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to hell with it

to hell with it

PinkPantheress (2021)

10/ 10

lightning-speed debut is among year’s best

This time last year, PinkPantheress could never have imagined she would become the biggest breakthrough artist in the UK or, arguably, the world. But in a year where the music industry has been operating in stasis, she’s been going places: what started in shyly uploading grainy 15-second snippets of her unreleased tunes onto TikTok has resulted in her blowing up on basically every social media platform, scoring a major label deal, landing several Top 40 chart placements and clocking up hundreds of millions of streams. Her songs – which rarely break the two-minute mark – are ripe for the current climate: cheeky, heartfelt and inventive.

Despite the daunting level of hype surrounding it, the Bath-born 20-year-old’s debut 10-track mixtape doesn’t merely justify it, but exceeds it. ‘To hell with it’ hits the sweet spot that fans of her viral hits have fallen for: unobvious sample choices and rave-y, 90s-referencing breakbeats production, coupled with her childlike vocal, nostalgic songwriting and concise diaristic lyrics.

‘To hell with it’ also excels in the format: there are five singles we’ve already heard, including the Mura Masa-produced ‘Just for me’, Adam F-sampling drum ‘n’ bass breakthrough ‘Break it off’, and guitar-led ‘Passion’, as well as other equally-catchy tracks that follow the formula (‘Noticed I cried’), and, most pleasingly, several surprises.

The R&B and dembow swing of breakup track ‘All my friends know’ (which cleverly samples the pianos and birdsong of Sven Torstenson’s ‘Wind Glider’) calls to mind early AlunaGeorge; the reflective ‘Nineteen’ pairs relatable lyrics about failing A-Levels, her favourite shop shutting down and loneliness, and is aided by the somber orchestral strings of Brazilian composer Toco’s jazz-infused track ‘Outro Lugar’. The drum-heavy ‘Last valentines’, which utilises elements of Linkin Park’s ‘Forgotten’, tells a pained story over ominous production; though it’s contents are dark and emo-leaning, a sweetness remains. These songs in particular demonstrate a slower, stripped-back side to her artistry, where PinkPantheress is ready to push forward into new territory.

This is the type of mixtape to go back to over and over again; its 16-minute runtime certainly encourages that. PinkPantheress unloads these breathless and adventurous songs with a winning confidence that comes only when you outperform everyone’s expectations, especially your own.

This time last year, PinkPantheress could never have imagined she would become the biggest breakthrough artist in the UK or, arguably, the world. But in a year where the music industry has been operating in stasis, she’s been going places: what started in shyly uploading grainy 15-second snippets of her unreleased tunes onto TikTok has resulted in her blowing up on basically every social media platform, scoring a major label deal, landing several Top 40 chart placements and clocking up hundreds of millions of streams. Her songs – which rarely break the two-minute mark – are ripe for the current climate: cheeky, heartfelt and inventive. Despite the daunting level of hype surrounding it, the Bath-born 20-year-old’s debut 10-track mixtape doesn’t merely justify it, but exceeds it. ‘To hell with it’ hits the sweet spot that fans of her viral hits have fallen for: unobvious sample choices and rave-y, 90s-referencing breakbeats production, coupled with her childlike vocal, nostalgic songwriting and concise diaristic lyrics. ‘To hell with it’ also excels in the format: there are five singles we’ve already heard, including the Mura Masa-produced ‘Just for me’, Adam F-sampling drum ‘n’ bass breakthrough ‘Break it off’, and guitar-led ‘Passion’, as well as other equally-catchy tracks that follow the formula (‘Noticed I cried’), and, most pleasingly, several surprises. The R&B and dembow swing of breakup track ‘All my friends know’ (which cleverly samples the pianos and birdsong of Sven Torstenson’s ‘Wind Glider’) calls to mind early AlunaGeorge; the reflective ‘Nineteen’ pairs relatable lyrics about failing A-Levels, her favourite shop shutting down and loneliness, and is aided by the somber orchestral strings of Brazilian composer Toco’s jazz-infused track ‘Outro Lugar’. The drum-heavy ‘Last valentines’, which utilises elements of Linkin Park’s ‘Forgotten’, tells a pained story over ominous production; though it’s contents are dark and emo-leaning, a sweetness remains. These songs in particular demonstrate a slower, stripped-back side to her artistry, where PinkPantheress is ready to push forward into new territory. This is the type of mixtape to go back to over and over again; its 16-minute runtime certainly encourages that. PinkPantheress unloads these breathless and adventurous songs with a winning confidence that comes only when you outperform everyone’s expectations, especially your own.

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