The post Song of the Week: BLACKPINK Are Back with a Bite on “PINK VENOM” appeared first on Consequence.
Song of the Week breaks down and talks about the song we just can’t get out of our head each week. Find these songs and more on our Spotify Top Songs playlist. For our favorite new songs from emerging artists, check out our Spotify New Sounds playlist. This week, BLACKPINK are razor-sharp on their comeback single.
Ready or not, BLACKPINK are back.
“PINK VENOM” arrived with a bang — the music video has already broken several records, most notably for the most-viewed K-pop music video in 2022 so far — and it’s proof of the power of BLACKPINK that the song is generating such a response. It’s been quite a while since BLINKs have been able to enjoy new music from the quartet as a complete unit. With “PINK VENOM,” BLACKPINK remain in a familiar sonic lane: the song is big, the lyrics braggadocious, and the choreography as enchanting as ever.
The concept of “PINK VEMON” is centered on paradox. The phrase conjures the image of something deceptively pretty, as beautiful as it is dangerous, which is exactly the energy the members are working to channel here. They cherry-pick from pop culture hallmarks along the way; “Look what you made us do,” ROSÉ says, channeling another pop star who gravitates towards snake imagery. “One by one and two by two,” says LISA, recalling Rihanna’s classic “Pon de Replay.”
The idea behind “PINK VENOM,” which was helmed by longtime BLACKPINK producer TEDDY, is a succinct summary of the group’s power to this day. Even after a long wait for new music, during which the members executed various incredibly successful campaigns with global fashion houses, they haven’t lost their edge. While the song might not be for everyone — JENNIE slays the anti-drop chorus all the same, and JISOO delivers on vocals and visuals alike — “PINK VEMON” is an indicator that these four are ready for their next era, as is their enormous legion of dedicated fans.
— Mary Siroky
Hermanos Gutiérrez, Dan Auerbach – “Tres Hermanos”
Releasing instrumental music!? In this economy!? Well, when it’s as compelling and world-building as Hermanos Gutiérrez’s music, why the hell not?
The instrumental duo once again delivers a transcendent, mood-setting jam. “Tres Hermanos,” which enlists The Black Keys’ Dan Auerbach, drops you into a sonic world of their genre-based design. Through Latin-influenced rhythms and expressive guitar licks, the trio successfully transports you into a seedy “Barrio.” You can practically see the liquor selection and taste the smoke drifting in from the open door. It’s a track that cements the brothers’ immense talent, and now is the time to get in on the ground floor, before Hermanos Gutiérrez are inevitably featured in the next Quentin Tarantino film. — Jonah Krueger
bigfatbig – “Shut Up!”
Sunderland duo bigfatbig are angry on “Shut Up!” and not afraid to show it. The lead single from their upcoming EP, “Shut Up!” is a pop-punk rager that holds no punches when it comes to undeserving, unoriginal acts taking up space in the industry.
The two-piece cites their working-class background and the struggles a less privileged financial situation introduces when trying to make art as central influences for the track. With a subject matter so based in reality and an energized, blood-pumping instrumental, there’s really no need to mince words: “I’ve realized that you’re boring and there’s nothing else to say/ I think you should shut up.” — J.K.
Cass McCombs – “New Earth”
This track off Cass McCombs’ new album Heartmind is a lush proclamation of rebirth. Imagining a “new dawn where wildlife crushes technology,” McCombs creates a dreamy landscape that serves as a backdrop for pretty nihilist musings about the future of this big blue planet. It isn’t all bad — from his perspective, these “bad days” will lead to the “birth of a new Earth.” No matter how you read the lyrics, though, you can’t help but feel that everything is going to be alright. Produced by Frank Ocean collaborator Buddy Ross, the track serves as a great showcase for McCombs’ unique blend of folk, country and bossa nova. — André Heizer
Isabella Lovestory – “Sexo Amor Dinero”
Honduran artist Isabella Lovestory’s new single goes hard, and that’s exactly what she wanted. “Sex, love, and money. That’s what I want,” she says explicitly, “I like hardcore love.” This inventive, punchy blend of reggaeton, perreopop, drill, pop, and electronic music has a beat tailored to keep your body moving. Every section of the song feels like a new discovery, and Lovestory’s vocals fluidly carry us with a playful and seductive energy. Her sound is fierce and unmistakably unique. — A.H.
Renao – “Moonwalking”
On “Moonwalking,” Renao reminds us of how luxurious it feels to fall in love. Teaming up with Starsmith and Cleo, the breakout star has delivered something perfect for the dance floor, working as a brilliant extension of the lovestruck, falsetto-laden bops responsible for his initial success on TikTok. On this track, his smooth, immediate hooks glide alongside his usual funky guitar work and does so with a swooning elegance — just in time for the end of summer. — Christien Ayers
Why Bonnie? – “Healthy”
Sometimes you fall in love with a song because it surprises you, bringing you sounds that sound fresh and new. Other times, you hear a song that simply feels right; the type of song that carries with it an immediate sense of familiarity. “Healthy” is an example of the latter, exhibiting such a perfect blend of influences that it feels like you’ve never been without it.
Coming off the second half of their new album 90 in November, out August 19th, the tune features some of the stickiest melodies found on the entire record. All the while, Blair Howerton shows off her lyrical talent over driving drums and slinky guitar lines. It’s yet another highlight from a project that’s full of them. — J.K.
AJA – “Bad Game of Telephone”
Toronto-based artist AJA puts on a new spin on a classic concept with “Bad Game of Telephone,” which puts her soaring vocals. The slinky, energetic track unpacks the “he said, she said” dynamic, and who among us hasn’t grown exhausted by friend group drama? AJA is sick of the games, but we aren’t sick of her telling her side of the story.
Plus, in a time when TikTok artists are all trying to land the next viral play on words, AJA is the rare artist that doesn’t seem like she’s reaching when she employs a line like, “Twinkle twinkle little star, I don’t give a fuck who you are.” — M.S.
Johnny Orlando, BENEE – “fun out of it”
Singer-songwriter Jonny Orlando has joined forces with New Zealand artist BENEE for “fun out of it,” a track that sounds like such a natural collaboration it’s a bit of a wonder the two hadn’t linked up already. The back-and-forth employed by both parties is easy, breezy, and conversational, as if the two are letting us in on their own little secret. It’s an ode to drama and the fun of a dynamic when things are new and hushed; here’s hoping the song reaches the right audience (people who love just a little bit of healthy mess), because it’s a story so many know all too well. — M.S.
Nana Lourdes – “Sausalito”
Portuguese artist Nana Lourdes is back with “Sausalito,” the first single from her upcoming debut album, Wyoming, due out November 11th. Lourdes retains much of the psychedelic flavor that characterized her previous work, but there’s an even more experimental flair to “Sausalito” that turns her direct and immediate songwriting into something alien. The escalating synths work to destabilize the track’s infectious groove, and Lourdes’ auto-tuned vocals create an almost impersonal approach to her simple melodies.
Lourdes describes Wyoming as a concept record about toxic romance and celebrity culture, and “Sausalito” seems to hit at both of these points; there’s a sugary mix of hyperpop and a hypnotic beat that pulls you in and doesn’t let go. — Paolo Ragusa
Annie DiRusso – “Call It All Off”
Nashville-based singer and songwriter Annie DiRusso has returned with “Call It All Off,” a wonderful ode to cancelling plans. “I guess there’s things I’d like to talk to you about like the redistribution of wealth,” she sings with a hint of a bite in the first verse, before announcing “so call it all off, cancelling is my thing/ I never did get any better at committing.”
It’s a familiar sentiment to many of us who’ve experienced a depleted social battery throughout the pandemic, but DiRusso’s urge to remove herself and close the door is what makes “Call It All Off” so fascinating. She mixes her feelings of alienation and social paralysis with fuzzed-out guitars and crystal clear vocals, and though she’s singing about surrendering and closing herself off, she sounds liberated. — P.R.
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