i know nobody asked but here's my full review of BLUE LIPS ladies xoxo
LIGHT BEAMS is an excellent introduction to the album. Functionally, I'm aware it's serving as the marker of the third chapter of (Lady Wood),
however it is also a great way to reintroduce her audience to "Disco Tits," which we all know was the lead single off the album. The new, glitzy
chaos surrounding that chatter ("Motherfucking queen of the discotheque") is not only setting the tone for this project, but giving us a new
perspective into "Disco Tits," which we've already played and replayed a million times. The final line, "I am high as fuck," lets us know what
the rest of this story entails. (9/10)
I still think disco tits is an odd choice of lead single. I think that it was an attempt to revive that sexy shock culture Tove Lo is so good at. But,
I think at this point, the majority of the people listening to her music are already convinced that she is one of the best at portraying unconventional
standards for female sexuality. And the general public is kinda desensitized to this kinda stuff. I just think that this single was still trying to prove
something, but it's a great track, nonetheless. And the bridge gives us the greatest introspection into Tove Lo's character: "You think I'm drunk now,
but I am not." It seems so simple, but it shows that no matter how convincing this White Girl Wasted™ character she portrays is, she's always in control. (6.5/10)
shedontknowbutsheknows is easily one of the funnest tracks that tove lo has made to date, and despite being extremely catchy, it holds onto
those darker themes the album boasts. I've never doubted her ability to write a bop, but this is just a great song. You can almost hear that bouncier
cool girl (Tove Lo, in this case) sneaking into the man's home for their affair in the chorus. It's just really well done. (8.5/10)
Upon first listen, I wasn't super impressed by shivering gold; but, I believe it was because I was still coming down from the previous track. When I
listen to it on its own, it's actually a pretty cute track. The way this track is written, I feel like I'm glancing through a hole in the wall, watching Tove Lo
self-destruct and cry and fuck men who clearly aren't satisfying her and somehow wanting in on the action, even though we all know it's dangerous.
It's still not personally one of my favorite tracks. I don't think that it could be as strongly distinguished from other Tove Lo projects as the rest of the
songs in this part of the album can be. (5/10)
don't ask, don't tell is definitely a necessary transition from the upbeat tracks that come before stranger, so for sake of flow and clarity, I can
appreciate that Tove Lo had the musical sense to place this track before that ballad. I enjoy the melody (production wise) during the choruses, but
otherwise this track is a little boring for me. I can literally feel it functioning as an exhale from all the partying and sex and violence of the disco lifestyle
that came before it, but it doesn't quite hit the mark with capturing that emotion for me. It has potential to be much better, but it was a smart placement.
It's like we (the audience) are all the goofy men and women she kicks out of her motel room, giving them an eye that tells us that night is between us. (5/10)
I will fight anyone who disagrees. stranger is easily one of Lo's most emotionally tracks to date. Her performance is the heaviest that I've heard from her
in a while. I think she gets caught up in her nasally tone sometimes, and this track defeats a lot of the vocal performances on this album. It's a great power
ballad that she pulled off within the sound of the album (that being, very 70s/80s inspired disco music). Unfortunately, it kinda defeats the functionality of
some of the ballads slower songs on the second half of this album, but we'll get into that later. (9/10)
HERE IT IS, Y'ALL! So happy she decided to incorporate bitches into the final cut of this album. This song is trademark sexy Tove Lo, however, there is
a new, angrier edge to it. Up until this point on Blue Lips, she has told her story excellently. disco tits introduces us to the party lifestyle, sheknows... gives
us insight into the turmoil Tove Lo creates and doesn't give a fuck about, shivering gold showcases some of the regrets she's beginning to have, don't ask,
don't tell lets us see the end of the night; as in, the end of the party, and stranger is tove lo crying out for some stability. when everything is said and done,
when the party is over and nobody is around, she actually admits to herself that she wants someone to love. bitches, then, is a bitter conclusion to this third
chapter. Lo reverts back to her usual ways, fucking bitches, getting money, and not giving a fuck, almost to a destructive point. She boasts confidently on
this track, but knowing the story before it, and hearing those angry bass synths tear through the background, we can see that not all is as sexy as it seems.
The hook says it all: "Bitches, I don't trust 'em / But they give me what I want for the night." It sums up everything until this point. It's just cool to see a track
made so far in advance function so usefully in the context of this project. I was actually really impressed when I got to this point on the album. (9/10)
Unfortunately, this is where this album starts to fall apart for me...
PITCH BLACK was not as exciting an interlude to me. I can hear the longing in those filtered whale-like sounds, though, and it's a much subtler sound in
contrast to LIGHT BEAMS (and more boring tbh). So, in a way, it does properly foreshadow what we're about to get for the rest of the album. (6?/10)
romantics is such a frustratingly low caliber track for Tove Lo. I thought that Tove Lo only used features when it was necessary, but the feature is entirely
unnecessary and irritating to listen to. Daye Jack gives us a basic ass performance at best, that could be substituted on any moody pop track. shame on
whoever tf cleared this track to be on the album lmao. Thematically, it's also boring. And the random mention of drugs in the chorus seems like it's just there
to remind us that Tove is still that girl [you know, the Habits (Stay High) girl]. The lyrics are forgettable/basic. I hate to sound like such a hater but ugh. (3/10)
I can genuinely say that cycles was the only track that I thoroughly enjoyed on this second part of the album. Apparently it's supposed to be the next single(?),
which I can definitely see. It's much more conventional in its approach to pop music, but it's entertaining and catchy and actually echoes the themes of the
chapter before it, unlike the abomination before it (lmao y'all I'm so bitter). cycles actually cares to show that Tove Lo has some self-awareness. She knows
she's going around in circles with the way she acts (partying, doing drugs, being alone, getting sad, getting over it, and partying again), and she's unsure of
whether or not she really wants a lover to come around and save her because like she explains, it's not like she's not enjoying it. (7/10)
Ok, so I can see what Pitchfork had said about her in struggle. They had said something along the lines of: Tove Lo's (or her company's) tendency to forcefully
incorporate popular phrases/lingo of today's social age into her music kinda cheapens it. I didn't see it as much before, but I really hear it on this track. Her odd
use of "the struggle is real" and "fuck some sense into me" seem a little forced. Also, someone told me it sounds like a reject "Weeknd" track and I can really
hear those influences here, so I kinda agree. It's not a horrible song by any means, but it's just not very impressive at all, imo. (4/10) *Like I said, I think the story
kinda falls apart in this half of the album, but I think I'm hearing that there's a guy/girl now and their relationship isn't working bc they're both closed off.
9th of october is attempting to explain that there is a tender spot somewhere in her tattered soul- i get it- but I'm just not convinced. I'm not super impressed by
this song, either, and I think it could have taken an extra step to sonically convey the hurt in waiting for a love that is not gonna ever come to fruition. The lyrics
are a little played out/corny, too (i.e. "Can't think of it sober / Cause all of it fuckin hurts"). Also, at this point, I would have loved to have some clarity as to if this
person is someone Tove fell in love with after all the cycles, or if this is something she is remembering to give us an idea of why the cycles/not trusting bitches started. (3/10)
bad days.... I know y'all will probably crucify me for saying this but the verses of this song are very reminiscent of TS' 1989.... but the choruses actually redeem
this song for me. The choruses are really pretty (especially that second chorus when all those glittery synths some in!!). I think bad days is trying to wink wink nudge
nudge us into understanding that this relationship she's talking about came before the wild party circuit cycles tove lo. But... that's all it is... a wink and a nudge.
And I think that when we're rapidly nearing on the conclusion of the Lady Wood storyline, this should be made more clear. I want to say, though, that the line "I still
remember all the good times / If not, I'll recreate 'em all" is a very clever one if it is suggesting that this relationship truly did come before the partying Tove Lo in
Phase I and in chapter 3 of this phase. She's doing all this crazy partying, throwing herself into dangerous situations, and running around with shady people to recreate
that rush you feel when you're truly in love with someone. She also says "But I never really understood / How people move on from a heart to love another," and when
people are not taught or do not learn how to handle a breakup, they can begin to cope in unhealthy ways (aka: partying, drug abuse, becoming a sexoholic). (5.5/10)
hey you got drugs? is.... sigh idk. It's not a bad song, and sonically it's a triumphant ending to the Lady Wood era. I'm not gonna lie, I was not a big fan of this song
when I first listened to it. But the more I listen, and now that I've looked up some of the lyrics I missed, I'm digging it a little more. This song is actually really sad, and
apparently Tove Lo had disclosed in an interview that she had balled her eyes out in the studio before recording this song. Makes sense. There are a few notable
lines in this track, but the one that sticks out the most to me is the literal "Hey you got drugs?" bridge/outro. It's a really terrifying, direct look into what happened. Lo's
relationship ended, and she fell into the cycles of substance abuse. She's not talking to a past lover during this part, but rather a stranger who she is beckoning to
trip with her, even though she's well aware now that it's not going to make her feel better in the long run. She ironically states "Yea it's good stuff / But I'm resisting now,"
taking a direct jab at herself (and possibly some of her critics) in reference to how she had claimed to be sober for the past couple years, and that her music was a
reflection of her dark past. This track lets us know that all of these problems are resurfacing and are still a major problem in her life. She's "fallen out of [her] feelings."
She doesn't want to go home, she says, but I think she just doesn't know where that is. I just think the most heartbreaking line is that she admits to the stranger,
"You won't save the night for me." It's so sad lmao. She is so hyperaware of her pain after experiencing love again (perhaps?) and can't even put in the effort to coat
her sexually-charged statements in her usual level of sarcasm. Interesting to see how the storytelling shifts as well at this point. As a conclusion to Lady Wood, I think
it's a great, tragic insight into her life. But as a stand alone track, I still don't think it's one of her best. (6/10)
Overall, this was a wild album. And I think that the storytelling in the first part of BLUE LIPS is a lot more cohesive than anything she has done before. The way Tove Lo
has modernized disco music is also very ambitious, and historically it fits into the concepts of this album (grimy, sexy, dangerous but fun clubs with even grimier, sexier,
and more dangerous people). I think that this album could have flopped HARD if she had just continued the sound from Phase I, but she was smart enough to take a
different approach without completely departing from her usual sound. Again, it could have been way stronger for me sonically in the second half, but the concepts stuck
decently. Her lyricism has not diminished from the last project, but it certainly hasn't improved, either, in my opinion. I am curious as to what Tove Lo will do going forward,
and I hope we can get the "LIGHT BEAMS" and "PITCH BLACK" films to give us a clearer concept of the Lady Wood story line.
My final rating on this album, as a whole, is a strong 7/10 !!
