club with the main track of his new solo project.
The new solo release from Jimin of BTS begins with a whisper. “I didn’t think we could last forever,” a woman breathes over Jimin’s delicate background vocals. “I’m afraid everything will disappear,” a man’s voice replies. Jimin’s distinct falsetto leads the listener into the verse, but from there, things don’t stay quiet for long.
“Like Crazy” is the centerpiece of FACE, the debut solo project from Jimin, which is now available in full today, March 24th. The song is energetic, commanding, and more than a little bit intoxicating, and the music video underscores it all with a trippy night in a dark club. Champagne flows, bodies writhe, and Jimin alternates between participating in the revelry and wandering through the crowd like a sleepwalking outsider.
The press notes that accompanied FACE confirm that the title of the song is a nod to the 2011 film Like Crazy, a story of on-again-off again lovers separated by distance, visa troubles, and the constant flow of time. While the song doesn’t necessarily dive into the same themes, there’s a similar kind of yearning present here — Jimin of “Like Crazy” is clearly searching for something, filling his time with the distractions and people spotlighted in the music video. “This is gonna break me,” he cries in the chorus, a sharp contrast to the upbeat sound and technicolor presented onscreen. “Lost in the lights/ I’m out of my mind,” he repeats.
BTS’s second chapter has been filled with unexpected directions from the members’ solo releases: j-hope went dark and gritty on Jack in the Box, for example. RM, an expert lyricist with a singular artistic perspective, filled his album, Indigo, with strong, surprising collaborations. Jimin continues the trend of keeping ARMY on their toes with “Like Crazy,” leaning into a more mature story than some might have expected. Cheers to that.
— Mary Siroky
Contributing Editor
Honorable Mentions:
CHALK – “Asking”
CHALK’s “Asking” spends its two minutes and forty seconds burrowing under your skin. An unrelenting kick drum backs brooding vocals and, eventually, shrieking guitars that sound like they’re melting everything around you. The track looks forward and only forward, rising and falling without warning, fostering an utterly captivating sonic environment. It’s post-punk for the end of the world, for when the sky is falling, for when the ground gives out from underneath your feet. — Jonah Krueger
Hailey Kilgore – “Some Love Song”
Actress and singer Hailey Kilgore might be an artist many folks know from her thriving theatrical career — the 2017 revival of Once on this Island led to her becoming one of the youngest nominees for the Tony Award for Best Actress in a Leading Role in a Musical. Now, with her new EP Desire and Devotion, Kilgore is introducing a new side of her artistry. The project is steeped in pop and R&B sounds, nostalgic without being overly sentimental or obvious, and the perfect introduction is held in “Some Love Song.” In conversation with Consequence, Kilgore noted Alicia Keys as one of her largest inspirations, and the soulful, playful tone of the Adam Blackstone-produced track wisely puts her smooth vocals front and center. — M. Siroky
Superbloom – “Headfirst”
Superbloom’s grungy alternative rock sound walks a fine line. The drums are huge, the guitar tones are even grander, and there’s never a moment without sufficient distortion. And yet, their sense of melody, infectious rhythms, and satisfying structures add an instant pop appeal to their output. “Headfirst,” the first single from their upcoming EP Life’s a Blur, is no different. Each band member absolutely abuses their instrument, mining as much sound as possible, but the lead vocals and earworm hook ensure the song is as fun and enjoyable as it is heavy. In another world where the alt-rock boom never died out, this is a chart topper. — J. Krueger
Chat Pile – “Cut”
Since Chat Pile’s God’s Country became the sludge metal soundtrack of 2022, the same few words seem to pop up when fans or critics discuss their music: filthy, crushing, punishing. And in case it wasn’t clear, these descriptors couldn’t be more complimentary to the band, as proven by the fact that their latest single “Cut” is just as filthy, crushing, and punishing as anything from their 2022 debut.
Taken off a forthcoming split EP with fellow filthy sound makers Nerver, it hints that Chat Pile has no intention of lightening things up anytime soon. Thank god for that, because we’ll shovel this sludge into our mouths for as long as they continue to put it out. — J. Krueger
Lael Neale – “Faster Than The Medicine”
Lael Neale’s “Faster Than The Medicine” is rooted in only a few small details: her ever-present, occasionally tremolo-picked guitar line, a rapid fire drum machine, her signature moody Omnichord keyboard, and, of course, Neale’s fluttering, emotive vocals. For a song with such a surprisingly minimalist arrangement, Neale finds a way to sketch out a complete journey — as she concludes the song with the phrase “No one here knows the way to reach me/ Faster than the one I love,” there’s safety in her assuredness, even as the Omnichord rages on into uncertain waters. — Paolo Ragusa
Flo Milli – “Bed Time”
It’s only up from here for Flo Milli, who just dropped the extended edition of her sophomore major-label album, You Still Here, Ho? Among the tracklist is a new take of “Bed Time” that features verses by Monaleo and Gloss Up. This collaboration proves fruitful, with each MC flowing right into the next, capturing the full contour of the artists’ unique deliveries. The cadence keeps you moving, an energy that shows you why Flo Milli and her counterparts are leading the new era. — André Heizer
BRATTY – “Radio”
Mexican bedroom pop artist BRATTY has shared “Radio,” another delightful slice of sunny indie rock that highlights her silky vocals and exquisite songwriting. With a sound that recalls Clairo’s impressionist pop as well as the crunchy slacker rock of the ’90s, “Radio” reaches its peaks when BRATTY launches into a wash of pure guitar power. Her delicate, unassuming vocals ramp up to anthemic heights as she reaches the chorus, even as she laments “Me deprime cuando prendo la radio” (“It gets me down when I turn on the radio”). The radio may be bringing her down, but the song is a refreshing blast of indie rock. — P.R.
Tapeworms – “IRL”
“IRL”is an imaginative, synth-soaked gem that demonstrates the French band’s most dazzling impulses. There are heaps of video game-esque sonics added into the mix, commanding drums that strike the balance between organically composed and mechanistic, and full-on synth explosions that crack the song wide open. Vocalist Margo highlights “IRL” with her warm, wispy tone, making the moments of shoegaze and dreamy bliss feel all the more enjoyable. “IRL” may be moving in dozens of directions at once, but each movement is inspiring and addictive. — P.R.
Top Songs Playlist:
Song of the Week: Jimin Gets Lost in the Lights with “Like Crazy”
Mary Siroky and Consequence Staff
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