Swim or Sink
Like this post if you're also fed up with Billie Eilish. Jokes aside, her new album is one of the two most powerful pop records of the year so far. I just got around to her release and yesterday I listened to Dua Lipa's new album, so I'm making up for it twice over: I realized what I like about Billie's album compared to "Radical Optimism."
"HIT ME HARD AND SOFT" is a sophisticated alt-pop album that doesn’t even try to sound like a hit. I like that Billie intentionally didn’t turn her album into an event: near-zero promo without singles made me forget the album was even about to drop. “I don’t like singles. This album is like a family: I don’t want to leave any of the kids alone.” So, I dived into this release with zero expectations—and that’s probably the coolest strategy for promoting such music.
Dua Lipa's promo wasn’t the most outstanding, but it was big enough. But I’m more concerned with one specific part of it: Dua claimed in an interview that she was inspired by “British rave culture, Primal Scream, Massive Attack, Britpop, and Gorillaz.” She even invited Kevin Parker and Danny L Harle to make the sound richer and more interesting. But when the album came out, I had only one question: where is all that? “Radical Optimism” turned out to be a very timid release, where I hear neither Tricky’s nor Damon Albarn’s approach. And Kevin Parker’s name in the credits just makes you snort—it’s one of those cases where even a talented producer couldn’t save music he’s not used to working with.
Billie and Finneas say they were inspired by Tyler, Lana, and Vince Staples' music. But listening to the album, I understand what they really mean—the desire to ignore standards and do something of their own. This approach is closer to me: it sounds more honest and fully unfolds in the music itself. Finneas skillfully mixes pop, folk, and electronics, trying to make not a hit, but just cool music. Listen to the phenomenal transition in “L’amour De Ma Vie”—this is the level of production we’re talking about. Billie overcomes herself and starts singing at full voice, moving away from the image of a “whispering languid girl.” The lyrics tell an honest and sometimes touching story of love and self-discovery. Everything works like clockwork here—it seems like the same calculated pop approach as Dua Lipa's, but with the right passion and enjoyment.
Now let’s look at the situation from the side of numbers, sales, and all that nonsense. Lipa obviously aimed for the charts—but magically didn’t end up in them. Because even the mass listener can feel when the music doesn’t hit. I don’t like referring to the crowd’s opinion, but here I completely agree with them: “Radical Optimism” turned out to be just a dull addition to quite powerful singles. Billie’s album came out without any singles at all.
Will Billie and Finneas’s creation become a hit? Probably not. But it wasn’t meant to be—it’s more about talented music that deserves praise. An album not for the masses, but for critics, if you like.
Now fans are actively spreading the theory that Billie’s album is actually a double one: firstly, the leaked merch hints at this, and secondly—the final line “But when can I hear the next one?” makes you want to believe it—because I’d be happy to get another portion of Finneas's refined production.
Dua is calmly splashing in the water under the sun, while Billie Eilish is sinking, trying to overcome her main childhood fear (yes, the cover was shot live). I’m not a hater of Lipa, rather the opposite—but I think stories like this should teach something. You can’t update your sound just by inviting Tame Impala, just as you can’t sell an album to the masses if there’s nothing to listen to besides the singles. If you’re inspired by Primal Scream, you’ll have to play by different rules. Because while Dua is resting, Billie and Finneas are setting their own rules for the entire industry. And maybe not immediately, but everyone will appreciate it.