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Chloe Moriondo - Fruity

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Chloe Moriondo - Fruity
Chloe Moriondo - Fruity

On at about 16:41:59 PM, Chloe Moriondo - Fruity was updated.

YouTube sensation and American singer-songwriter Chloe Moriondo has dropped a brand new single called "Fruity" off her upcoming album "SUCKERPUNCH."

Chloe Moriondo's latest album, SUCKERPUNCH, showcases the many eccentric personas inhabited by the singer/songwriter, including a giant vigilante who collects bad boys like figurines, a shaved-headed Barbie who pops champagne corks, and a Hello Kitty-clad boxing champion.

The 19-year-old Michigan native uses the form of rapid-fire storytelling to delve deep within herself and uncover startling insights into issues of identity, obsession, and the tangled nature of authority after the success and critical praise of 2021's Blood Bunny, which was included on best-of-the-year lists by publications like The New York Times.

The marriage of SUCKERPUNCH's high-voltage sound with their own is the most gloriously unfettered work to date from a truly distinctive creator.

Moriondo, who was recently included on Billboard's "21 Under 21" list, said that he "let himself go a lot more free-form with the lyrics as I composed these songs," which enabled him to concentrate on crafting something that was pleasant to make.

"Writing from many points of view makes it much easier to let go of self-imposed limits and begin thinking more broadly.."

SUCKERPUNCH is Moriondo's third studio album and a radical change from the controlled indie-pop and restless pop-punk of Blood Bunny, frequently reflecting the total unpredictability implied by its title.

"The name of the record, which refers to a surprise blow that one could not have anticipated, appealed to me," says Moriondo, "since I've always appreciated boxing as a healthy release for pent-up wrath."

She worked with Oscar Scheller (Rina Sawayama, Charli XCX), David Pramik (Machine Gun Kelly, Oliver Tree), and Teddy Geiger (Caroline Polachek, Olivia O'Brien), among others, to create SUCKERPUNCH's innovative and delightfully boisterous brand of pop (including, at one point, beats built from the guttural roar of barking dogs).

Despite the drastic shift in style, Moriondo nevertheless injects each song with a diary-like honesty that has garnered her millions of followers across the world in a relatively short period of time.

The album kicks out with "Popstar," a gorgeously asymmetrical ode to the pop queens who served as an inspiration for much of SUCKERPUNCH. The song's mood shifts from comic to confessional to emotional to violent.

Moriondo adds, "I intended 'Popstar' to sound like a combination between Britney Spears and Kesha, and that's how the album turned out."

"I have so many happy memories of Kesha from my youth, whether it be listening to her music on my purple iPod Nano while rollerskating or grooving out to her with my two best friends in high school. Very few living painters today possess her level of energy.

After that, SUCKERPUNCH launches into "Fruity," a sticky-sweet escape hymn propelled by gang vocals and ideal for joyful screaming-along.

Moriondo explains, "The idea behind 'Fruity' was to suggest a setting comparable to hanging out at the beach with a bunch of lovely women wearing bikinis while drinking sodas and munching on ice cream and frozen fruits. "I wanted to add a summer tune to my catalog, and this one kind of wrote itself."

While tracks like "Fruity" and others on SUCKERPUNCH emanate an unyielding spirit of optimism, the album also reveals some of the darker parts of Moriondo's character.

"I was so sick of people seeing me as a weakling that I wrote some of these songs when I was extremely upset," she said.

She wants to stress that very point.

The album's more blistering moments can be found in the frenetic catharsis of "Stay With Me" and "Stay With Me (Remix) "Handbag Made of Plastic," in addition to the hilariously scathing "Trophy," which Moriondo describes as "a song for girls who want to feel better about themselves, and maybe go key somebody's car."

"Lyric-writing for that song was the most enjoyable experience of my life," says Moriondo.

"It was cathartic to vent my frustration at the dunderhead indie boys who prey on girls by imagining them as small critters I could easily capture and stow away in a plastic purse."

Amidst the song's frantic beats and tempo changes, Moriondo slams the "bonehead Cheez-It brains" in the opening verse before building to a supremely arrogant outburst in the chorus ("Rub the lamp, you want it, I'm a genie/I'm a punisher, call me Phoebe").

It's in "Celebrity," a scathing yet emotionally raw critique on the poisonous nature of celebrity, that Moriondo's enormous sensitivity becomes most apparent, though it's present throughout SUCKERPUNCH.

Moriondo comments that the album's beginning tracks are aggressive and self-assured, while the album's ending tracks are melancholy and desperate.

I was uneasy with the idea of competing for attention or wanting to be exciting and appealing to an audience when I wrote "Celebrity," one of the more sensitive songs on the record. It took me some time to get comfortable with the idea of sharing it with the world.

A nuanced piece of drum and bass, "Cdbaby3" by Moriondo effectively conveys the anguish of unrequited love ("Now some songs make me sick to my stomach when I hear 'em/How'd I let you ruin one of my favorite albums?").

Moriondo explains, "I was going through some rough emotions over a guy who isn't all that important to me now when I wrote that song."

You may have already worked out your problems with him in the song, so he may not have the same effect on you as he once did. However, in "Cry," The final moments of SUCKERPUNCH feature an emotional declaration of love set against a gloriously glitched-out background.

Moriondo describes the final track of the album, "Cry," as "a highly audible one" if "Cdbaby 3" is a calm exhalation. It's me telling myself it's okay to feel sad all the time and expressing anger at how often that happens to me. It's not easy, but there are times when showing all of your feelings is imperative.

Moriondo's "Hell Hounds" is her most outrageously unique composition to date. Beautifully chaotic, this anthem continues the canine saga begun on their early 2022 EP, "puppy luv."

She reflects, "I wanted to make an aggressive, upbeat song that everyone could enjoy while punching the air to, and the result was a great first step toward the album's intended sound."

After that, Moriondo released songs like "Hotel for Clowns" and "Dress Up," letting her irrational creativity run wild (a hypnotic piece of left-field pop they summarize as "a party song for girls who want to be Barbie dolls but never really felt like one").

According to Moriondo, SUCKERPUNCH was inspired by artists like Ashnikko, Charli XCX, and SOPHIE, and the band's creators intentionally moved away from the insular approach they had taken when writing songs on ukulele and guitar as teenagers and continuing into their first album, Rabbit Hearted.

She explains that for this album, she collaborated with many of the same people she had previously worked with for Blood Bunny because she knew they would give her plenty of great ideas without being overly possessive.

When writing this song, we didn't let ourselves get bogged down by the pressure of trying to make something truly exceptional; instead, we focused on experimenting with different musical styles and lyrical approaches, sharing jokes and playing around when the spirit moved us.

Chloe Moriondo hopes that, with the release of SUCKERPUNCH, she can give readers the same sense of carefree joy that she experienced while writing it.

I want people to get what they want out of this album, whether that's to enthusiastically embrace and dance to the songs or to thoughtfully contemplate and ultimately reject them, says Moriondo. "I want kids to feel like they can do whatever the hell they want and never have to care what anybody thinks more than anything else."

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