![]() These mostly romantic musings play out over wispy beats provided by longtime collaborator and Atlanta fixture Matty P. Over the glistening theme and stuttering drums of “Pulling Up,” she asks a potential paramour if she should drop by “when nobody’s home,” later confiding, “She just want me all on her body/Promise me that you won’t tell nobody.” She flips the woman-on-my-arm conceit that anchors “Party” by flatly stating, “Let’s run some errands.” (“Queer as fuck, by the way, and happy about it,” she defined her sexuality in a Red Bull documentary.) They are the object of Shane’s affection to the point that, when she starts discussing the size of watch faces during “High Speeds,” she cuts herself off, declaring “Fuck it.” By embracing her own perspective, Shane sidesteps the miserabilia that’s accompanied so much lovelorn hip-hop and R&B over the past few years. Much of Young HeartThrob focuses on lost love and unrequited pining women are lusted after, visited in secret. On “Hiatus,” she ruminates on dreams of Vegas weddings and a relationship put on pause, breaking into a pleasing “Ooh, ooh” over squishy bass and warped chimes. “High Speeds” frames her voice with barely there echo, its chorus hovering over wavy synths and a knocking hi-hat/kick-drum combo that seems to create three dimensions. Otherwise, Young HeartThrob showcases her unabashed romanticism and elastic approach to melody. Despite her affiliation with the Sailing Team of mush-mouthed cavity-rap impresario Lil Yachty, her album is refreshingly devoid of features aside from fellow genre-blenders Trippie Redd and TK Kravitz. Young HeartThrob is the purest and most effective distillation yet of Shane’s hybrid aesthetic. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |