Erika de Casier: Still Album Review – Warungku Terkini
The best era of pop music is the one that you grew up with—a truism that feels like fact if, like Erika de Casier and this writer, music television was your oxygen in the year 2000. Recently the conveyor belt of retromania has returned the sparkly, silvery aesthetic of Aaliyah, TLC, and Jennifer Lopez to relevancy, but Y2K revivalism finds its most meticulous acolyte in de Casier, whose third album is a faithful evocation of a very specific moment in Black American music—a time when pop domination and electronic avant-gardism were two sides of the same coin.
On her previous albums, the Copenhagen singer and producer combed through ’90s and ’00s UK garage and glimmers of IDM as well as the strain of juddering future-R&B separatism led by Timbaland, Missy Elliott, and Aaliyah. The turn-of-the-millennium styling of 2021’s Sensational elevated de Casier to critical darling, but her biggest commercial success has come through collaboration with the K-pop outfit NewJeans, translating Jersey club bounce into two stratospheric singles, “Super Shy” and “Cool With You.”
On Still—the title references both J.Lo and Dr. Dre—de Casier narrows her focus, sticking mostly to a palette of sweet, head-register vocals in the lineage of Janet, Mýa, and Ashanti; plucked strings and stuttering rhythms à la Darkchild and Timbaland; and an air of restraint that feels purposely adult, as outlined by Sade and Maxwell. The Proustian madeleine tastes good. Slippery, sensual “ooh” is a testament to Aaliyah and Tim’s greatest hits, a jerking boudoir grind that throws in a line from Ice Cube and Ms. Toi’s raunch anthem “You Can Do It.” There are fourth-wall-breaking ad-libs straight from the postmodern ’90s—some of them in Danish—like the “Stop!” that brings “Ice” to a halt. On that track, which grounds the album’s flawlessly catchy middle third, de Casier brings in Tampa rap duo They Hate Change for a sweet-and-sour duet like they used to do ’em—accusations are thrown, someone’s “on freezer mode” and Copenhagen’s giving the boys “frosty soles.”
The rise of Aaliyah in the middle of the ’90s called time on the big-haired belters of the previous generation and ushered in an intimate, heady style that remains the blueprint for countless young singers, including today’s close-mic stylists Billie Eilish and Olivia Rodrigo. De Casier pushes this technique to fascinating extremes, her vocals set so far back in the mix they’re practically in reverse. Her performance on “The Princess,” a feminist reckoning with desire (“Is it wrong of me to want all the things I was shown all my life?”), is like sandpaper meeting velvet, showcasing her absolute control on a minute, ASMR-like scale.
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