A Poptimist’s Top 10 Albums of 2023 — Part 4: Red Velvet & Carly Rae Jepsen
For the beginning of this list (starting from 10th place), please check it out on Musical Mayhem!
4. Chill Kill — Red Velvet
Released: November 13th, 2023
Genre: K-Pop, Dance/Synth-pop, R&B
Chill Kill by Red Velvet is the girl group’s official third full album. Since debut, the group is known for their wide range of experimental concepts that generally fall into either their bubbly ‘Red’ side or mature ‘Velvet’ side. This long-anticipated full album is centered on a concept that has lingered throughout the group’s almost decade long career… which is murder. Rather than some questionable pranks in pastel or use of weaponry to train killing pizza delivery boys, they have gone into the deep end with not only the cinematic lore in the music video and gothic-inspired Korean aesthetics, but also keeping up the theme of a bone-chilling toxic relationship through the album tracks. With smoldering eyes, devilish tendencies, and their signature clean vocal harmonies, the group balances their ripest sonic maturity without losing their mischievous nature.
Highlights: “Chill Kill”, “Knock Knock (Who’s There?)”,” Nightmare”, “Iced Coffee”, “Will I Ever See You Again?”, “Underwater”
On my first listen of this album, the track run of the front half of the album gave me euphoric, almost adrenaline lined chills straight through. While many have come to the conclusion of Red Velvet having one of the greatest discographies in K-Pop (which I highly agree with), an aspect of their sound that is especially unique from anyone else in their industry is creepiness. I’m really glad at the degree that they’ve leaned into it here, because for some reason it really works for them. It allows them on this album to not have the darkness of heavy bass and smoky harmonies completely overwhelm the amusement in playing to the insidious concept. This album feels very carefully crafted with the high quality of the tracks and linear story.
The title track “Chill Kill” is the first taste of synth-pop tracks where positive zeal and an underlying uneasiness are in equilibrium. The title phrase alone sparks an interesting meaning; while most probably initially infer ‘chill’ describing ‘kill’, the phrase is used in the song as the ‘kill’ of ‘chill’ for a really unique flipped meaning. The track introduces a messy relationship where the narrator seems to treat their partner both sweetly and bitterly, but swears that this time they’re going to permanently kill off their coldness and become warm enough to save the connection. A mysterious glistening, eerie piano keys, pounds and zips of a deep synth bass, and flickering high ringing synth are the ominous aspects of the production that cast a shadow of doubt against the bright chorus harmonies, catchy pop melody, and cheery ‘hey’ and ‘yoo-hoo’ adlib exclamations. Combining the determined yet egotistical-coded lyrics, presumptuous vocal delivery, and the mixed mood of the production, I love the fact that you can’t really figure out if the narrator is trustworthy or not with genuine intentions. The best part of the song might be the overspilling passion that breeds in the sudden distinctly 80s synth-inspired bridge; deep kicks with reverb, light cascades of synth melting into atmospheric pads, and oscillating rhythm with a gorgeous vocal line on top. The final chorus and outro reaches full zest interjecting a new lyric, “Forget about your sorrow”, and overlapping the vocal lines for a pleasant overwhelming sensation that (at least) feels like the cusp of real change.
“Knock Knock (Who’s There?)” and “Nightmare” win the contest for the most straightforward spooky sound. “Knock Knock (Who’s There?)” swallows up Tchaikovsky’s whimsical holiday classic “Dance of the Sugar Plum Fairy” from “The Nutcracker” ballet and spits out a nightmarish contemporary pop song. The highly recognizable melody of the original is interpolated in a way that is completely intertwined — through the intro/outro ‘oh’s, chorus vocal melody, and even the twinkling keys are reminiscent of the original. The bass is also used similarly to the original with the padding of the delicate melody. In the verses, the instrumental flattens the staccato bass and keys and adds modern trap percussion. A brooding bass pad with the twinkly melody leads from the pre-chorus to the chorus featuring horrific sharp interjecting strings — reminiscent of the iconic theme of horror movie “Psycho” — and the interpolated vocal melody sung in wonderful group harmony. The ladder track “Nightmare” similarly uses the technique of a haunting melody in the instrumental, plus the group chorus featuring a wailing high pitched synth giving just enough of an uneasy sharpness. For some reason, the main melody really gives this song haunted circus vibes to me. The circling vocal melody, happy-go-lucky vocals and matching lyrics of the narrator convincing themselves all this hardship is just a nightmare that will pass also don’t help that case. Both tracks, although a bit unsettling, also feel oddly satisfying to my ears.
“Iced Coffee” is noticeably less dark and in fact quite airy compared to the aforementioned. Small synth droplets like ice with the members’ delicate voices, poetic strings, and vocal harmonies make for a nice refreshment that somehow doesn’t feel too odd in between the other tracks. Although the lyrics could easily be categorized as a sweet love song, to me, it still has a whisper of questionable narcissism that focuses on how that person makes the narrator feel, almost calling back to the feelings of the song “Chill Kill”.
“Will I Ever See You Again?” is very evocative of 2010s EDM with the key phrase and electronic chorus drop. The song is pretty simple in its rhythm, with the basic rhythmic guitar, percussion, and pop vocal melody. Although, rather than feeling completely dated, the nostalgic feeling actually works well with the premise of being stuck in the moment, wondering if a future with this partner exists. The chorus instrumental drop of the main ringtone-like synth melody and all-encasing flood of the briny synth pad also adds to the damning waiting game, as if waiting for the phone to be picked up with the synth pad sonically representing the harrowing passing of time. The final chorus is perhaps the best part, signaling proper distress in the girls’ voices of final callouts.
Lastly, I feel like it would be almost sacrilegious to not mention the fan favorite, steamy r&b track “Underwater”. The reverb all over the track, heavy kick drum and bass line, plus the wispy vocals make up the vast arousing nature. The sensual lyrics and — actual — soft moans floating around among the background vocals definitely puts this down in the books for the most explicitly erotic song from the group.
3. The Loveliest Time — Carly Rae Jepsen
Released: July 28th, 2023
Genre: Pop, Synth-pop
The Loveliest Time by Carly Rae Jepsen is the pop artist’s companion studio album to the prior released The Loneliest Time (2022). After the release of Emotion (2015) that has since been regarded as a modern pop bible, Jepsen has garnered a perhaps unexpected niche but loyal cult following among pop music lovers. While her trademark as an artist is her effervescent lover girl attitude and retro pure pop sound, she has developed a specialty of side projects titled “Side B” that follow the release of a main full studio album. For previous albums Emotion (2015) and Dedicated (2019), the “Side B” projects were a collection of previously unreleased tracks that were written for their respective main album. Now an expected tradition, Jepsen took this side project based off her 2022 album one step further by creating a fully realized whole body of work. While The Loneliest Time (2022) took us through the messy and sweet happenings before the closing of a chapter of loneliness, this sister album sees her wildly dancing in the fireworks of her lover’s eyes. Once the city has gone to sleep, it now belongs to herself, her lover, and her band who are on a mission to turn every streetlight into neon disco lights.
Highlights: “Kollage”, “After Last Night”, “Put It To Rest”, “Psychedelic Switch”, “Shy Boy”, “So Right”
I may have talked a lot about being blown away by many albums on first listen, but do you realize the degree of how masterful the album in your hands is when you’re THREE songs in and you’re already thinking to yourself “Oh, this is her magnum opus”? I truly have never had an album first listening experience like this in my life, where the number of building chills that filled my entire body and abounding lucid visions matching each song genuinely gave me so much transcendent euphoria that I imagine it’s the closest to astral projection I’ll ever reach. So, I guess, the hardest drug I’ve ever taken? The Loveliest Time by Carly Rae Jepsen, of course.
As one person apart of her cult following, I recognize Carly as one of the quintessential modern pop girls that thoroughly understands the nature of pop music and its purpose. She presents pop music artistry at its finest with the level of earnest yearning and joy found in a simple love song, and this most recent release is the highest she’s ever been in regards to her love life and sonic evolution. Track after track is a cohesive yet bursting dynamic of her best studio experiments (within her musical brand) where she plays with curious pop melodies and friskier beats all with a top notch sheer clean and immersive production quality. So again, take these highlights with a grain of salt and just go grant yourself a listen of the whole album.
The bewitching “Kollage” is another top contender for best songs of the year for me. “Kollage” opens with a drum fill, and the second it drops with a sweep into the signature psychedelic symphony — the main warbly synth riff, velvety smooth bass line flowing like a calm river, gentle drums, and kiss of synth keys and electric guitar licks — my entire body begins to melt away. The chorus is the most tender with the slow arpeggiated piano and acoustic guitar strumming cradling the lyrical confrontation of her self-sabotaging nature. The realization hitting as we get the comforting instrumental drop is incredibly satiating. The emphasis on the washes of synth pads, strings in the second verse, then cascading piano keys and more prominent drums for the sophisticated outro only add to the breathtaking experience. I must also say that while Jepsen is not the most profound lyricist, this song is by far a top contender for the best lyrics in her discography. Paired with the atmospheric production, it’s so picturesque while holding a rawness of an unsightly trait. Not to mention her vocals softly float on top of it all like an airy foam. All elements of the song ebbs and flows together so peacefully.
“After Last Night” and “Put It To Rest” are two opposing tracks that both make use of a shuffled garage beat. On my first listen of “After Last Night”, I practically fell in love at first sight, not unlike the song itself. Lighthearted and bright taps of synth and her tone of voice set the optimistic mood while the quick spitting garage beat signals the pure excitement of falling in love. The sensation of this chorus in particular might be one of my favorite moments of the album; the glinting synth taps, rapid rhythm, ethereal soft background vocals, and unique scooping vocal melody makes me picture a scene of a blissful, lovestruck woman walking an empty street after her date and suddenly climbing up invisible floating stairs heading to the stars. Meanwhile, “Put It To Rest” is a rare heavy and unnerving track from the artist. A song of anxious grief is presented with the fitting combination of a main nervous piano pattern, sinking synth pad and later strings, heart pounding compressed kick, and antsy garage percussion. From beginning to end, it almost makes my stomach churn of queasiness from how well it conveys anxiety.
It’s hard to find a more pure feel good pop anthem than “Psychedelic Switch”. The classic muffled preview of the refrain for an opening itself is a sign very reminiscent of the heydays of 2010s radio pop. The production isn’t overly fanciful, but the classic oscillating synth pad, catchy guitar line, steady pounding drums featuring skimming hi-hats, and ever so delicious funky bass line prominently bumping over almost everything else perfectly compliment the fun infectious vocal melodies and lyrics of a narrator fully enamored by her lover. The bouncy dance party of consistent rhythm doesn’t let up before the flourishes of strings for the final chorus and dissipating refrain for the outro. This track is just injected with the type of smitten happiness where your cheeks start to hurt from smiling so hard.
“Shy Boy” and “So Right” tie into a more cool girl persona of Jepsen’s where she’s a woman with narrow-focused eyes, determined to conquer a man and reach her end goal of pleasure. “Shy Boy” sees a club ready Carly with her confidence turned all the way up, carefully teasing and flirting with a said ‘shy boy’; it paints a clear scene of a nervous lone prey across the club dance floor trying to catch the eyes of the woman who called him out to meet, eventually locking eyes as she’s gathered with her gossiping girlfriends with drinks in hand. She summons the boy to dance with her to the funky synth and guitar lines, shiny synth chords, and enthusiastic beat. The breathy flirtatious chorus is surprisingly a well-matched compliment. The tinny synth key solo before the bridge and fast swirl of strings before the final chorus are such fun transitions that I really adore. The messier story of “So Right” is all about the deep bass line to match the sensual lust manifested from an affair between the narrator and an on/off lover, which they both know is not a smart decision. Despite the clear indicators of an unhealthy romantic dynamic, there’s nothing else like when they hook up — the only time they get it ‘so right’. The rather brisk but light percussion supplements the rhythm from the bass to give the smoothness some kind of ambition. Interjections of a main 80s inspired synth pad and the glorious touch of saxophone steeps while sprinkles of arpeggiated synth decorates for more depth.
Stay tuned for the rest of the list on Musical Mayhem!
