6/10
Almost a year and a half after BLACKPINK member LISA’s first solo debut album release, Alter Ego, she returneds with a brand new era and her very first solo EP, PRESS PLAY. Across merely six tracks, LISA doesn’t just incorporate blends of hip-hop and pop-rap, but also puts her Thai heritage at the forefront. While the EP showcases her undeniable potential as a solo pop star, it falls short in fully realizing it. With only two songs up to par in both lyrical and musical performance, most of the other tracks on the album soon become forgettable.
The album opens with “SaWaDiKa,” which fittingly means hello in Thai. The track reintroduces listeners to LISA, this time boldly asserting her Thai identity with a newfound sense of cultural pride alongside her signature confidence. With bass-heavy production and catchy, boastful lyrics, LISA reminds listeners of her success as a global pop star. “Yeah you know my wrist is cold / Got this timepiece from Geneva,” LISA chants, leaning into the luxury-focused persona that has become a recurring feature in her music.
The next song, “V12,” is one of the EP’s most interesting tracks from a production standpoint. Its electronic beat, bass, and sharp percussion create an intense sound that feels completely authentic and perfect for LISA’s self-assured persona. The instrumental is dynamic enough to keep listeners engaged, even though the lyrics fail to match its intensity. The repetitive references to luxury and cars quickly become boring. By the end, all you feel is second-hand embarrassment. “Stilletos, killah mode / Eco pressure,” LISA chants. We’ve all heard this before.
PRESS PLAY’s second single, “Tarantino,” is the album’s clear standout, pairing cinematic production with a dynamic vocal performance that features both rapping and singing interchangeably. It’s an immersive listening experience that feels polished and memorable. The song incorporates references to filmmaker Quentin Tarantino’s movies, including Death Proof and Kill Bill. “Tarantino, Tarantino, got my feet hanging out the Camino,” LISA sings, referencing Death Proof, which features a scene involving a woman’s legs hanging out of a car window. Later, “I got Kill Bill demeanor, mustard all on my sneakers,” she sings, comparing herself to the ruthless Tarantino protagonist of Kill Bill. “Tarantino” is easily the project’s strongest track, striking an ideal balance between playful lyrics connecting to the singer’s Thai heritage, a distinctive production, and LISA’s magnetic personality. “At the drive-thru, Thai funk, shakin’ out the trunk” she raps.
“Sweat” establishes a more intriguing and distinctive concept, using a more relaxed beat, heavy breathing sounds, yoga references, and harmonizing vocals that create a more fluid and intimate atmosphere. Although it moves the track toward a more distinct direction in terms of the beat and allure, the overly simplistic lyricism does little to leave a lasting impression. “Stretch it out, don’t stress me out / Sweat it out, don’t mess it up,” LISA repeats.
The largest issue with PRESS PLAY is that its production promises more than what the lyrics deliver. “V12,” “Cobra,” “Cut U Off,” and “Sweat” each have incredibly compelling instrumental elements that make them engaging on a musical level. Whether it’s layered vocal effects, synths, or experimental textures, there’s always something unique happening in the background of the EP. Unfortunately, the foreground is far duller. Cliche concepts of wealth and superiority quickly get boring, and repetitive phrases make you want to press pause.
It’s no secret that LISA is an incredibly talented performer and artist. This project has allowed her to dive more into her Thai heritage, whether it be through her music video references or her lyricism. Her musical production already sets her apart from other mainstream K-POP artists. The EP’s lyrical shortcomings reflect a broader tendency in many mainstream K-pop releases to prioritize catchy hooks and a commercial appeal over lyrical depth. While this formula has produced record-breaking music, it takes away from LISA’s undeniable potential by relying on LISA’s pop star status to carry the album. It’s the risk-taking tracks like “SaWaDiKa” and “Tarantino” that prove that LISA still has the potential to be truly special. Maybe we should really be pushing fast forward.
