Who knew electro-pop and narrating how your relationship with your toxic ex went hand-in-hand? The thought alone makes the idea sound really great, and it is.
Almost acting like slam poetry combined with catchy synth and a beat, Terrell Andretti’s brainchild “Supernova” seemed like it was written in the club, and was made for it. The sound acted as a side element to guide the main attraction that is the storytelling and the experience, which is evident in every track.
Being a concept album, you could tell the story arc just by listening to the entire thing first to last. The first three tracks have tones of anger and resentment, fourth to sixth track has somewhat of a reminiscent, lovesick feel; though anyone could interpret it differently. For all we know, those select songs were made to be viewed in the perspective of the woman. Anyhow, the rest of the tracks leading up to the last comprises a vibe of acceptance and farewell.
Let’s dive right in. “Hard to K!ll” starts off with a voice recording, something about an attempted killing, which fits the theme of the song greatly. “Superstition” also has the same introduction, though this time it’s a woman, presumably on a phone call. It adds a nice touch to the storytelling, not to mention it’s creative.
“Maniac “the Raging Mad Man”” opens with subtle rock vibes with a riff, as well as an addicting beat. “I’m Michael Jackson, Billie Jean, girl, you don’t stand a chance / And I’m about to make a scene you ain’t seen nothing yet” is quite literally an awesome line, dubbing it a personal favorite.
As previously stated, the following songs “Sixteen”, which feels very reminiscent, perhaps of the times he still loved the woman? “Love Machine”, which features a bit of piano at first, before heading off to a vibe completely made for the dancefloor, and “Save the Last Dance”, which is the main song that made me think of the not-so-impossible possibility that this might be from another’s point of view, due to the line of “‘Cause we’re here for a good time, not for a long time”.
“Dirty Dancing” and “Dirty Dancing 2” are an interesting pair. The first one talks about leaving the girl, similar to the other tracks, but this one includes lyrics like “Took your number out my phone, you won’t hear from me” and “I will be dancing with someone new”, whereas the second song has a different feel to it. It starts where the last one ended, but then it goes to say “Why can’t you just let me go? / ‘Cause even with you, I’m on my own” with a more desperate feeling of breaking free from the relationship. It’s honestly a good concept.
With the following tracks, “Masquerade” featuring lines such as “She said ‘I’m not your enemy’ / and ‘I’m no good to you’ / But I let you in me / and now I can barely move”, referring to a masquerade ball presumingly in a way wherein you don’t really know who you’re dealing or dancing with, “Romeo Must Die” has similar themes, yet a unique concept that even comprises a rap, and “In Case You Panic” which has another line that I consider to be a personal favorite: “Stick to the rivers and the lakes that you used to / Sometimes you get so high you gotta fall”.
Out of the thirteen songs, “Regret Radio” somehow stands out with the vocals having the same vibe and sound as the output of an actual radio. It starts with a fun array of piano and guitar, and a fun line of “No, I don’t miss you / No matter what my sad songs say”. The album ends with “A Long Kiss Goodbye”, which fits perfectly, by the way. A perfect way to end a beautifully driven record, and a perfect way to bid someone farewell.
Overall, sound-wise, it has a sense of stagnancy, but with the entire concept, that thought stays in the back of your mind as you process the savage yet tragic story of a breakup.
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About the Author
Kate Clarice Lee is a psychology major in Ateneo de Naga University with a knack for music and writing. She takes interest in playing guitar, poetry, creative writing, and lyrics that—subjectively—hit close to home. Kate mostly enjoys indie, alternative, pop & punk rock music.
