Joji, Nectar | Album Review 💿

On his delayed but highly anticipated sophomore album, alternative standout Joji shines (more often than not) elevating his artistry up a notch. 

Joji (George Miller) is another artist who found his initial album release date affected by COVID-19.  Despite being delayed until late September, Nectar ends up being worth the wait.  Nectar, 18 tracks deep, finds the alternative R&B artist experimenting with a variety of sounds and not solely relying on standard songwriting forms.  Does everything work without flaw? No, but more often than not, Miller shines, further elevating his artistry. 

“Ew” 

✅ “Ew” kicks off Nectar absolutely gorgeously.  The production (The Donuts and Bēkon) is lush, characterized by keys, strings, and a robust bass line.  Joji sounds awesome, particularly as he ascends into his falsetto on the chorus.  Matters of the heart fuel Miller as he laments failed love in the past.  His pain, and his desires for a fulfilling love is our listening pleasure.

Initially, it sounds as if ✅ “MODUS” is going to be another lushly produced ballad (STINT).  While there’s ample lushness, “MODUS” is anchored by a pretty sweet, rhythmic hip-hop beat.  The sound is idiomatic of 2020 R&B, with repetitive lyrics and emanating a vibe.  There are two verses, with the second featuring slightly more varied lyrics.  It also features some of the most intriguing lyrics as well, including “I don’t feel the way they programmed me too feel today / Some pieces falling from the waist up.” As always, the bread is buttered is on the chorus. 

“Tick-tock / Heavy like a Brink’s truck / Looking like I’m tip-top / Shining like a wristwatch.” “Tick Tock” keeps things short and sweet. Like the two tracks that precede it, “Tick Tock” is definitely a V-I-B-E. The first verse is more alternative hip-hop, with a rhythmic delivery emulating a clock.  The chorus is more melodic, as is the second verse.

“Daylight” 

“Right now, laying here alone is heaven.” On ✅ “Daylight”, Joji collaborates with Diplo. Diplo taps Greg Kurstin and Maximillian Jaeger for the assist with the production, which ends up being superb. This record contrasts previous singles and other songs on the album, which is a selling point. Miller is on autopilot, addressing breaking up and heartbreak. He claims not to care – “I’m not layin’ in bed with a fucked-up head” – but clearly, the breakup has affected him.  Basically, “Daylight” is about the idea that you’re fine that things have ended, yet, you still experience pain or at least a bad memory.

On “Upgrade,” Joji asks her (whoever she may be) to ‘upgrade’ and be with him.  While he also seems to question how they fit with one another, he definitely wants them to become an item.  Follow-up ✅ “Gimme Love” incorporates cues of alternative R&B but transcends beyond such. This unique record commences with intense, pummeling electronic drums, unique vocals that serve capacity as a layer of the production (“Oh’s”), and keyboards/synths, mixed farther in the background.  Post-intro, Miller introduces the repetitive but highly effective chorus, singing airy, chill fashion, never perspiring.

“Gimme, gimme love, gimme, gimme love …When I’m gone, when I’m gone.” Could he make it any clearer what he desires? On the verse, he sings in more low-key fashion and more abstract lyrically.  Still, he has his direct, longing moments: “You leavin’ me here with ashes and fire.” Post chorus, we get quite a surprise, as “Gimme Love” transforms.  The sound becomes more amorous, lush, and spirited and more acoustic. Thematically, Miller remains focused on his/her heart, while serving up contrasting lyrics. 

“Run”

✅ “Run”, a personal favorite, takes on more of an alternative pop vibe. Rather than rely on a backdrop of keyboards and synths, Joji is backed by electric guitar. Furthermore, we get more sweet falsetto on the awesome chorus:

“I know you’re not in love, like you used to be
Guess I’m not the one, like you used to think
So, you just run...”

The lyrics are emotionally charged, with reminiscence of a defunct relationship driving the narrative. “I fell for your magic, I tasted your skin,” he sings on the first verse, continuing, “And though this is tragic, at least I found the end.”  On the second, he asks, “Will I pay my dues? / Your love was a mystery / Yeah, my love is a fool / And I travel the country just to get to you.” It seems that him, as well as his ex-, are ‘running’ away from past emotions.

✅ “Sanctuary,” the oldest song appearing on the album, has a compelling argument as the best.  The production (Justin Raisen) is sleek to the nth degree, idiomatic of the late 2010s/20s.  Vocally, Joji continues to impress, with a blend of his unique tone in his middle register, as well as a ripe, stirring falsetto.  That falsetto shimmers on the chorus, the masterful centerpiece:

“If you’ve been waitin’ for fallin’ in love
Babe, you don’t have to wait on me
‘Cause I’ve been aimin’ for Heaven above
But an angel ain’t what I need.”

✅ “High Hopes” pairs Joji with one of the most talented, rising musicians in the game, Omar Apollo.  The result is quirky but captivating.  The Donuts and Bēkon are behind the boards once more, fueling the creative fire.  Joji dips into his falsetto on the chorus, while employing his middle register on the first verse.  As for Omar, he’s true to self on the second verse – alternative to the nth degree.  There’s some hip-hop, some melody, and a heaping dosage of confidence and swagger.

“NITROUS” 

“NITROUS,” like a number of songs on Nectar, is nontraditional. At the beginning, Joji reveals his cards, dropping the chorus.  After a simplistic post-chorus, he performs the sole verse.  As usual, it’s love that fuels the fire, and he says himself, that it “Make me wanna sing, sing.” Where does the gas come into play? Well, he references cars, motorcycles, and cites driving fast (“I was in your town, drivin’ eighty miles”).

On ✅ “Pretty Boy,” he collaborates with an unlikely artist, Lil Yachty. “Pretty Boy” has a hip-hop sensibility, apparent from the jump.  The chorus, sung by Miller, would be highly successful on any rap joint.  The Lil Yachty feature definitely seems far-fetched on paper, but the melodic sensibilities of the rapper make more sense when you hear the record.  Is it odd? Yes, but much of Nectar seems to be about experimentation – going beyond tried and true scripts.

If “Pretty Boy” is too weird, “Normal People” atones, featuring rei brown. “Normal People” brings a pretty sweet, chill vibe.  Joji never sounds as if he breaks a sweat, yet creates an incredible, ear-catching performance. Rei brown fits right in, performing the sole verse between the pre-choruses and choruses by Miller.

“Afterthought”

“When life gets too complicated / Please stand with me after dark / I’ll stay in the limelight / Like a beautiful afterthought.” “Afterthought” with BENEE continues to deliver a sweet listening experience.  Joji’s vocals float along; he never forces things.  The same can be said of BENEE, who provides contrast on the second verse.  One of the most beautiful sections is the outro, where both artists, separately, sing, “I don’t wanna forget about you.”

Following three collaborative songs, “Mr. Hollywood” gives Joji a long-awaited solo joint.  Was the wait worthwhile? Definitely.  The chorus is simple, but certainly a marvelous – wait for it – vibe.  Vocally, he continues to impress, actually showcasing more expression on this particular song compared to some of the others.  “Mr. Hollywood” is one of the more soulful, records.

15-tracks into Nectar, Joji “Can’t slow down, I just wanna go fast baby” on “777.” Of course, one of the key lyrics from the second verse, references the title: “Seven, seven, seven (Seven, seven, seven, seven, seven), oh / It’s a little piece of Heaven.” What does it mean? Seven is key Biblically as well as in numerology.  A heavenly, lucky number, Miller seems to liken it to love. 

“Reanimator” 

More than half of “Reanimator” is instrumental, which makes it distinct compared to much of Nectar.  Joji does deliver one verse, followed by a repetitive chorus by Yves Tumor.  It’s no lyrical masterpiece, but the ideas and sounds go a long way.  If you are looking for another truly accomplished song, look toward the penultimate gem, ✅ “Like You Do.”  This ballad is everything, from emotional vocals, well-rounded lyrics, and more terrific production. Honestly, it could’ve successfully concluded Nectar. That doesn’t end up being the case as the quicker, groovier “Your Man” ultimately caps things off.  It makes sense as well, given the fact that Miller seems to be in a happier place.

Final Thoughts 

All in all, there’s plenty to like about Nectar.  The vibe is lit throughout and honestly, if you merely evaluate this album on vibe and sound, it would likely earn all five stars. That said, not every song is fully developed, even with great promise and sick ideas.  Furthermore, with so much ‘love’ dominating, despite its innovative spirit, sometimes theme is a bit too much.  Still, more often than not, Joji delivers. 

✅ Gems: “Ew,” “Modus,” “Daylight,” “Gimme Love,” “Run,” “Sanctuary,” “High Hopes,” “Pretty Boy” & “Like You Do”

Joji • Nectar • 88rising / 12TONE Music • Release: 9.25.20

Photo Credits: 88rising / 12TONE Music