“NDA” goes into detail about the terror of having stalkers and paparazzi on her trail, with eerie pizzicato strings, while “Male Fantasy” ends the album with tough talk about looking at porn and seeing nothing but lies. But the emotional candor of the song is still dead serious, with Eilish warning, “You better lock your door/And look at me a little more.” “Billie Bossa Nova” is a delight, with a coy samba groove that glides on digital castanets. For her and Finneas, the music has expanded, going for a Nineties coffee-shop techno-folkie slink, with bits of smooth-jazz guitar or tongue-in-cheek lounge organ. In “My Future,” Eilish sighs, “I’m in love with my future/Can’t wait to meet her.” That sentiment is all over the album - it feels like Eilish is writing these dark, often disturbing songs as love letters to that future self of hers, to document her fucked-up doubts, fears, and confusions in detail. “Things I once enjoyed/Just keep me employed now” is the most disenchanted post-breakthrough hook since Nirvana kicked off In Utero with “Teenage angst has paid off well/Now I’m bored and old.” It sets the tone for the whole album. She details the way fame has messed up her life, the way heading toward her twenties has messed up her life, and the way she’s struggling to leave her backlog of turmoil behind. “Getting Older” is an astonishingly assured way to introduce the new 19-year-old Billie, murmuring to the minimal electro pulse like the mall-rat niece of Julie London or Björk. The way Billie avoids reprising any of her “ duuuh!” jokes is as bracing as Taylor Swift choosing not to do any of her trademark laughs on Folklore or Evermore. She’s got trauma to figure out and secrets to share, but she’s not watering it down for anyone. It’s a dark, painful, confessional album where she’s choosing not to settle into the role of America’s beloved kooky kid sister. Absolutely nobody was out here saying Billie Eilish needed to push even harder and get even better - nobody but Billie. Her excellent sophomore album, Happier Than Ever, feels downright heroic, the work of an artist refusing to stay still. The homemade bedroom tunes she cooked up with her brother Finneas were recognized as instant classics, even when Billie was baring the Invisalign of her soul. She was suddenly the world’s most high-profile teen, the object of strangers’ gazes, a target for mind-blowing amounts of misogyny. Her blockbuster debut album When We All Fall Asleep, Where Do We Go? made her an overnight legend, the kind who accepts her Grammy awards from Smokey Robinson and Ringo Starr. She states that "a lot can happen in the dark," referencing sex, along with the comment of "some information's not for sharing use different names at hotel check-ins" to state how, whilst living the life of a commonly recognized personality, she sometimes needs to use specific tricks to hide certain knowledge from the public, like the relationship mentioned in "Billie Bossa Nova".When we all wake up, where do we go? Billie Eilish opened her eyes in 2019 to find herself the biggest sensation in pop music, when she was still just a kid on the edge of 17. The song details Billie's private sensuality for a person she's in love with. Il est inspiré par la bossa-nova d’Antonio Carlos Jobim, par ce monde musical qui existait avant moi et qui nous a laissé un patrimoine merveilleux. In an interview with the France-based magazine company Madame Figaro Billie exclaimed her endeavor for the sound of Happier Than Ever, referencing Antônio Carlos Jobim, the culturally-proclaimed father of Brazil's bossa nova genre, and a big inspiration for one of tracks on the album. The title of the song entails Billie's first name followed by "bossa nova" to portray the song's core uniqueness Billie's first attempt of bossa-nova-styled music. "Billie Bossa Nova" is Billie's first go at the famous Brazilian-based style of music, bossa nova.
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