Nathaniel Clark – A&E Editor

nuc5002@psu.edu

If you found 2017 me and asked him who his favorite singer was, I would have said Joji. In 2017, Joji, real name George Miller, had just released his first commercial project. The EP, known as “In Tongues,” was 17 minutes of some of the most promising music I had ever heard at the time. Dark and morose with key influences from the early Weeknd mixtapes and the quickly-growing Soundcloud/trap music scene, it felt as if Joji had found a musical lane that he could blossom and develop. The sound and lyrics were a complete 180 from the rest of pop on the market, making it feel singular in my less musically-inclined mindset. Having no idea who Billie Eilish was, I thought that Joji was going to be the musician who changed the tides of popular music. Oh, how naive I was. 

Five years, two albums, and one high school diploma later, I am in a different place with Joji’s music. While I occasionally return to his discography to listen to some of my favorite songs, his output feels like a missed opportunity. “BALLADS 1” feels like a minor advancement of what Joji explored on his first EP while “Nectar” is bloated with a collection of great tracks sprinkled throughout the rest of mediocre melodic pop. In essence, it felt like Joji was not the chariot that I expected he would be. Rather, he was just another one of the various faces of the melodic, somber pop scene. Joji needed to switch up his musical act and bring something to the table. Luckily, the musician did just that. 

On June 10, Joji released “Glimpse of Us,” the lead single and opening track to his new album. Beginning with a piano line, the track quickly introduces Joji’s upfront vocals. As he sings with remorse about a lost relationship, the song barely develops past its introductory elements. The only addition is mild vocal augmentation on the chorus and closer. Rather than moving past its beginning elements, it felt as if Joji, like the song’s protagonist, was stuck in the same emotional plane. In essence, “Glimpse of Us” was Joji playing with underproduction, a theme that would surprisingly go into his upcoming record. 

After another single, Joji’s third studio album “SMITHEREENS ” hit store shelves and streaming services on November 4. Coming in at less than 25 minutes long, this is Joji’s shortest project since his 2017 “In Tongues” EP. Boasting only nine tracks, the project was still split into two discs, making the choice more purposeful rather than logistical reasons. Song-wise, none pass the four-minute mark. 

Moving past “Glimpse of Us,” the album begins to follow a more traditional lane with “Feeling Like The End.” With a grooving lead synth line, the song has Joji’s vocals intertwining with the production, having both elements carry the listener to the end. “Die For You,” has a similar underproduced feel as “Glimpse” with a slower-paced drumming taking the reins as Joji details the love he still has for his lost partner, seeming to follow the same protagonist as “Before The Day Is Over.” As this person asks to be let in and taught about their partner’s mental state, they still attempt to keep their distance to avoid hurting both parties. Closing out the first disc is “Dissolve.” The acoustic-led song has Joji watching his relationship dissipate in front of him as he reflects on how both parties have changed during its duration. 

The second disc immediately starts on an interesting path with “NIGHT RIDER,” signaled by the all-caps song titles. This title change continues throughout the rest of the album. With off-kilter production crafted only by Joji, the song feels like it is taking you somewhere. This emotion works perfectly as Joji voices a person who desires adventure while his partner desires comfort.

To be blunt, “BLAHBLAHBLAH DEMO” sounds exactly as its name suggests: a demo. While there is an interesting beat switch, I have no qualms with calling this the weakest track on the album. Luckily, “SMITHEREENS” bounces back with “YUKON.” A direct sequel to “NIGHT RIDER,” the song seems to show the protagonist driving aimlessly, passing the time until their partner is willing to join them. 

Closing off the record is “1AM FREESTYLE.” Joji’s lyrics take a cynical edge as he remembers the good times with his significant other but notes that they cannot survive without him. A somber and inconclusive end for this project. 

So far, it seems like Joji and music fans alike are split on “SMITHEREENS.” While some, like myself, enjoy its more lo-fi and underproduced style, others believe it gives the album a more rushed and less polished feel. That said, I have no issues saying this is probably my favorite Joji album. Dark, mysterious, and inconclusive: it feels as if Joji is beginning on this new road. While I do not think Joji has fully recaptured my interest, I still look forward to seeing what he does next.