Sunday, December 12th, 2021

Ado – Odo

To Japan, and a bright new star


Katie Gill: The chutzpah and fun are what carry this song. Because it’s just fun! Those “fuwa-fuwa”s on the refrain, the “whoa-whoa”s before the break, Ado’s brief rap break in verse two — it might not punch as hard or as ferociously as her best known single, but on “Odo” you can tell that everybody, from top to bottom, is having an absolute ball of a time. And really, sometimes #vibes ARE enough.

Wayne Weizhen Zhang: A vicious vortex of snares and horns and drops circling each other, evoking the best, messy bursts of everyone from M.I.A., to Major Lazer, to Bree Runway. 

Dorian Sinclair: I first came across “Odo” in the form of this very fun three-vocalist cover, and I fully did not realize it was originally by one person. It’s a challenging sing for a soloist, flipping between registers and styles with very little warning. It takes a lot of personality to hold it to coherence, and Ado manages it very well. The production is similarly unpredictable, but has a lot of touches I like a lot, most notably the rubbery bass vamp near the beginning and the blurry chaos of the piano. Unfortunately, the instrumental breakdowns at 1:30 and 2:20 rob the section between them of a lot of its momentum, making the song tip over that line from “controlled chaos” into genuine discohesion. Just a couple of tweaks on how those were handled would have made a tremendous difference to the overall strength of the track.

Ian Mathers: It’s kind of a shame we have to wait a full minute to get to the “woah woah” bit, and furthermore that the boost in energy only lasts for a brief moment. The slinkier production of the rest is still pretty good (weirdly it seems to work best with the opening and the repeated “half-ass deserves a KO” line), but there’s such a surge in production and vocals whenever we get the “woah woah” that it’s hard not to wish it was the whole song.

Jacob Sujin Kuppermann: Blurb, inadvertently outsourced to the groupchat I sent this to: “damn that was like Speed Racer in a song where did you find that”. Thanks, Simon!

Nortey Dowuona: The cheering horns capped by chipped and chopped salsa and reggaeton drums, which turn to house drums, which collapse in a trap breakdown, which switch to Eurostep, remind you that good drums are the food of the soul. The rest of this mix is gritting its teeth for each switch, the synths and bass stabs hiding behind their tiny pistols as Ado croons smoothly, then howls and whispers, sliding across the terrain as it shakes and shudders and even drops without slipping once. It’s like watching someone cut a watermelon with a sword: you are so good at this that you can screw around with trifles.

Iain Mew: A kaleidoscope of accelerating ideas, crunches and bangs, it’s one of the most packed three and a half minutes I’ve heard for a while. That it comes off as a thrill rather than too much is thanks a lot to a singer who brings a matching energy while sounding completely at ease. Without that there wouldn’t be a uniting path through it all or the trust to follow it.

Scott Mildenhall: Maximalism can take you a long way in a short time — just ask any of the recent Eurovision contestants who would have wrapped this song up in a half-baked or over-extended metaphor. As it turns out, that’s not so important when you contain such multitudes. Even after every fit-to-burst hit before it, “Odo” feels daring in its wholehearted flailing towards sounds and ideas that combine to form a melange of a buttress.

Katherine St Asaph: Kesha in energy if not in sound — and that only because it’s hard to say a track is “___ in sound” when there are like 100,000 sounds in there.

Reader average: [9] (1 vote)

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One Response to “Ado – Odo”

  1. me, literally 30 minutes ago, finding this song: is “someone should put ado and doja cat on the same song” a common feeling among people familiar with J-pop

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