I dont wanna grow up song in japanese6/21/2023 It’s been five long years since then-15-year-old Ruel Vincent Van Dijk introduced himself to the world through his debut EP Ready, praised (by us) at the time as “one of the most heartfelt and sincere debut EPs we have ever heard… an overwhelmingly vulnerable surrender to the soul full of love, light, and character.” The years since have seen Ruel quickly rise to prominence, establishing himself as one of Australia’s foremost voices in pop and sharing the best and worst parts of his “turbulent teens” with the whole world through song. There’s nothing permanent, for sure.Australian sensation Ruel goes track-by-track through his cinematic debut album ‘4TH WALL’ in an intimate conversation about film inspirations, musical influences, and his own artistic evolution. “‘An un-aimed arrow never misses’ is what the actor Anakin Skywalker said in an interview,” Joji says evasively of his career journey like virality itself, it’s hard to predict. Joji may not have planned for internet celebrity, but it seems to follow him, even as he morphs character. ( 88rising traced the trend to K-pop group BTS their leader, RM, is also a known Joji fan.) Joji himself wouldn’t go on to acknowledge the song’s use for weeks, at which point the song broke through onto the Billboard Hot 100, a slow-burning success story and a strange echo of his earlier brush with viral fame. A few weeks later, Joji would go viral again - this time when his song “Slow Dancing in the Dark” became the backbone of the “Microwave Challenge” trend, in which people shared videos of themselves rotating in one place, seemingly without propulsion. At the New York show, Joji comes onstage in a puffer coat and no shirt, singing woozily into a mic. “It’s just a whole different marketplace,” he shrugs about his home country, waving at a future attempt to break through there.įor now, he doesn’t need to worry. It’s certainly not the norm for popular music coming out of Japan, where bright, bubbly J-pop dominates, although Joji has supporters across other parts of Asia and has become a favorite for in-the-know U.S. “It’s an ‘everyone’s going through a tough time’ sort of a vibe,'” Joji says of his music. She don’t care if I die.” The delicate chords, underlined by warm, heartbeat percussion, are offset by the nihilism of the lyrics. “I know I’m cryptic, and I’m worthless… I don’t wanna die so young, got so much to do.” Or there’s the elegiac “Yeah Right.” “I’ma f–k up my life,” he sings, ever so sweetly. Then the static and reverb kick in, turning his voice into a resonant undercurrent. On album opener “Attention,” for instance, Joji leans into his lullaby-like tendencies: “When you cry, you waste your time over boys you never liked,” he complains, almost mumbling. With their support in place, Joji set about making - and releasing - the kind of music that he wanted to create: idiosyncratic, complex songs that speak to listeners mired in end-times malaise. He linked up with 88rising, a music collective and record label that supports artists of Asian descent a new documentary tracks how Joji’s label mates like Indonesia-born Rich Brian and China’s Higher Brothers are challenging norms around Asian-originated music, including putting on a dedicated summer music festival.
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