The song "Painful But Sweet" sounds like something from the early 2000s and also does not flatter Danker's abilities as a performer • Probably young people will not connect, and adults will prefer the real thing
If he had not explored the country in the house performances he had begun to do since the Corona began, we would have taken care for a moment that Ren Danker was swallowed up in a time machine. At least that's the feeling that comes from "Painful but Sweet," the new song he released this week, that every connection between it and 2020 is only calendar.
This is Danker's third single this year, and interestingly each of his new songs as written and produced at a different time. "When I was told no" from last April felt quite contemporary and relevant - both in terms of production and as a protest text (thanks to lines like "every party they close, every festival they scatter, every amplifier they cut off, every idea they reject" etc.).
"Malachit", which was released in June and was written for it by Elia Rossilio, was a classic Israeli ballad, the kind that can fit any radio playlist a decade back or back, and one that emphasizes the beautiful tone of someone who has long been more than just a singer. Then comes an exit like "Painful but Sweet" that so aesthetically does not get along with her sisters in the spring of Danker's work, that it is difficult to understand why she is here at all.
True, stylistic uniformity is something that belongs to the distant days of the album, and we are living in the age of single royalty. Not every song has to correspond with its predecessor and it is legitimate for an artist to want to travel through a variety of musical landscapes while experimenting with a variety of styles. The only condition (in the book of unwritten rules of music) is that the musician and the song compliment each other, and it is not apparent that this is the case here.
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that accompanies "Painful but Sweet", in which Batsheva dancer Nitzan Ressler, a distinctly nineties speaker, participates with images that were You can just as easily accompany a Prodigy song somewhere on the MTV of 1991. The song itself, in terms of lyrics and musical production, actually sounds like early 2000s electronics, even if the bass line is reminiscent of Billy Aylish's "Bad Guy".
Young music lovers will not connect to the sound and the general atmosphere (just to mention that two whole decades have passed since the beginning of the 2000s), the adults will prefer the real thing. The result is a hybrid creature that is unsure of who it will talk to and mostly does no favors with Danker’s powerful qualities.
"Painful but sweet," Ren Danker