![]() ![]() Even better in fact.īut the things that sonically make “Devil Inside” cool are also the things that let it down for me. “Devil Inside” sounds as good now as it did back when it was first released. ![]() And this lo-fi production style is one which would permeate Hip-Hop, Trap and even sectors of pop and dance many years later to this very day. The whole sound of the song is one that Kanye West would adopt for his critically acclaimed album 808s & Heartbreak 4 years later. I hate the term ‘ahead of its time’, but “Devil Inside” did in 2004 what many other artists wouldn’t do until years later. “Devil Inside” sets a clear mood, and unlike “Easy Breezy”’s awful Japanesey line, the nods to Hikaru being Japanese is in the sound itself, with the use of the koto, although maybe some feel the koto is a little too on the nose for a US release. But whilst I do feel “Devil Inside” is a little very under produced, it does have a great sound on the whole. It has a vibe as though Hikaru Utada sequenced it herself, and that it was perhaps one of her earlier attempts of putting a track together with no input from anybody else. And given how “Easy Breezy” was made the lead promotional single for Exodus over “Devil Inside”, I guess Def Jam felt it wasn’t a song Hikaru could never release in the US either.Ī criticism I had with much of Hikaru Utada’s US debut album is that the production felt a little too basic and unrefined, and “Devil Inside” falls victim to this. And it also came off like catharsis, because it was never a song that Hikaru would and could never have released in Japan. It felt like an introduction to a side of Hikaru that we hadn’t met before. Even amongst the oddities on Exodus, there was at least a trace of the Hikaru who we’d grown accustomed to across First Love, Distance and Deep River. Very little did on Exodus really, which was part of what made it such a fresh and interesting album to listen to, even if none of it immediately gelled. “Devil Inside” was a peculiar listen initially, because it sounded nothing like anything Hikaru Utada had released before.
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