![]() 'The way Lemmy's lyrics improved,' says Eddie now, shaking his head. Awareness is the first step to a better life. The rest of the tracks were nearly as good, Lemmy now beginning to aim his barbs. Somehow, each side matches the other’s needs, and there isn’t much you can do. ![]() That’s the real meaning behind the lyrics of What It Is: it’s a fact, girls love bad boys, and bad boys need love too. And yeah, a gangster needs love too.īehind every gangster, a shawty solid that got his backīein’ Black in America, is the hardest thing to be (Baby, tell me, yeah)Įvery thug need a lil’ love too, baby, how ‘bout me? However, the original song features the rapper Kodak Black, who impersonates the typical bad boy: he’s the gangster, but he knows he needs a girl supporting him. Never switchin’ sides, only switchin’ anglesĪ solo version is popular on TikTok, where Doechii is the only one singing. He gon’ make it flip, do it with no handles She mentions his attitude, physical strength, and the different kind of sex they are going to have with them. From this point of view, Doechii is not paying too much attention to the possible consequences of dating a bad guy: she feels someone has to save them after all, so if some other girl refuses them, she may be the one who can comfort them.ĭoechii doesn’t need to point out how a thug fascinates a girl. If you put it down, I’ma pick it up, up, upĮven a bad boy needs love. The background is that many normal girls end up with bad boys, and that’s just a fact. The main line, “what it is, hoe?” is addressed to all girls from the block who have “a little thug” next to them: in urban slang, a “hoe” is a girl who enjoys life and sex without problems, and a “thug” is a criminal. In What It Is, Doechii reflects on how girls are often attracted to bad boys. Verse 3: Kid Ink Cause I know you got that good good, but you know you're such a bad bitch I can't help myself but look when, you make that ass backflip I smack that, on some next shit, got a. What it is hoe? The song lyrics and meaning Equal parts pulsing bass lines, bizarre lyrical experiments, and wild contrasts, Good Fuck is a challenging record at times, but deep listening reveals Pulse and Kinsella handling every move with a sharp control, guiding the thresholds of chaos to their exact specifications on every track.Watch this video on YouTube. Kinsella turns away from his standard yelped vocals, favoring a more subdued approach, even opting for spoken tones on scrambled tracks like "Secret Meetings." The weird but sensuous world Good Fuck drafts on these songs envisions a more internal reading of early Xiu Xiu, where Jamie Stewart's theatrical singing and pummeling musical catharsis are subtracted, leaving only the weird, almost sexy dark ambience. Pulse's vocals are in full focus on "Spring Song," and they build into a harmony that meshes with a string arrangement for one of the more beautiful moments of the album. The tabla samples and sparkling synth melodies of "Spring Song" are similar, with a nervous energy that could easily build into something menacing, but never does. The stuttering beat and Pulse's delay-coated vocals on "Saint Francis" create an uneasy, but somehow pleasantly demented groove. ![]() Undercurrents of dread, sex, and derangement run through all the songs, sometimes all happening at once. The energy of the song, and much of the album, is heavy without being aggressive, leaning more into an omnipresent eeriness and sense of anxiety that simmers but never blows up. ![]() The tone is set on album opener "We Keep It Light," where looming, distorted kick drums, noisy synth buzzes, and slithering electronics twist around chopped-up fragments of unison spoken word and other vocalizations. Good Fuck sounds very much like the product of a highly focused mission, with songs and sounds blending into each other. The pair retreated from their home in Chicago to an artists' colony in upstate New York to begin from square one on the music that ultimately became this eponymous debut. Pulse was already well familiar with programming minimal electronic tracks, while Kinsella has become a decorated art rock veteran and core songwriter for fringe bands like Joan of Arc, Owls, Make Believe, and others. Armed with music-creation software and high-concept inspiration from a selection of books, the duo of Jenny Pulse and Tim Kinsella dove headfirst into the creation of a twisted, meditative, and unexpectedly slinky debut album for their project Good Fuck. ![]()
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