Key has always been an artist that seems out of place in the current musical landscape. He just feels too… big for the world of smartphones and streaming. His music has a grandiose energy that is better suited to arenas than earbuds, with a flair for visuals that mean his MV’s should be inciting fistfights on TRL rather than racking up YouTube hits. And his newest EP, Pleasure Shop, is no different.
While the MV for the title track is a warning against an over reliance on the escapism of technology over human interactions, the EP is a stark reminder that not all human interactions are created equal. Instead, Pleasure Shop is a stark reminder that, to many people’s dismay, you cannot fuck your way to emotional fulfillment. Though, to his credit, Key gives it his best shot.
Pleasure Shop is a project built for two places: the club and the bedroom — and that is made clear from the opener. “Pleasure Shop” is perfect to grind up on someone to. Sleek production of clean synths, R&B rhythms, and an infectious groove that makes sitting still impossible, it’s a fun time. But it’s also cold. From the robotic introduction to the overly sharp synths to Key himself, restrained and flat. That, however, is the point: nothing about this is real. Key might be offering to be whatever you want, but that just highlights the insincerity. How do you make a real connection with someone who is only being what you want?
The obvious answer is you do not. “Overthink” has a very simple premise: Too horny to think? Then don’t! Key is pleading for his partner not to overthink, but it’s clear that he means don’t think at all. Ignore the doubts, hesitations, and questions, just get down. The production only aids in it. It has the same infectious groove as “Pleasure Shop”, but with a more driving, thudding beat, pushing you to just let go. Then there’s the synths. Twinkling, warbling, and constant; they do grate somewhat but are excellent at pushing away thoughts and letting the music overtake you.
Things slow down on the next track, “Golden”. It tones down the synths and bombast, but it still carries the slickness and ephemera of the previous songs. Bafflingly, despite being the most stripped down track on the EP, this one where Key’s voice is just buried in the mix. Even more bafflingly, there are times where his voice veers into shrill, which… he can hit those notes, no problem. It’s a real shame, because longing and devotion are two things Key excels at. Yet, again, “Golden” refers to the golden hour, when the rising or setting sun makes everything look beautiful. While Key wants to preserve that moment and keep everything that perfect, it’s not possible. No matter how hard you try, reality will break through, and life is never as pretty as the photos anyway.
The inability to paper over cracks in the relationship only gets worse on the next two tracks. “I Know” is dark and accusatory. It’s still sexy as hell, with a killer bassline and Key pausing at the end of each line to keep the audience leaning in for that last word before kicking over to a lighter, more danceable chorus. But the soundscape and especially Key’s delivery have a bitterness that would lead one to assume this is a breakup song. It’s not. It’s a love song. Ostensibly, though Key sounds so resentful for this person for getting him to fall for them that there is little doubt everyone would be better off if it was a breakup.
This is followed by “Going Up”, which carries on the dark tone of the previous track. However, the overt aggression has been replaced by insidiousness. Key here is aware that the relationship is failing. Yet he ignores the arguments, the doubts, and the growing distance, choosing instead to tempt his lover back into bed. But the willful obliviousness in the face of sex is clearly reaching the limit. “Going Up” has Key needing to try harder to get his partner to ignore their issues, and the instrumentation mirrors his struggles. It’s overly slick, to the point of feeling slimy. The basslines and grooves that made you need to dance have been replaced by synths that are compelling and interesting, but not distracting. Finally, Key’s attempts to cover his emotional issues with sex have faltered.
Key finally owns up to this on the album closer. “Novacaine” sees an abandonment of the slick R&B that has dominated Pleasure Shop for a more electronica-influenced sound. And while it is the least organic track, with robotic filters on Key’s voice and more post-production effects, it is the most honest. He’s desperate and lonely; acutely aware of his tendency to seek shiny new toys as a coping mechanism but wanting something genuine after so much hollow insincerity.
Pleasure Shop is a fun ride. The basslines are great, the synths engaging, and the grooves are so good that listening to it sitting down rather than dancing in a club feels vaguely illegal. But Key is reminding us all that no matter how fun that ride, sooner or later, you have to get off. Distractions and good times cannot fix deeper issues, and the longer it gets put off, the worse it gets. So, go forth and have fun. But try to be self-aware as to why.
(Images via SM Entertainment, YouTube)
