by Halsey has established herself as one of the most versatile and boundary-pushing artists in mainstream pop music. From her breakout hits like “New Americana” to her recent Billboard number ones, she effortlessly blends pop, rock, R&B and electronic influences into catchy yet unconventional anthems. However, two songs in particular stand out as especially unusual in Halsey’s catalog – 2015’s “Lilith” and her 2020 collaboration with blink-182, “1121.” Both tracks exhibit strange sonic qualities and lyrical themes that set them apart from Halsey’s more commercial offerings. But which one truly deserves the title of her “strangest” song? Let’s take a deeper look at 1121 and Lilith to determine which pushes musical and lyrical weirdness further.
On the surface, “1121” seems like an odd pairing – Halsey’s breathy vocals joining forces with pop punk veterans blink-182. But the song’s genre-blending works surprisingly well. Opening with Travis Barker’s energetic drumming, the track quickly incorporates Halsey’s airy vocals over guitar riffs that wouldn’t sound out of place on a blink album. Her voice floats ethereally above Mark Hoppus and Matt Skiba’s signature melodic basslines. The pre-chorus builds with handclaps and backing “ooh”s before exploding into an anthemic pop punk chorus led by Halsey’s powerful belts. Lyrically, the song speaks of chasing impossible dreams and defying the odds. However, the lyrics are cryptic and leave much open to interpretation. Phrases like “I’m the one to stick around, one more time now” and “I’m taking back the crown, I’m all ripped up and blue now” paint vivid yet enigmatic pictures.
The musical production of “1121” is truly bizarre – a perfectly executed fusion of Halsey’s pop sensibilities with blink’s melodic punk stylings. Guitars crunch and electronic beats pulse beneath Halsey’s ethereal vocals. The song walks the line between mainstream pop accessibility and underground experimentalism. It’s a testament to both Halsey and blink-182’s musical versatility that they were able to blend their distinct sounds so seamlessly. Lyrically, it poses just as many questions as answers – is the song about perseverance, heartbreak, or something more abstract? The ambiguity adds an air of mystery. Overall, “1121” is catchy yet strange, familiar yet fresh. It’s easy to get hooked on the chorus but hard to fully decode its meanings.
In comparison, 2015’s “Lilith” delves much deeper into unsettling experimentalism. Opening with a haunting spoken word intro, the track slowly builds with ominous synth washes and distorted industrial beats. When Halsey’s vocals enter, they are heavily processed through autotune, further distorting her natural tone. Her lyrics speak to darker themes of rebellion, manipulation and societal pressures. She sings of “clawing at my own skin till I’m clean” and tells the listener “you’re gonna lose your mind.” The production strips away all pop conventions for a raw, abrasive soundscape. Glitchy beats stutter and halt unpredictably beneath Halsey’s warped vocals.
Compared to “1121,” “Lilith” will certainly be a more challenging listen for mainstream audiences. It lacks a catchy hook or melodic structure. The lyrics dwell in much darker emotional territory. Musically, it strips pop of its sheen entirely, leaving only harsh industrial textures. Where “1121” walks the line between genres, “Lilith” seems only focused on sonic experimentation and pushing the boundaries of what’s considered a “song.” It’s the sound of a artist testing limits and subverting expectations of beauty or enjoyment. Halsey layers her voice to unsettling effect over the grinding beats. Everything feels deliberately off-kilter and disorienting.
Looking at both songs’ production values, “Lilith” undoubtedly exhibits more experimentalism. The industrial beats and stripped-down arrangements divorce it entirely from mainstream pop conventions. “1121” still retains pop structures and melodic sensibilities even amidst its genre bending. Lyrically, “Lilith” also delves into darker emotional themes of manipulation, pressure and mental unrest while “1121” leaves more room for interpretation. In terms of accessibility, “1121” has a catchy pop-punk chorus that brings listeners in while “Lilith” pushes them away with its abrasive textures and unsettling atmosphere.
So in conclusion – which song truly deserves the title of Halsey’s “strangest?” Both exhibit unusual qualities that set them apart from her hits. But upon close analysis, “Lilith” seems to earn the stronger claim to the title. Its sonic experimentation is much bolder and divorces itself entirely from expectations of what a pop song should sound like. Lyrically, it delves into darker emotional territory. While intriguing, “1121” still retains pop structures and leaves room for mainstream enjoyment. “Lilith” feels like a true plunge into the unknown – a stark left turn that challenged listeners’ notions of Halsey as an artist. It strips away all conventions for a raw, abrasive soundscape. Therefore, for its unbridled willingness to push boundaries musically and lyrically, “Lilith” must be considered Halsey’s strangest song. It shows her willingness to subvert expectations and test the limits of pop experimentation.
