A3Day Extended Commentary: CL “Lover Like Me” (2021)
Originally written and shared on Tumblr on October 4, 2021
DISCLAIMER - An Album a Day is my exploration into the Korean music scene. This blog, just like my podcast, will cover mainstream, indie and some underground artists within the scene and provide both factual and opinionated commentary. The biggest benefit to sharing my thoughts this way is that it will hopefully expose you to more great music and exploration of your own.
On September 29, 2021, CL released “Lover Like Me,” the second digital single from her upcoming (and long-AF-awaited) solo album Alpha (October 2021). Since 2013′s debut solo, “The Baddest Female,” while still with YG Entertainment until now, we’ve experienced a variety of efforts from her.
While “Lover Like Me” isn’t the most experimental, it does contribute to placing CL as more than just a rapper. Yes, she can do what needs to be done as a rapper, but it seems as if some forget that she is able to sing, too. Ta-da, an(other) opportunity with this single.
Here in the United States there’s a Wikipedia about this and a few International articles already made, so I won’t rehash that information. Instead, I want to talk about the musicality and perceived limitations.
Initially, I wasn't impressed. Days later, I'm still not. It isn’t “bad” but the song lacks motion. And that bites despite my feeling that this isn’t a shock -- producer Freedo has a tendency to create songs that don’t “move” much. There’s a predictability that the Swiss-born producer maintains in his style with select artists; and the best example within the same musical world is that of G-Dragon and Taeyang’s “Good Boy” (2014). (Adjacent off the top, his production on CRO’s “Meine Gang,” which is also an American West Coast culture cosplay video. *Inserts tongue in cheek*)
By definition, I’m not saying the man doesn’t make hits. I’m saying that “Lover Like Me” has no layers within the production choice, including the vocal arrangement. The musicality is consistent though not exciting. Ultimately, it's a track that'll remix with ease for dance scenes. And although Freedo did this project with Nick Lee, Freedo does have deejay clout so that remix-simplicity vibe makes sense.
That aside, CL has consistency in her own delivery. The artist came together with five other writers to compile lyrics that are broad enough for listeners to have their last cry over a certain someone or to lip sync on TikTok as they show off their makeup artistry. When the song ultimately concludes with CL’s style of Konglish rap, they committed to a little clapback/claptrap action. Oh, she’s saying some things but also saying nothing. This is common in rap when translating Korean into English and other languages -- some nuance is lost, even if the derivatives are as close as possible:
백이면 백 내가 하면 잘돼 (If it's a hundred, it's okay if I do it)
나의 기지배들 놀때가됐어 다 함께 (It's time to play, all my bosses)
Sooooo, is she talking money (no, based on the use of ~면 but maybe?!) or she’s talking about when something has to be done at peak levels here? If she’s telling the person that they won’t find another like her, then why is it time to play? Who’s the bosses, the boss bitches she calls us GZB, her fanbase? It’s not this deep, of course, but what the hell’s happening here lol.
Nonetheless, what I AM LOVING, unequivocally, is the fact that she's trying various things out and balancing the facets of her entertainment career and personality. We’ve received 16 singles from CL over the course of 12 years, with a 2019 EP that possibly felt so good because we’d waited so long for it. The two singles from the upcoming studio album are not two sides of the same coin and that type of risk has to be applauded.
We’ll see what happens. I’ll be as ready as I can be for my fave.