![]() Lana seeks the source of her ill humors and speaks of lost youth, a distant mother, predation, addiction, and desperate, toxic validation. On “A&W,” co-written with Jack Antonoff, she approaches her destination with a seven-minute autofiction epic that breaks like a storm cloud over Did you know that there’s a tunnel under Ocean Blvd. “Ride” was her bid for total freedom and she prefaced it with a monologue about what that meant: broken dreams, the open road, and being the other woman, the one with no attachments. Picture vintage 2012 Lana in the Budweiser T-shirt. “American whore” sounds almost like “American woman,” and I’ll tell you how often people say one to mean the other. From its false start to Rodrigo’s devilish final laugh, “get him back!” is as messy, flawed, and ultimately freeing as a breakup feels. The quiet-loud dynamic culminates in a final whispered bridge, which sends the frenetic peak of the song’s last chorus into orbit. Over a fuzzy three-chord melody, Rodrigo waxes vindictive on the song title’s double meaning, conjuring alternately violent and reconciliatory fantasies that her therapist father (who gets a shout-out!) might attribute to “ anxious attachment.” “get him back!” quite literally sounds like the contrasting highs and lows of Rodrigo’s warring impulses, her voice taking on the quality of a school bully on the song’s rapped verses and a bubbly cheerleader on its exuberant choruses. On the deliriously fun third single from her second album GUTS, she rattles off an ex’s red flags with an amused detachment that channels the Waitresses’ Patty Donahue and Blondie’s Debbie Harry. One way or another, Olivia Rodrigo is gonna get ya. Kelly/I don’t care, I don’t wanna hear his music,” Neph mutters, knowing damn well that most of Ye’s sins would be absolved if he was still making hits. ![]() But it’s also a meditation on an important concern for RXK Nephew, whose utter disregard for social propriety puts his career at risk nearly every time he drops a track: just how much out-of-pocket shit can someone say before they suffer actual consequences? “They doing Kanye like R. Music made bad music,” and most damningly, “you signed Big Sean.” The latest in the Rochester rapper’s ongoing series of appointment-listening diss tracks, “Yeezy Boots” works well enough as a litany of opinions about Kanye’s rapping (mediocre), street credibility (non-existent), haircut (dumbass) and shoes (same). ![]() ![]() In all of the debate over Kanye West’s place in our current cultural climate, no one has gotten to the point as quickly as RXK Nephew: “Jay-Z don’t even like you,” “the whole G.O.O.D. ![]()
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