The enigmatic singer spoke to Popdust about the creative process behind the "post-genre" sound of her latest record, I Disagree.
Despite introducing herself countless times in one of her first viral videos, the Internet spent 5 years trying to figure out who Poppy really was. The enigmatic singer, performance artist, graphic novelist, and church leader (born Moriah Pereira) has wielded ambiguity in savvy and eerie ways throughout her artistic career, creating a pastel-hued cult of mystery surrounding her multimedia Poppy project since 2015. Returning with a new "post-genre" sound that melds together shades of industrial rock, nu-metal, and ethereal hyper-pop, Poppy put out her third studio album, I Disagree, back in January. She's never been beholden to a singular sound or character, and her latest project showcases this ability to evolve as she expands her Poppy-verse to new dimensions in one of her most emboldened metamorphoses yet.
Take the music video for the album's title track, "I Disagree," which stars Poppy wreaking havoc at a roundtable of record label execs as she sings about apocalyptic ends and new beginnings. "We'll be safe and sound / when it all burns down," she chimes in a crystalline chorus amid a swarm of doomy guitar riffs before the shot closes on her overlooking a mass of flaming bodies. Despite the seemingly macabre visuals, this song—like many of the others on the album—is as much about asserting oneself against oppressive forces as it is about regrowth in the face of chaos. Out of the ashes is born a new version of Poppy, adding another layer to her evolving mythology.
On I Disagree, Poppy navigates between ethereal vocal passages before launching into thunderous, nu-metal breakdowns. This jolt in momentum can be dizzying at times but on the whole a lot of fun to listen to and definitely a refreshing break from the poptimism direction many singers are heading towards. Her alt and nu-metal influences are detectable enough: Rammstein, Marilyn Manson, and Nine Inch Nails, and even metalcore bands like Norma Jean come to mind. Poppy has been vocal about these influences in interviews, but she also prefers to refer to her latest record as "post-genre" rather than boxing it in as a "metal record." Her ability to navigate between different sounds and styles is an impressive showcase of range, which shouldn't be surprising coming from an artist who has in the past explored everything from synth-pop (on 2017's Poppy.Computer) to heady dark-pop on 2018's followup, Am I A Girl?
But one of the most compelling aspects of Poppy's career is that she'll never lift the veil too high. In an age when almost no personal detail of a celebrity is withheld from audiences, it can be refreshing to see a star who embraces these elements of spectacle, persona, and mystique. Like Marilyn Manson and David Bowie, Poppy is a master of world-building and theatrics. Though Poppy was once notorious for staying in character during interviews, she's since opened up to show her most human side yet.
Enter Poppy's uncanny valley corner of Youtube. Poppy's videos quickly made her an Internet sensation, garnering millions of views on videos like the "I'm Poppy" clip (which now has over 23 million views). She would go on to steadily release a slew of mesmerizing, often A.I.-esque videos that left people equal parts intrigued and freaked out. Is she a computer? A cult leader? The Warhol of Youtube? A surrealist performance artist pulling off an elaborate stunt to critique the pop machine? Well, as she already told us: She's Poppy.
Poppy began to shed her robo-humanoidism aesthetic on "X", the closer to her 2018 album, Am I A Girl? (the sonic embodiment of her former sugary-pop sound meeting a nu-metal sensibility). She also fleshed out these darker, moodier tendencies of Nine Inch Nails-esque rock on her 2019 EP, Choke, which was released on Diplo's Mad Decent label.
The Poppy mythology grew more entangled when she made a public statement parting ways with former collaborator Titanic Sinclair (real name: Corey Mixter), whom she was involved with in the Mars Argo lawsuit. The lawsuit is perhaps alluded to on the track "Anything Like Me," where Poppy sings fairly straight-forward lyrics such as, "I'm everything she never was / Now everyone's out for my blood" etcetera. Although Sinclair did contribute to the album and is credited on a few songs, Poppy's decision to sever ties reflects a new chapter in her artistic career, as she invariably moves towards more autonomy and control over her own sound and direction. She's also no longer working with some of the major labels that she's worked with in the past. Instead she put out I Disagree through the metal label Sumerian Records and is set to tour in support of Deftones in the summer of 2020.
I spoke to Poppy in February over the phone before she headed to perform her Boston show on the I Disagree tour. Read our conversation below.
POPDUST: So I know you're on tour right now. How has it been playing the new songs from I Disagree live?
POPPY: Great! I'm having a lot of fun, and I've been waiting to be able to do this because I have had a lot of the songs for a while, so it's great to finally be able to play it.
I saw that you've been playing a cover of the T.A.T.U song "All The Things She Said," which is incredible. What drew you to that song?
Thank you. That song has been a favorite of mine and I feel like it fit amongst the other songs very well.
In your own words, how would you describe the new sound on the album?
Well, I just call it post-genre, that's what I've been using. It's not any specific genre, as you can tell from the record, so I'd say that's the best descriptor.
When you started out creating I Disagree, did your vision for the album retain its shape throughout the process or did it go through a few different evolutions as you went along?
I just went into the process with an open mind, and I wanted to make an album with no rules, and I think we did that, and that's I Disagree. No rules.
In interviews you've mentioned that this album has a lot of different sonic influences, from Marilyn Manson to Trent Reznor to Madonna. What kinds of bands did you like to listen to growing up?
Nine Inch Nails, Gary Numan, No Doubt, Blondie: I was very drawn to all of them.
I wanted to ask you about the song "BLOODMONEY" and the themes you explore on that surrounding religion. Throughout your career as Poppy, I've noticed that, while your sound grows with each album, these themes surrounding religion and/or devotion continue to crop up. Are you attracted to the aesthetic or visual elements surrounding religion?
I think some religion is fascinating, but [I] also think that people can follow blindly without asking questions. I think any religion needs to be questioned at times, and I think it's fascinating to analyze, but I don't subscribe to any one in particular.
Can you expand on what you were hoping to explore on "Bloodmoney"?
It's about hypocritical people that are a different way behind the curtain [and] which things are a lot darker behind the scenes and behind the curtain, so that's what I'm expressing.
Speaking of addressing people, the video for "I Disagree" seems to have a pretty clear message towards the established music industry. What kinds of changes would you like to see within the music industry?
That's definitely a complex question, but I don't think there's a ton that can be done in the immediate future because certain people are in positions of power that won't let ideas come through. But I think whenever you mix art and business, there's going to be compromise, and I just feel fortunate that I'm in this position where I don't need to compromise.
While making I Disagree, did you feel like you were in a position where you had more control over what you were creating?
Yeah, absolutely. It was shown to industry people after it was completed, so at that point I didn't take into account anyone's opinion because it was already done. So I did have complete control over it.
"Nothing I Need" appears to preach a kind of minimalism within a pretty sonically maximalist album. Is that something you intended?
It serves more as an interlude on the album. I wouldn't say it was intentional that it was minimal, but it allows the listener a second to breathe, because it is a lot of information as an album as a whole. The message is just being okay with being okay, and it doesn't mean settling by any means; it just means you're accepting things for what they are and things that end...you're okay with it. You're okay with starting over, and maybe things you thought you always wanted are actually things you don't need.
With this new chapter, do you ever feel like you are leaving behind your previous Poppy persona or perhaps evolving into a completely different person?
Evolution. I wouldn't say I'm leaving anything behind, because I think if I was to stay consistently the same it would be really boring, and I get bored really easily.
In terms of what's next on the horizon, I saw that you have another graphic novel coming out. Can you tell me a bit about that and how you got into that medium?
Yeah, I have been always drawn to it, and it just felt like the right time when we launched Genesis I, my graphic novel that came out before my first release. And yeah, I'm really excited for Poppy's Inferno because it comes out in July, and it'll have an album that you can play along while you read it.
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After posting cryptic messages on her Instagram story, it's clear that many of Azealia Banks's behaviors were a cry for help.
Content warning: This article contains depictions of suicidal ideation.
Eight years ago, Azealia Banks was positioned to be the next big thing in hip-hop.
The Harlem rapper's debut single, "212," had spread through the Internet like wildfire. Banks was only 20 years old at the time and had just left her record label, XL Recordings, due to creative conflicts. Despite being strapped for cash and admittedly depressed, Banks released "212" as a free download from her website. The unforgettable hip-house track would reinvigorate her tumultuous music career.
"Rape culture kills."
South Korea has long held one of the highest suicide rates in the world (10th, according to the World Health Organization), a fact that's painfully resonated this year with the suicides of two popular K-Pop stars: first 25-year-old Sulli and now 28-year-old Goo Hara.
After Sulli was found dead in her home last month, public outpouring of grief included fellow K-Pop idols and the singer's famous friends, such as Goo, a former member of the girl group Kara. She described their friendship as being "like sisters"; in a livestream, she vowed, "I will live twice more diligently now that you are gone," adding, "Dear fans, I will be fine. Don't worry about me." But six weeks later, Goo was found dead in her own Seoul home, with police calling it a suicide and reporting that they'd found a handwritten note expressing her overwhelming depression.
While the world of K-Pop has been rife with scandal, from its factory-like production of girl groups and boy bands to its disregard for young idols' mental health, Goo's tortured last years also highlighted the pervasive effects of rape culture within K-Pop. As writer and activist Chanda Prescod-Weinstein pointed out on Twitter, "Rape culture kills," pointing out the negligence and egregious mishandling of Goo's highly publicized dispute with her abusive ex-boyfriend, Choi Jong-bum. Choi not only attempted to blackmail the singer but physically and (allegedly) sexually assaulted her. "It is known that she attempted to commit suicide in March this year after an ex-boyfriend attempted to blackmail her with threats of assault and the release a sex video," NBC News reports. "Amid the dispute, Goo's agency terminated her contract."
Rape culture kills. “But it is known that she attempted to commit suicide in March this year after an ex-boyfriend… https://t.co/gYI8cIVpTL— 🙅🏽♀️ Chanda Prescod-Weinstein 🙅🏽♀️ (@🙅🏽♀️ Chanda Prescod-Weinstein 🙅🏽♀️)1574609710.0
Details of the assault include Choi drunkenly attacking Goo while she was sleeping, prompting the singer to physically fight back against Choi's screaming assault. He was reportedly displeased with the resulting marks to his face and threatened to release footage of the two of them having sex in order to "make it impossible for her to pursue an entertainment career." Over the course of multiple trials, Choi was found guilty of "filming body parts without consent, assault causing bodily harm, intimidation (blackmail), coercion, and destruction and damage of property." He was not found guilty of sexual assault. Disturbing excerpts from the court documents include: "During the breakup process with his lover, Mr. Choi caused injuries to the victim as well as receiving injuries on his own face. He was angry about this and threatened to contact a media outlet to end the victim's career. By making her kneel and other such behavior, he caused serious suffering to the female celebrity victim."
Instead of the prosecutors' requested 3-year prison sentence, the Seoul Central District Court granted Choi a suspended sentence of three years of probation. If he violates said probation, then he'll receive his full sentence of one year and six months in prison. The prosecution was quick to condemn the court's leniency. On September 5, they appealed to demand a harsher sentence, stating, "Society needs tougher punishments in order to eradicate the kind of criminal behavior that Choi Jong Bum committed. We hope that during the appeals trial, the defendant will be appropriately sentenced according to the weight of his crime."
But it's worse than just leniency for a blackmailer; it's a testament to the misogyny that Korean women, even K-Pop idols, face in the public eye. Throughout the trial, Goo faced significant backlash in the press and online hate. In June, she took to Instagram (in a since deleted post) to say, "I won't be lenient on these vicious commentaries any more." She wrote about her struggles with "mental health" and "depression" and plainly asked people to stop leaving hateful comments. "Is there no one out there with a beautiful mind who can embrace people who suffer?" she posted. "Public entertainers like myself don't have it easy — we have our private lives more scrutinized than anyone else and we suffer the kind of pain we cannot even discuss with our family and friends. Can you please ask yourself what kind of person you are before you post a vicious comment online?" In her final Instagram post, she captioned a selfie of herself lying in bed with "sleep tight."
As Bloomberg reporter Jihye Lee critiqued, "Korean women find it more and more difficult to report crimes as victims because they see female artists facing even greater backlashes & trauma because how the public, police and the justice system respond to sexual assault, and that sends a clear message to all women in Korea."
Top trending on Korea Twitter is #최종범_처벌 or “Punish Choi Jong-bum,” who is Goo Hara’s ex-boyfriend that she is sui… https://t.co/qvHNHZEW8w— Jihye Lee 이지혜 (@Jihye Lee 이지혜)1574604527.0
Korean women find it more and more difficult to report crimes as victims because they see female artists facing eve… https://t.co/X8IFvgbOMC— Jihye Lee 이지혜 (@Jihye Lee 이지혜)1574605329.0
Now, Goo's death has fans petitioning for greater awareness and more responsible action in response to sexual assault, as well as mental health concerns. On Twitter, fans are channeling their grief into calls to bring Choi to justice and face a stricter sentence. Trending topics in South Korea are filled with remembrances of Goo Hara and even Sulli, while an online petition addressed to President Moon Jae-in has gained over 220,000 signatures, all demanding that sexual harassment receives a harsher punishment in Korean law.
I’m not living in a society where an abuser, a black mailer, a bully... a criminal will walk free when the person h… https://t.co/dVBRjX0Zie— MJ (@MJ)1574603107.0
The fact that men can abuse women and get away with it makes me sick, and that women are slut shamed to taking thei… https://t.co/SiA8dIGneb— Cherry 🌸 (@Cherry 🌸)1574612030.0
While Goo's death has inspired a long-overdue conversation about the oppressive misogyny that keeps too many Korean women from reporting assault, a small memorial sits at St. Mary's Hospital in Seoul where Goo's body rests.
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