Rebecca Black, known for his viral outsider ‘Friday’, has been developing an interesting musical career located on the margins of alternative pop. In her search to leave behind that disastrous viral, but that she has claimed herself, Black has been close to Hyperpop fashion and has collaborated with Pop Stars Indies such as Mø or Slayyter.
This 2025, Black has published new EP, ‘Salvation’. In addition, he will tour with Katy Perry, who in 2011 invited her to appear in the remembered video clip of ‘Last friday night’. Perry and Black have announced their new collaboration through a comedian announcement in which Black boasts giant tits: “You have become too big for these enclosures,” says Perry.
If Rebecca Black has generated some kind of worship around his music, no doubt, he has done so thanks to his interest in the different sounds of popular electronic pop in Anglo -Saxon underground, mainly danceable, electronic and linked to LGBTQ+discos. To that direction the songs of ‘Let Her Burn’, his 2023 album, already pointed out the ‘salvation’ slopes.
The rhythms of ‘salvation’ and ‘Trust’ are projected to the dance floor entangling the Tecno-House, the Europop, the dance-pop and the electro, reminding the style of artists such as Cobrah. The compositions, without being much, give the hit. However, the most interesting clues of ‘salvation’ are ‘Sugar Water Cyanide’, which passes from a bubble beat that would like sugababes, very British, to vagging; and ‘American Doll’, who puts hand to the nachos of the last FKA Twigs.
The mandatory Beat Switches in pop are very present in the last two clues, ‘do you Even Think about me?’ ‘ and ‘Twist the Knife’: between them they gather influences of eighties pop, trance, rave, techno, house-pop to kiesza and Eurovisive melodies to the Ava Max or Lady Gaga. Rebecca Black will not save pop with ‘salvation’, nor is its proposal especially original, but of course you can save itself.
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