My main issue with “CASE 143” is the busy instrumentals cluttering the background to the point where Han, Felix, Hyunjin and Changbin can barely be heard from underneath the auto tune in the first 30 seconds of the song. However, the weakest part of “MAXIDENT” is the title track. It’s a complete turn of the coin from the dark and powerful aesthetics of “ODDINARY.” The project’s eight songs are bright and youthful, while still managing to maintain the group’s experimental and high-energy musicality. As a fan - or a part of their fandom “STAY” - since before Stray Kids’ debut, I was interested to see how the group would tackle this sweeter theme. Its past songs, such as “Thunderous” and “God’s Menu,” tend to focus on being different and coming into your own identity. “MAXIDENT’s” theme - love - is a concept the group has never explored before. Says Udeorji: “One big question in the that’s often discussed is, ‘How can we represent Atlanta for the people in Atlanta?’ People like Jo Swank, Jamal Olori and Stephen Glover are big on representing Atlanta to the fullest through the music.Six months after Stray Kids’ last album “ODDINARY” and accompanying world tour, the octet’s newest mini album “MAXIDENT” released Friday along with a music video for the title track, “CASE 143.” It made the decision to use his music feel like an Atlantean tribute to the late rapper. The title card drop of the final season’s second episode, “The Homeliest Little Horse,” features the Young Stoner Life track “Warrior” with its selected portion prominently highlighting rapper Lil Keed, who died in May at the age of 24.
Final print music license#
When the show does license Atlanta hip-hop songs, the decisions tend to be made with a precise pulse on the current regional scene. “ once we got in the room and saw where everything was at, it was just a feeling of, ‘Well, there’s obviously no beating this one.’ So we went and negotiated the rights.” “The writers are so connected to the characters and the storyline, as are the editors and Hiro, and there are specific choices that they will give to us that they want to tell the story of each episode,” Malone says. Seething from the day’s events at a family dinner, Raleigh lashes out at a young waiter, ending the episode on the most fitting of needle drops: “Save the Children” by Gil Scott-Heron. What is meant to be a relaxing Sunday for Raleigh ends as one of shame, with the elderly father facing ridicule from a group of insensitive teenagers for his wardrobe choices, particularly a new hat he purchased from a pursuasive saleswoman.
Final print music series#
This collaborative partnership - along with the diverse musical palettes of the show’s creatives - has made the music of the series more of its own character than an afterthought.Ī recent example of this cohesion comes at the end of the final season’s fourth episode titled “Light Skinned-ed,” in which its subplot chronicles a day at the mall with Earn’s father, Raleigh Marks (played by Isiah Whitlock Jr.). While Malone is a tenured music supervisor in her own right, serving the same role on shows like “Euphoria” and “Yellowjackets,” Udeorji came into the role throughout “Atlanta’s” run, having previously been attached to Glover’s creative circle. The two share that their close collaboration with Glover, director Hiro Murai and the show’s writers, including brother Stephen Glover, Stefani Robinson, Jamal Olori and others, means many of the licensed tracks that end up in the series were initially ideas born out of writers room. “Our decisions were mostly about not having set expectations of what these characters listen to, and the song choices also aim to mirror where the characters are at in the story,” Malone says. His character’s sensibility and fondness for indie music carries over into the show’s final season, when viewers hear about five seconds of Japanese Breakfast’s “Kokomo, IN” in his car before a phone call from Brian Tyree Henry’s Alfred interrupts the track. For instance, in an early season-one scene, Glover’s Earn lays on a couch, staring down the barrel of a revolver pistol while indie darlings Beach House’s “Space Song” blares through his headphones. “We’ve developed this sort of spectrum that has since become streamlined, so you can have everything from Kodak Black to Beach House and have it work seamlessly.”Ĭuration goes hand-in-hand with character, Udeorji and Malone explain. “With the show being rooted in music, there’s one side of that with the writers, Donald and their Atlanta sensibilities, but also being mindful to not lean too heavy on what people’s ideas of what Atlanta is,” Udeorji tells Variety.
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