Blood On the Silver Screen
On “Slugger,” the first track from SASAMI’s third album, *Blood on the Silver Screen*, the singer stamps out one of the oldest clichés in the book. Over shuffling hi-hats and a rubbery bassline she sings, “Whoever said that it’s better to have loved and to lost/Than to not have loved at all/Should just shut up forever.” Alongside co-producers Rostam and Jenn Decilveo, the LA-based indie rock star takes aim at the lovers and lust-hungry obsessives throughout. On “Love Makes You Do Crazy Things,” guitars screech and shout before SASAMI rolls through with a metal-worthy solo during the introduction. “Bet it all on you, now I gotta leave town,” she sings, exposing the dark underbelly that exists beneath the surface of pop music’s romanticism. The album finds her moving away from the experimental songwriting of previous records like 2022’s *Squeeze*, instead turning in a streamlined and diamond-sharp ode to the parts of love that suck.
On her third album, the Los Angeles songwriter pivots to pop. When she leans into outsized production and campy hooks, she soars—but more often, her anemic songwriting falters.
Blood On the Silver Screen dresses itself up and dazzles with an ill-fated, hook-laden confidence that Sasami wears supremely well.
SASAMI's latest album Blood On the Silver Screen is steeped in nostalgia, but sadly lacking the raw edge of intuition that came across in her earlier work
More often than not, albums of empowerment are hard terrains to navigate. It’s like trawling through a rainforest teeming with deadly snakes, a swamp
The US artist segues from industrial metal to radio-friendly pop most memorable for its vividly relatable lyrics
Blood on the Silver Screen sounds like a sonic masterpiece for modern times, with SASAMI's ability to dazzle in varying formats while singing her heart out.
Blood on the Silver Screen by Sasami album review by Micheal Mannix, the album drops on March 7th via Domino Records and DSPs