"Woman" is a song from American rapper and singer Doja Cat's third studio album Planet Her (2021). It has been described as an amalgamation of Afrobeat, pop, R&B and lyrical themes of divine femininity.
Having become popular in Europe and reaching the top ten in countries such as Greece, France, Denmark, Switzerland, Lithuania and Portugal, the song will be released on Italian radio on October 1, 2021 as her fourth single from the album. It was broadcast. American Her Rhythmic Contemporary aired on Her Radio on January 11, 2022. On the May 7, 2022 chart, the song reached #7 on the Billboard Hot 100, almost a year after its initial debut.
A music journalist called the song "an encouraging, unabashed ode to femininity and female diversity", and "also examines the thoughts, feelings and struggles of being a woman". the lyrics Doja Her Cat also describes how patriarchy often tries to create competition by pitting women against each other, referring to Regina Her George in Mean Her Girls (2004). . Critics compared her vocal performance on the track to that of Rihanna (the name she dropped on the song)[11] and her rap performance to that of Kendrick Lamar.There's an irony to the female moniker (rock's most ungoogled name since music) that transcends the fact that the band is actually four guys.
Lo-fi her psych her rock and industrial post, like many of her peers and ancestors in the punk world, women make club music for boys, treehouse her rock. Their debut deftly uses the band's hissing sounds as stylistic twists and building blocks, leading to squat melody bursts. But while pianists like Deerhunter have fallen into amorphous masses of song and the Times New Viking threatens to collapse at any moment, Women carries the cool, hard weight of something made under duress. I'm here. They recall how This Heat recorded the song at the Meat Factory. The female cover features chilling, synchronized Tai Chi exercises that are reminiscent of Reagan-era punk sleeves.
Women was recorded in a basement, at least partially on a boombox, by sub-pop artist Chad Vangaren. The jingling of the opener "Cameras" seems to be a direct product of this freewheeling setting.
A quivering voice is maintained by picks scraping the strings like a precise synthesizer flourish - the first of several compositional left turns - to betray harsh environments. "Cameras" lasts just 60 seconds and flows seamlessly into the steel-wool industrial his tone of "Lawncare," from which "Women" is deceptively light and strangely energizing. "Black Rice"'s distinctive guitars approach swiftly, like falling off a small cliff.
"Upstairs" sounds like a mathematical construction of the airy half of Chairs Missing. The instrumental "Sag Harbor Bridge" is almost John Fahey-esque, with its warped, writhing fretboard run that evokes its name. On another instrumental, "Woodbine," a long drone sits impatiently, its edges clustered with electronics.
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