Apparently, the 7-track project’s title was inspired by her fears from recording so close to her release date. Instead of being downcast she said to herself, ‘Don’t Look Down.’ In other words, onwards and upwards to what is achievable, not what might not be achievable. And she used that mentality to create such a momentous cruise through her polyphonic take on diverse love.
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Rooted in R&B/Neo-Soul and Synth Pop, Preye’s project seems like a documentation of romantic love, but not always. Like a poet, Preye uses metaphors and symbolism to great effect on songs like ‘Love, Today’ and ‘Colors.’
Songs like ‘Red Wine’ and ‘Love, Today’ seem like a personal perspective on love, but they are not exactly romantic alone. While ‘Red Wine’ still passively implies romantic love, it places self at the root and as the origin of every kind of love. ‘Love, Today’ seems like an affirmation of love, through a very positive gaze. It is quite simply an uplifting song.
That perspective switches as Preye confesses that, “I love love/All this hard guy, bad guy bad guy, abeg/I’m not on the streets anymore…” on ‘D.L.D Interlude.’
She says something that our generation continually needs to hear, “Allow yourself to be loved…” But as a cynic, this writer still wants to point fingers back at Preye for trying to showboat to the single people. Dear Preye, you are being vigorously side-eyed. We know you are in love. Now can we hear word? Thank you, dear.
‘Malibu’ follows a similar trope. This time, it documents the power of love, in strict and seemingly personal detail. The final two songs seem interlinked because ‘Crayons’ - not the MAVIN version - were made to ‘Color.’
Ratings: /10
• 0-1.9: Flop
• 2.0-3.9: Near fall
• 4.0-5.9: Average
• 6.0-7.9: Victory
• 8.0-10: Champion
Pulse Rating: /10
8.0 - Champion