Arguably the greatest facet of independent and/or “underground” music is that artists in this light have quite the telling amount of room to be as transparent and genuine as they would like. That level of sincerity shines through due to the lack of explicit barriers in their way from external sources, and if anything else, the ease of access that the Internet age has granted this very music landscape has made that fact even more vivid in the process.
That exact notion is something that d0llywood1 has quite literally always carried within her art, no matter the given circumstance. Be it her music or otherwise, Dolly carries with her a heightened sense of transparency and artistic integrity that not many others in her wake can say they have; not a single act comes even close, really.
She has just put this sentiment on quite possibly its clearest showcase yet with her newest single“ihonestlygaveup” — a track that doubles as an absolutely remarkable artistic feat through the music itself, and a wholly vivid representation of the unmatched place Dolly finds herself in within her current scene and beyond.
If the title did not make it clear, or one is just not in the know, this track serves as a sequel to her now-iconic single released earlier this year entitled “ihonestlymightjustgiveup” — not only one of Dolly’s most important tracks on its own, but also one of the absolute best singles to be released this year from any artist. But it is what she does with this very sequel that sets both it and the song it is paying homage to over the bar as it stands.
This new track sees Dolly entirely reworking the Vagex-produced beat from the original song into a brand new light. The new track is completely reminiscent of the former one, but the way in which she flips those infamous synth passages and bouncing 808 patterns into something just as outstanding as the other track is an unmistakably remarkable achievement in itself. It sets these two songs apart in their sonic aspects alone, while still being just as good as each other all the same.
Dolly could have truly said anything over this masterfully reworked instrumental and still have made an utterly poignant impact, but the lyrical aspects here send this track to the moon as a marvel of its time. The themes presented within this song call back to that aforementioned transparent sentiment discussed before, with Dolly essentially taking the lyrical motifs from the former track and her given mindstate back then, and applying them directly to her current headspace as it stands today.
The way she so effortlessly keeps the same structure and even verbiage of the former song, yet with a completely new meaning behind these new lyrics and themes alike is genuinely unlike anything seen in the entirety of music’s recent past, regardless of genre nor status. She directly injects her current feelings of disrespect, dishonor, and all-around frustration with her current place in the scene as it stand into these lyrics, and her delivery here is just as seamless as if the song it is building off of never even existed; that is how excellent she executed this track.
From nearly every single angle imaginable, this track is without a doubt one of the most clever, impressive, and transcendent tracks to be released this year, even from someone as prolific as Dolly is. It stands to reason that the only way she can exemplify her unmatched place in music today is by simply “doing Dolly better than even Dolly can.” No other act can say that they have reached this point yet, but not many acts have the ridiculous amount of artistic foresight that she so effortlessly exudes with each and every offering she comes through with.