Pink Venom K Pop Star Collaborate to Make Liberating and Defiant New Album

Pink Venom K Pop Star Collaborate to Make Liberating and Defiant New Album: The second album from Blackpink, the current kings of K-pop, has a lot on the line. The female trio could have been excused for playing it safe, but on their new album, “Pink Venom” (out now), they defy expectations by addressing current events, adding the F-word to their lexicon, and sprinkling slow jams.

A diverse group of partners are helping Jisoo, Jennie, Rosé, and Lisa with the pivot and are now revealing more about the creative process. Bekah Boom, real name Rebecca Rose Johnson, has been a member of Blackpink from the group’s inception. Literally. She recalls, “I met them when they were still trainees.” “Our Korean teacher was the same.”

The boom was in Seoul in 2012, chasing her artist deal when she met Blackpink through YG Entertainment. She quickly contributed to the writing of their debut singles “Whistle” and “Boombayah.” Boom’s return for “Pink Venom,” which signifies both a musical and symbolic rebirth, is only right because he was an original collaborator.

The duo amps themselves up over blazing hip-hop/pop production on “Type Girl,” sounding fiercer and more daring than ever. They sing, “I bring money to the table, not your dinner.” “My physique and my money account both got in shape.”

Boom describes the song as being intended to give women more power. “I feel like the shit when I hear it, and I want other women to hear it and feel like the shit too,” she said. She created the group’s original demo at Teddy Park’s Black Label studio last year but had no idea if it would ever be made public.

The Orange County native says, “I assumed Lisa may use it for her next solo single, but I’m delighted that it’s going to be on the album.” Boom acknowledges that she is now a family member, but she does not take that for granted: “It’s a blessing always to get asked back.” She connects with Blackpink on a human level and appreciates how K-pop is made.

In contrast to working in the United States, according to Boom, there is “a lot more respect for the writers and producers to get their chance to shine” in South Korea. “Their name won’t be on there if they didn’t do it,” said the speaker.

Pink Venom K Pop Star Collaborate to Make Liberating and Defiant New Album
Pink Venom K Pop Star Collaborate to Make Liberating and Defiant New Album

Brian Lee, who frequently contributes to the songs of Post Malone in the United States (he played bass at Post’s all-Nirvana, in-home concert during the epidemic), is another Blackpink collaborator. He’s also a regular in their group, and “Tally,” a song he co-wrote for “Pink Venom,” is distinctive from anything else the band has previously put out.

The quartet opens over a hazy guitar arrangement with the line, “I say fuck it when I feel it, ’cause no one’s keeping tally. I do what I want with who I like.” When you’re saying all that trash, I’ll be getting mine. I’m not going to hide it.

It would have been inconceivable for a K-pop act to record a tribute to s*exual liberation until very recently. Given the subject topic, it’s hardly unexpected that two of Lee’s co-authors are female. When Australian musician Nat Dunn performed the demo for him in London, Lee recognized its potential immediately. He recalls saying, “I told them that the music needed to tug at your heartstrings in the pre-chorus. However, it was Nat’s child.

Dunn says, “I was enamored with it. Co-writer Soraya LaPread, who brought up the topic in a session with production team Saltwives, is credited as the song’s inspiration. Dunn continues, “Judgment is something that many women come with. They have such powerful lyrics to deliver.

Artists David Phelan and Alex Orient, creators of Saltwives, concur. Blackpink is the best act we can think of to represent its (defiant) message. The song was not explicitly written with the K-pop stars in mind. Lee claims, “We weren’t aiming for Blackpink.” We were surprised to learn that it is on their album.

Even while other musicians expressed interest, Dunn was confident that Blackpink was the best option. She says, “The song is the star in any environment. “Always consider what is best for the piece before making a decision. Blackpink was the ideal performer for this song in this instance.

The producer hand-selected the band, and Lee eventually played “Tally” for Park, who practically handled everything “Pink Venom.” Lee declares, “He’s the father of K-pop.” Teddy reduced K-pop to simple pop. By making it universal, he

The album’s inclusion of “Hard To Love,” another classic, was also made possible by Park. The disco-tinged hymn, arguably Blackpink’s most open song to date, features the group exposing its weaknesses.

Jisoo, Jennie, Rosé, and Lisa sing “When it feels too nice, I just mess it up” in the chorus. So, don’t fall too deeply since I’m challenging to adore. After considering the aspirational element that permeates K-music pop and aesthetic, this is a lovely sentiment.

Freddy Wexler, a songwriter and businessman created “Hard To Love” while jamming with pals. He astonished himself by hearing back from Park the following day after sending the demo.

Teddy, Lisa, and Rosé called him over FaceTime, Wexler recollects. While K-pop has a structured strategy, he described the making of “Hard To Love” as being primarily organic and quick. Wexler states, “I pitched it in June of this year. He FaceTimed Park and the group throughout the following month, and they offered suggestions. Blackpink would sing it again in the new key if I changed it.

At first, Wexler was intimidated. For K-pop enthusiasts, listening to music is a religious experience, so he claims there is pressure to produce quality work. But “Hard To Love” came out better than he expected. He says, “Usually, it’s never as good as it was in your head, but this was an exception.”

Blackpink has perfected catchy pop choruses and glitzy promotion, but on “Hard To Love,” they go deeper, displaying their fragility and genuine emotion in a way that no other song has ever done.

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