I have been really busy, and I’ve yearned for the days where I had no real responsibilities (winter break), when nothing could induce any unpleasant feelings within me, beyond the mild annoyance of my siblings. It was bliss, yet it was regrettably short lived; six weeks in I had to return to school. All the mindless hedonistic indulgences in whatever food was in the pantry was all for nought as I forced myself back to Richardson, back to Schoolwork, and back to my standard routine. Having fun during the break felt like spitting into the wind.
George Kusunoki Miller’s fourth album under the stage name Joji encapsulates resignation over his failed relationships. As someone who hasn’t listened to his work in a hot minute this album is more bold and expressive in its overarching narrative and “vibe” than his usual work. But the 1st half, leans too heavily on atmosphere and struggles to tie into the latter half, which is more immersed in the end stage of a relationship. That doesn’t mean that it’s poorly made, but rather that the album could’ve been made more cohesive through songwriting that provided thematic continuity through the album. Regardless, there are plenty of hidden gems sprinkled in the 21 tracks that comprise Piss In The Wind.
Everyone wants to make a good impression, and “Pixalated” shows Joji’s capacity to make a bombastic one with his first track. The drums are powerful, but not overwhelming, and the hazeiness in the lyrics are weighty, establishing an atmosphere of disorientation. Although we then make a more downbeat transition with “Cigarette,” the track isn’t sedate with its TR 808s. Compliments to Joji for the use of the violin in the background.
“Last of a Dying Breed” is more uplifting, through its lo-fi drums and bass and the crooning vocals, as Joji sings praise for his significant other, making the heartbreak that is soon to come all the more tragic.
Into the fourth track, the guitars in “Love You Less” are nothing to write home about, but any complaints over instrumentation are immediately set aside thanks to depictions of the first cracks forming in a relationship—as put so eloquently: If I love you less, will you love me more? / I go back, you come forward. “Love You Less” is evocative songwriting at its best. Yet, “If It Only Gets Better” shows that good songwriting can’t overcome instrumentation that is distracting instead of lackluster, as the instrumental’s electronic aspects overwhelm the guitar, with lyricism chronicling the short, bitter resignation felt over a failing relationship’s downward trajectory.
“Love Me Less” demonstrates the opposite. Short and sweet with a seamless integration between the drum and bass and the piano, the songwriting is also a highlight of the album, with luscious imagery, and yearning for better from a significant other.
If the bulk of the music you listen to is Joji’s discography (full disclosure: it’s not in my case), “Piece of You” shows Joji at his best, husky silky RnB vocals hefty beats whose source I can’t seem to put my finger on. Backed by expressive violins in the chorus, this track is sure to scratch an itch long-time fans have been yearning for.
When I first saw “Hotel California,” I was half excited and half confused as to why Joji would cover the iconic Eagles single from 1976. While I was awaiting a full blown cover, this original track shares some interesting lyrical continuities with the Eagles track, whose lyrics have been debated for over 50 years. Contrasting the tale of a man stuck in the allegorical hotel of the suffering of addiction (“You can check at any time, but you can never leave”), Joji examines the woe of someone temporarily stranded by their partner at said hotel. While nowhere similar to the 70s prog-rock hit in terms of instrumentation, this track tackles the indelible story of love found, then lost….for a moment.
“Tarmac” is a vibes-first track, which may or not be your cup of tea. Regardless, the backing track is undeniably hypnotic, and the imagery within the lyrics is cynical on a level previously unseen with this album. While the previous tracks dealt with heartbreak, “Tarmac” revolves around becoming disillusioned with relationships themselves. Joji shows his willingness and capacity to break conventions, even ones imposed by himself.
As an extension of the previous track and a prelude to the next one “Forehead Touch the Ground” centers itself around vocals and emotive guitars. This track is an acknowledgement that all good things must come to and end.
Turning our attention towards my favorite song, “Past Won’t Leave My Bed,” is a sentimental ballad with a powerful chorus. I could feel the sorrow and heartbreak seeping out of my speakers. Even if you’ve heard all heartbreak songs that could possibly exist, this track will make them all pale in comparison.
“Fade to Black” (with 4Batz) provides a soulful intermission. What really interests me about this song is that it represents a new avenue for artistic expression for Joji through use of crooning, downtempo vocals. I would be delighted if he took some time to explore this new style in future works.
Working well as a closing song for a nightclub, both in terms of lyrics and instrumentation, “CAN’T SEE SH*T IN THE CLUB” has Joji eulogizing a relationship gone and passed. Mellow in its outlook but lustrous in its instrumentation, this song will have you leaving the club tired, yet wistful.
Remember what I said earlier about my favourite song being “Past Won’t Leave My Bed”? I would like to correct myself and say that it’s actually both “Past Won’t Leave My Bed” and “Sojurn.” This track KICKS into high gear, as we are thrust into the apex of the fever of affection in a relationship, living purely in the moment alongside Joji. The drums here accentuate the track’s glitchy-tecno arrangement to show what unbridled attraction looks like. However, within the grander context of the album, this song takes on a bittersweet note as the song acknowledges the impermanence of the moment: “Baby, nothing lasts forever and death is so much greater / Knowing we were sharing this time.”
With the bouncy groove of a Jersey Club-type beat (there is a really good sample on Wikipedia), “DYKILY” showcases the start of the end for a relationship, with Joji seeking to re-affirm his love for his partner all while knowing that they might not reciprocate. This track perfectly encapsulates the anxiety of knowing something bad might already be happening, but not having the means to confirm it.
“Rose Coloured”(With YEAT) has Joji facing the reality of the state of his relationship as it begins to set in that there is no turning back. The main highlight is the inclusion of YEAT, with the more uptempo trip-hop sound of the track contrasting the genre of Rage that Yeat has planted himself in. The result is a melodic and procedural song, one that is well-suited for an all-night study sessionIn regards to my absence last Friday, when will I have the opportunity to take the quiz before this week’s lecture. Thank you for assistance and understanding
The next track “Silhouette Man,” while standing on its own apart from the album, is unfortunately the track it feels the most like filler within the context of the album as a whole. It takes the arrangement of the entire album and compresses it into a 1:26-long flow of consciousness and quivering vocals, and while I don’t expect every song on an album to be a 10/10 hit, it feels hollow considering the depth of the rest of the album.
On the other hand, the way that “Fragments” transitions away from “Rose Coloured,” which goes over the realization of what a relationship has become, shifts towards Joji’s attempts to salvage what is left of a relationship currently crumbling around him. Compared to “Rose Coloured,” rather than going against the established sound of the guest artist (H-Town’s very own Don Toliver), “Fragments” plays into Toliver’s sound, and does so exceptionally.
The piano takes a leading, but not overwhelming, role in the preantepenultimate track, “Horses to Water.” While somewhat Esoteric in style, this track discusses the effort put into a relationship that bears little fruit. While Apple Music may classify the whole album as alternative, “Horse to Water” ties Joji back to his alt-hip-hop roots.
As for the penultimate track, “Strange Home,” we return to the alternative genre, harkening back to the album’s beginning as the track is tied down through familiar distorted drums. Working well in isolation, this track acts as a final pause, with Joji taking account of what’s he’s gone through in terms of a crumbling relationship, reflecting on the perceived inevitability of said relationship coming to an end, and seeking to return within his refuge, his own home, which, in the wake of his failed relationship, is suddenly unfamiliar.
All things must come to an end, and “Dior” ends things on a dramatic note. We as the audience and Joji have finally come to terms with what has passed, and he acknowledges that, just because something has ended, doesn’t make it a bad thing. Although Joji refuses to relish a painful past—“Christian Dior / Destroy the sweater”—this track displays a desire to remove any remnants of a past not worth being sad over.Expansive in breath and only shallow in depth, Piss In The Wind is ultimately about daring to love, even when it seems pointless. As sometimes you ought to do things for the sake of how they feel in the moment, rather than spending time and energy agonizing over whether or not it’s worth it. This is especially poignant, given that most of the songs on this album repeat a singular chorus and verse twice, subtly enforcing a theme of fruitlessness. By the end, despite this messaging, we witness Joji’s epiphany that just because something ends, one should still pursue it, if only for the sake of chasing the feeling of the original experience. As for me, even though I will have to go back to school after my spring break, I’ll still be looking forward to it… if only for the food.
