27/02/2026

FRIDAY | FEB 27, 2026

25

LYFE

ALBUM REVIEW

Joji hits reset A FTER three years away from releasing new music and a clean break from his former label, Joji returns with Piss in o Piss in the Wind finds artiste looking inward Ű BY AMEEN HAZIZI his first release under Palace Creek, following his departure from 88rising. There is a noticeable change in tone and presence here, with Joji sounding more involved in every part of the record. His vocals are stronger and more assured – and the emotional throughline feels clearer than it did on Smithereens , which often came across as fragmented and oddly detached. the Wind , an album that finally feels grounded in his own identity again. For longtime fans, that sense of familiarity will be welcomed, especially after a period where his music felt increasingly distant from the artiste many first connected with. This is his fourth studio album and Return to familiar territory There is an immediate comfort to the

Piss in the Wind runs just under 47 minutes, making it Joji’s longest studio

album to date. – PIC FROM INSTAGRAM @SUSHITRASH

Throughout the album rollout, Joji repeatedly appears through a look-alike rather than himself, using a doppelganger across teasers, interviews and promotional content.

album’s sound. The minimal, saturated lo-fi aesthetic echoes Ballads 1 , built on soft piano lines, hazy beats and vocals that sit close in the mix. It does not aim to reinvent Joji’s style, but instead leans into the elements that defined his earlier work. This approach gives the album a cohesive mood, even when individual tracks are brief. Themes of emotional fatigue, longing and quiet resignation run throughout the tracklist, reinforcing the feeling of an artiste circling familiar thoughts rather than chasing new concepts. Standout moments At its strongest, Piss in the Wind delivers moments that rank among Joji’s better work. Past Won’t Leave My Bed stands out immediately. Anchored by a heavy, somber piano progression, the track captures emotional exhaustion without overstating it. Joji’s restrained vocal delivery allows the weight of the lyrics to settle naturally. The song’s found-footage style music video adds another dimension, pairing risky and chaotic imagery with such a gentle track. That contrast lingers long after the song ends and highlights Joji’s continued interest in visual storytelling. Hotel California is another highlight, partly because of its misdirection. Despite the familiar

Singles versus deep cuts The pre-release singles arguably set expectations the album does not fully sustain. Pixelated Kisses, Love You Less , Past Won’t Leave My Bed and If It Only Gets Better remain among the strongest moments here. In comparison, several deeper cuts feel lighter and less memorable, which may leave some listeners wishing the quality was more consistent across the tracklist. Guest appearances from Giveon, 4Batz, Yeat and Don Toliver add variety without overpowering the album. The focus stays on Joji throughout, which suits the introspective nature of the project and reinforces the feeling of a very personal release. Final verdict Ultimately, Piss in the Wind is a solid if uneven return. It does not break new ground, but it shows Joji sounding more comfortable and confident than he has in recent years. It feels like an artiste reconnecting with his strengths while still testing ideas around the edges. For fans who missed the emotional pull of Ballads 1 , this album will feel reassuring. For others, its softness and lack of urgency may make it easy to overlook.

title, it is not a cover of the Eagles but an atmospheric original that slowly pulls the listener in. Love You Less also leaves a strong impression, driven by swirling guitars and a textured instrumental that nods to shoegaze and dream pop while staying firmly within Joji’s emotional wheelhouse. Strong production, uneven pacing Production across the album is consistently high quality. There is a strong focus on mood and texture, creating an immersive listening experience. At times, however, that same focus becomes limiting. Several tracks feel intentionally hazy and subdued, but many are also very short. More than a few songs feel incomplete, as if ideas are introduced but never fully explored before the track fades out. While this contributes to the album’s relaxed flow, it also reinforces a sense of missed potential. That unevenness is familiar territory for Joji. As with his previous albums, some genuinely strong songs are surrounded by tracks that blur together. The album is easy to listen to, but it can also drift into the background, especially when played front to back without breaks.

Despite his low public profile, Joji remains one of the most streamed Asian artistes globally.

Blackpink’s YouTube channel hits historic 100 million subscribers K-POP girl group Blackpink has hit 100 million subscribers on YouTube, making it the first official artiste channel to hit the milestone, Yonhap News Agency reported. According to the global and Justin Bieber, to claim the number one spot worldwide in September 2021, a position it continues to hold.

Blackpink has placed nine videos, including Ddu-du Ddu-du and Kill This Love , in YouTube’s “Billion Views Club”. It also claims three of the 10 most-viewed music videos within 24 hours of release. According to YG, Blackpink has 50 videos with more than 100 million views, while total channel views have surpassed 41.1 billion. The group is recognised by Guinness World Records as the most-viewed band on YouTube. The channel drew more than 3.3 billion views over the past year, driven by rising interest ahead of the release of its third EP Deadline , out today. Since uploading a video announcing the new release on Jan 15, the channel has gained roughly 10,000 new subscribers per day. “On a platform that shapes global music trends, subscriber numbers are an indicator of a loyal fandom,” YG said in a statement, adding that Blackpink’s fan base continues to expand despite already being among the world’s biggest acts. – Bernama-Yonhap

video-sharing platform and YG Entertainment, the group’s label, Blackpink reached the milestone roughly nine years and eight months after launching its channel in June 2016. The channel currently hosts 648 videos. To celebrate such an achievement, YouTube said it presented Blackpink with a custom Red Diamond Creator Award. “The dynamic female powerhouse that is Blackpink has earned international acclaim on YouTube with their mega hit songs and fierce performances. “The group has continuously raised the bar on YouTube, pioneering new ways to connect with their fans,” YouTube said on its official blog. In July 2020, the K-pop quartet became the first non-English language artiste to enter the top five for YouTube subscribers. It subsequently overtook global pop stars, including Ariana Grande, Eminem, Ed Sheeran, Marshmello

Blackpink’s members, (from left) Lalisa Manoban, Roseanne Park, Jisoo Kim and Jennie Kim, have made themselves into powerhouses in the music and fashion world.