Doja Cat is a weirdo, however that is the reason and how we went gaga for her. Her first huge taste of viral distinction was, all things considered, a tune about cows. In the years since “Mooo!” the world can’t exactly shake one of pop’s transcendent web savages (just Lil Nas X can contend). She’s endured the sorts of contentions that would drive a more blunt star to diminish totally: hostile tweets, “showing feet in racial talk rooms,” awful Covid takes. However, on the off chance that the last year of Doja Cat’s web, radio, grant show and graph predominance have shown us anything, it’s that our Edgelord-in-Chief will be keeping close by for quite a while, regardless.
On Planet Her, Doja Cat welcomes us into the wonderfully bizarre and stupendously camp world she’s been prodding and playing with over her last couple of deliveries. There’s a touch of saucy, science fiction B film references in the show yet the actual substance is unblemished pop fun. Successive partner Yeti Beats alongside rising star Y2K keep the show moving, coordinating with the rapper-vocalist’s turbulent energy with a blend of trap, funk and bubblegum.
The strongest songs are specifically with Y2K, who not only pushes Doja further but makes collaborators like Young Thug and Ariana Grande meet them in their own pop universe. “Payday” and “I Don’t Do Drugs,” featuring Thugger and Grande respectively, are centerpieces of the LP: smooth, freaky, unforgettable ear worms.
Unlike on her last two albums, Dr. Luke — whose continued legal battle with Kesha over allegations of assault has made him persona non grata in the pop world he once ruled — has a much smaller footprint on Planet Her, contributing only to the album’s three singles. He signed Doja Cat when she was 17, years before the allegations were made public and even longer before she would start to make a name on her own. His renewed status as a hitmaker, largely due to Doja’s star power independent of him, has left some listeners and artists with lingering queasiness, which Doja’s career inherited at the onset. Planet Her proves, undoubtedly, that her creativity doesn’t hinge on his contributions.
Of course, Doja shines so brightly because of her voice. Her flow and singing are elastic, swift and often purposefully silly. She straddles multiple worlds at once, performing at the intersection of Grande, Gaga, Grimes and Nicki, specifically if the latter’s alter ego Roman had just become a living, breathing human. Fittingly, Minaj gets a wonderfully sweet shoutout at the end of “Get Into It (Yuh)” [“Thank you Nicki, I love you/Got that big rocket launcher”]. Like the four artists above, Doja Cat is equally chameleonic: she opens the album with the Jidenna-assisted Afrobeat track “Woman,” something she slips in with ease and verve. Later, she’s just as comfortable doing a bit of Travis Scott drag on “Imagine.” She charts the eclectic sea of sounds in stride; her personality is simply too big to let her drown.
Even though this is her third album, Planet Her, in some respects, feels like a debut. If her first two LPs presented Doja as a pop outsider, blissfully living in her own world, this one makes her the coolest girl in school. Let’s hope she wields her powers to continue making the pop world as strange and exciting as possible.
SOURCE : rollingstone
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