Angry, Chaotic, Plus, Fuck a Friendship: Jessica Morale Cuts the Ties of Toxicity on ‘Lights Out’
Experience the reckoning in Fort Lauderdale, Florida, during the pocket pool, deuce, and gatt of alt-pop’s darkest export, Jessica Morale, who burst onto the music scene in 2021 with her withdrawn and inward-looking debut studio album, Phases. Morale is fresh-off a “fuck a friendship” as the pain-popping pop singer cuts the ties of toxicity with an angry and chaotic release of her newest red, fiery, intense, hot-blooded January 27, 2023 single, “Lights Out.”
Over the succeeding calamitous and reckless abandon that rose a withdrawn and introspective gash that she bled out for our coming-of-age grievances of emotions, and our parents’ yuck factor putting forward a rebel-hearted generation, comes the defiant teenage-angst of Phases. Morale, throughout the time after debuting Phases and before her latest single, “Lights Out,” has had a pretty productive year as a new artist in popular music by being given the opportunity to feature her song “Love Me Better” from said debut album on an episode of MTV’s Teen Mom: Young & Pregnant. But the opportunities and the positives of being a songstress didn’t stop there; she lent her voice to the title track video game that’s named after a song by Lady Gaga, “Just Dance,” whilst giving a stunning performance, ended the brooding summer at the legendary and iconic venue Revolution Live.
They say what the devil can’t do himself, he’s going to send a woman to do to you. As an alternative wild child growing up in Miami, in a musically gifted, Puerto Rican household, a little goth Amy Lee of Evanescence with a pop twist, Morale, who is in her dark, unapologetic arc of becoming a cultured villain with blood, sex, and pop music, has had enough in trying to be too polite a person when making nice with those that no longer serve nor deserve her best interest at heart. She’ll unpick at those with a poison hand who exposed their true colors—a false-hearted friendship. She’ll then bleed away all the aggressive and violent behavior on a padded notebook with an unforgiving pistol at her bedside.
On a boulevard of broken dreams, much like the guttural, bass-heavy guitar of the infamous lackadaisical, marijuana hung, Berkeley California boys of punk, Green Day, Jessica Morale, the embattled teen-pop slayer, (though roiling mad beneath the veil of calm) is with little regard for anything but herself these days. To other double-crossing ex-factors, she is now ruthless and imperious—accomplished.
“Lights Out” is a prominent illustration of just how vocally expressive and bulletproof Jessica Morale is when coming through all those perils unscathed when crafting pop with her alluring, 20-something anarchic and roiling rock ‘n’ roll rage. Though, slighted by a childhood boon, who she’s been friends with since they were both 12 years of age, Morale notes, “I wrote about the dissolution of my friendship with my best friend. It was just a long time coming. Years of pent-up things have happened between us, and me coming to the realization that the friendship definitely turned toxic and had been for a while. It was just best to leave.” She continues, “At the end of the day, it turned into a great song and I truly wish this person nothing but the best.”
In spite of the fact that Morale, is in a self-critique, yet persevering violent war of words with her critics, she still chooses to choose kindness after any occurrence when creating art. “Choosing violence is sometimes necessary for art when you’re hurting,” says Morale, “And this is my unhinged era.” “Lights Out,” a withering friendship cut to pieces; a double entendre. This is not only based on the betrayal of an envious, terrible friend going ghost but the end of poisonous, past exclusive relationships.
She may be pretty and polite, but the cold, motionless switch up when making use of her blackened heart is even prettier. Nobody wants to necessarily be a villain in any opening and or closing story, but sometimes they can be perceived as such by chatty-patty gossipers around them, fabricating the narrative. “I will never play it safe,” says Morale, dressed to kill on a revenge trip for this hellish detour, rocking red bondage, sympathizing with the devil; Morale prefers to call this her unapologetic, unhinged era. Though chaotic and hot under the fierce, spiked neck choking lyrics, “There’s a place for you in hell,” the Angel from your nightmare, Jessica Morale is here to sit on the throne, owning you, me, and everyone else we know.
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