• Animated and catchy beat-work
• Heavily edited vocal performance
• A revamp worth a discussion and listen
Second chances are a rarity these days. Especially in the music scene, if the audience deems an artist as utterly “worthless” or “uninspired”, nine out of ten times the vox populi will negatively influence the overall perception of the musician throughout their career. Re-branding from that stage is harder than an uphill task, but hey, everyone has their fair share of opportunities to prove otherwise about demeaning critics. One such was shown very recently, and this was way too significant to sideline: American singer Rebecca Black stormed the limelight yet again with a remix of “Friday”, a record of exemplar notoriety from the past decade on its tenth anniversary this month. Does this retake serves as any sort of retribution or fall flat in the process? Let’s see.
Perhaps I wouldn’t be mistaken to say that “Friday” and Rebecca Black are two synonymous name in internet mockery; released on an uneventful day in February (a Thursday, hah!), the début single quickly became an unforgettable “so bad its good” icon in pop culture, rendering the then fourteen year old an instant viral sensation throughout the length and breadth of cyberspace. Rather than wooing teenagers with peachy bubblegum attributes (which was all the hype in that era), it surfaced a teeny and nasally performance from the Californian denizen; further nailed by the awkwardly hilarious of a music video. It quickly garnered over an imposing amount of criticism (as of now, it is the top 20th most disliked upload on YouTube). What provided a terribly wobbly start, the bespoke act released more tracks later, however being over-shadowed by this preceding disaster. Three thousand days later, the songstress has revisited this catastrophe in a zealous and audacious manner worth discussing.
Obviously between the span of the original travesty that happened and this specific modification, EDM happened. Or its explosion in the pop scene, more precisely. Taking this nuance, the sole producer behind this project, Dylan Brady (1/2 of 100 Gecs, who have released in Mad Decent) cleverly employed his Hyperpop signature in the production. If you are unfamiliar with this genre, consider it like this: a dash of chaotic, upbeat and nightcore-esque of a sub-genre made popular by renowned icons like Charli XCX. It is being dubbed as the future for being such a wild interpretation of Electronic-pop, hence an adept marketing decision to go with such a brash structure.