070 Shake’s ‘You Can’t Kill Me’: Track-by-Track Breakdown

You Can’t Kill Me. This is what Danielle Balbuena unleashed to the world when she announced her sophomore album, the follow-up of her 2020’s Modus Vivendi. The encounter with 070 Shake at this stage of her meteoric rise has been fascinating. Apart from the collective 070 and her ties to Ye’s Wyoming albums and the ubiquity earned from her interpretation of Madonna’s “Frozen”, 070 Shake is, in actuality, an unsolved mystery. The main difference is in the artwork used on her debut album, drawn by Sam Spratt, where she’s depicted as a futuristic, android-like astronaut, with her 070 face tattooed in transparent site, compared to the smudged-out earthy oil painting, repping the song You Can’t Kill me–where she’s name is a mystery beyond recognition adds an element of mystery. This gives listeners who are new to the genre the opportunity to go back. To become familiar with each aspect of Dani Moon: from the voice to the distinctive sound that is difficult to define.

This new album is a different story as with each listen, new tiers reveal the spectacle of incredible music. In their first ever written collaboration, Mic Cheque and Iamkingawritings offer a track-by-track breakdown of 070 Shake’s critically acclaimed album You’re Not Killing Me.

“Web” is a well-engineered large, broad opener. It establishes the progressive aspect of the album, slowly ascending over two minutes, allowing for harmony that is blissful by the time it’s over. Lyrically, it establishes the mood for “You Can’t Kilt Me” with its tiny emphasis on romantic relationships. In this song, Shake warns her lover that she will not “go get caught up in that spiderweb” to set the stage for the torrent of emotions that ensue. Even though it’s a mere two-minute introduction, “Web” is an effortless standout, showcasing the best elements of the album. –Hamza

Imagine a moment that’s inviting you to be present throughout its duration. You don’t have any fears about the past, or concerns regarding the near future. The opening track of “You Can’t Kill Me”captures this perfectly, because Dani Moon succeeds in creating an effect of positive cascades through “Web”. The way her androgynous voice moves between spoken words, to the harmony, this arrangement creates a mix of vibrant voltaic harmonies that seamlessly disappear in “Invited”. —Amanda

“Invited” takes the slow emotional pace of “Web” , up a gear, utilizing the steady climb of a light harp strung speed; and an intricate hook performed by Shake and then settling in her auto-tuned voice that keep the authenticity of her voice. “Invited”‘s storyline sways between the details of a failed connection and attempts to repair it, however the track is the embodiment of paradise. All the way to the spiritual references in the song’s hook”I’m hoping you got the blessings I sent, under Allah ” I’m hoping you got, the blessings I sent, under Allah” The song The song informs the listeners that Shake actually tries to repair what’s gone wrong. She makes this her purpose through the song “Invited”. –Amanda

The album’s most minimalist track. The album’s ‘Invited’ walks through the senses, accompanied by electronic voices that contrast with the harp that moves through the music. Listening to “Invited” is as if you’re walking across a landscape of artificial flowers. It is acoustically solitary track that isolates Shake’s ways that aren’t often heard on the main stream. This creates a distinct impression of the natural and the unnatural. In contrast to the other tracks in the You Can’t Kill Me, “Invited” holds the building of intensity for a while however, it works for its benefit. It may feel like a flat song at first however the minimalistic vibe is able to work by exposing it more. There’s enough there to create the dreamy ambience Shake is aiming for, and capturing the romantic angle well. –Hamza

Three-part show that spans from church music through to Great Gatsby score, followed by a pulsating break that concludes the love story. “History” embodies the remarkable recording’s production featuring luscious strings and rumbling drums and mechanical synths work together to create the ferocity of the song. The fact that there are many cogs moving is what is what makes “History” a treat of an experience. It’s constantly changing, developing every minute in ways which throw conventional structure completely out of the door. It’s the most ambitious track on the album, with multiple heights and boasting one of the greatest hooks. It’s all done with an enthralling ambiance in every single moment. In the whole this can be described as Shake in her best form, poetic and vulnerable. –Hamza

“History” sucks us into an experience through its orchestral beginning; in a way, it represents the artist declaring her love for the person being addressed. Shake utilizes the track as a time stamp to declare that whatever was shared with the love of her life and will be remembered forever. “For the books,” is a popular phrase. The abrupt change of circumstances just a few minutes in the track, reveals the darker, more dramatic aspect, opening the way for an electronic, high-energy essence to drive through. The rockstar guitar grooves and intricate beat alternations along with the constant playing with the symphony enhance 070’s romantic, poetic, escapist style of lyrical delivery. The song is powerful enough to make goosebumps. A bold work that is sure to be remembered in the sense that it is among the most well-constructed tracks on Dani’s discography, if we listen to it years later. —Amanda

Slow reverbs that are infused with passion as the lyrics are spoken. The dark side of the song is hidden in the midst of this track, which is amplified by the hard electrified vocals that weave throughout the production. Even with the overall duration of 3 minutes 15 minutes the song has an interlude-like feel created by Medicine. It is able to fulfill its mission as a tranquility in the midst of the chaos. —Amanda

“Medicine” is a moment that is more of an interlude, though it’s it’s a pleasant one. The song continues to employ the murky synths all over the album. Shake’s affectionate writing style is clear however, it’s not the most innovative or intelligent. It’s a result of its production for the song’s most memorable, with the synth-pop-inspired progressive style which runs through the album. It is, however, Shake’s unfiltered, ethereal emotion that creates “Medicine” another moment that keeps your focus. –Hamza

The album’s first single is probably the most familiar track it’s is also one of the most addicting. “Skin and Bones” showcases Shake as natural romantic, blending synth pop and alternative R&B and lyrically examining the depth of her love for her into their love affair. Shake’s writing talents are in full display with a poetic and lyrical touch which is equally melodic. The last third of the track is a journey into galactic space, with the VN album’s distinctive synths. It’s a well-constructed, expansive track that separates itself from the background and also blends in with the other tracks. –Hamza

“Skin and Bones” debuted as the lead track for the album’s rollout. Its inclusion of The album You Can’t Kill Me is a treat that invokes nostalgia as well as something that people who first heard an artist they like will be able to enjoy. The subject matter here is a love story that can make anyone long for the person to spend time with. Dani is here, Dani gives off the impression that reminiscing over the intense, but mysterious romance is actually her most-loved hobby. — Amanda

“Blue Velvet” catches fire by exploding with rapid thrums in the beginning, which serves as a loud warning. But the abrupt shift to a sluggish steady, mournful pace – accompanied by tiny taps that could be the sound of the hand-held Ashiko drum – suggests that the song is not about danger as Dani expresses her sorrow over the possibility of losing someone in a split moment. Shake makes a variety with her delivery through shifting between a mid-tone exactly as her real-time pronunciation and a voice that’s doubled up using auto-tune, and a more unpredictable frequency. By hearing this kind of voice and the accompanying journey through the highs and lows associated from her fear of. —Amanda

A slow-paced track that first removes the layers, leaving Shake’s vocals in the most vulnerable form. In terms of vocals, “Blue Velvet” is one of the album’s finest moments, as it encapsulates an emotion so raw that pulls at the heartstrings of those who listen. It also ensures that its repeated percussion doesn’t get boring changing to a variety of a soaring production in the post-hook. It’s an excellent illustration of You Can’t Kill Me that uses simple techniques to benefit the listener that provides an escape from the complicated structure that the record has. –Hamza

“Cocoon” is a dance track that is the most surprising of the album, carrying lyrics that speak of development. It’s a song of motivation which showcases Shake’s versatility writing songs as well as her ability to adapt to any type of music thrown at her. With its dance-inspired elements it’s difficult to pinpoint to a specific time period, with a distinct look that’s a part of 070’s experiments. Even though it’s not bursting into flames, “Cocoon” is finely set in the tracklist and provides a refreshing break from the norm. –Hamza

A fast-paced, bouncing in the bass provides “Cocoon” the kick it must give to build expectations for the kind of song it’ll be. It is enhanced by Shake’s dark vocals, it continues to go together with her eloquent lyrics that serve as a guideline to get up and further accentuate the desire to dance. “Cocoon” peaks at the moment when the music goes off the rails with its dazzling beat alternation. This creates shock waves, which are further enhanced by Shake’s unique magnetic force. —Amanda

Shake delivers a breathtaking piece of art that is intensely sensual, with emotion supporting the skeleton of “Body”. The music is a pulsating experience that vibrates throughout the duration, intensifying the entire emotional journey. The music is sung by Christine along with the Queens employing a more gentle touch, it establishes the dynamism that is embodied throughout. In addition to “History” and “Come Back Home”, “Come Back Home”“Body” adds two tracks to complete the You Can’t Kill Me‘s sacred trinity. —Amanda

“Body” brings a collaboration with the album’s only feature, Christine and the Queens who are the sole owners of the track’s minor portions. It’s a calm, gentle track that requires patient listening. The reason it is so appealing is the speed and sensitivity of the music and the sexually enthralling performances by Shake and Christine (“Talk to me using your body when you don’t work be anymore”). Christine’s voice is in stark contrast to Shake’s robotic style and she is a force in her lyrics. The listener will be rewarded every time synths pop in, fade away, and then reappearance at different points in the track. “Body” is a tune that never ceases to surprise despite its basic nature. —Hamza

“Wine and Spirits” ditches the synths in favor of a mellow song with a guitar, which is similar to songs from the album by Post-Malone called “Stoney” album.. It’s possibly the most rough track on the album, with an uninspired hook and a lack of lyrics. It does keep the album’s goal of progress in production, eventually shifting from acoustic to the electronic guitar solo. Although it’s not one of the album’s finest, “Wine & Spirits” isn’t one that just comes and goes. —Hamza

“Wine and Spirits” being the only track to feature Acoustics is a quick distinct. This abrupt departure from the heavy metal sounds captures how vulnerable Shake’s heart as she continues to warn listeners of the risk of self-destruction when it comes to an event that is real. She also warns about the danger of being confused by an answer that may actually further ignite an uneasy situation, namely the feeling of having to find someone. A fusion of familiar rock soundscapes is heard towards the end of the album, revealing the difficulty of letting the old patterns or aspects of a persona, as Shake is adamant about her way of life. The song is a mix of romanticism and escapism as a cure for the issue that’s causing pain is evident to be in the need to be “each other”. —Amanda

The narrator’s confession of what he suggests to be errors, confusion over the various lyrical structures that can be divided into multiple narratives, and a multi-dimensional performance brings out an enthralling passion that transforms into “Come Back Home”. The enticing build-up, through the piano, and the constant repetition of the question “is it okay, if I come back home?”really will set the stage for an lyrically enthralled, operatic journey that is accompanied by a ferocious digital Fusions. The rock and roll heavy tones, in conjunction with each other element of music that is utilized to the fullest extent, is how Shake really solidifies her self-aware, rebellious rockstar image she’s created for us. —Amanda

Experimental and abstract, ‘”Come Back Home” is the most perfect instance of You Can’t Kill Me pushing the needle with the realm of sound and structure. “Come Back Home” takes pleasure in its structure changing and inability to know the exact cycle of the five minutes. The power source is electric, enabling the track to deliver blasts of sound to listeners. The sultry strings, the delicate piano keys, a soaring electronic guitars and throbbing synths all make an impact on the track, threatening to reach the highest levels of sonic sophistication. The second segment is most addicting, with the sound of an orchestra that has been manipulated from creation to the singing. The lyrics are soulless chants that act like hysterical voices in Shake’s mind that take over the brain (“This one is talking about the other, and the other one talks about Blah”). The lyrics are a reference to the album’s the album’s opener “Web” through the line “I found out I was your last ride home” which is a more bleak twist of the introduction’s line “What sort of person am I? Should I allow you to travel for hours to me”. It is clear that your perspective is changing over the duration of the album, which is what makes “Come Back Home” a perfect centerpiece from the album You Can’t Kilt Me. —Hamza

The album’s biggest hit that is guaranteed to rock any performance of any kind. The repeated lyrics are hypnotizing, like the hooks that drop. Awe-inspiring in its both sound and mood, “Vibrations” feels like an appropriate conclusion to You Can’t Kill Me even if it’s not. There’s a sense of a conclusion when Shake is able to concentrate on her feelings, with no one else on the scene. But, the eerie opening is too long. It would be better by jumping right into the track. The track is, however, “Vibrations” is a dance-floor anthem with a positive energy. —Hamza

Imagine being in a nightmare and running into a hollow space. In a state of confusion, you are unable to locate an exit until the hope comes through to prove that it is the existence of. It’s there right in front of your eyes. An opening, a passage and an entrance, taking you to a state where you’re in harmony. However strung-out the opening is, this is what “Vibrations” is. Incorporating every characteristic of a mysterious aura the sonic rumbles through with a joyful sound that combines with Shake’s higher pitched vocals. It’s an extreme contrast to the smooth, deep metamorphic style we’re familiar with. When it’s played in live performance, the intensity that leads to the stage when Shake shouts out the first distinct line will cause any concert venue to be erupting. —Amanda

Piano-strung “Purple Walls” reveals a tired, agitated rendition of Dani. The heart-throb theme is incorporated in the genesis of this track, allowing Shake to convey her sorrow of words or resentment towards the past relationship. The interlude-like vibe first created through “Medicine” is mirrored here however a more mellow vibe is carried through the song suggesting the end of what was and acceptance of what is to be. —Amanda

Shake is in her most vulnerable state in “Purple Walls”, a delicate ballad that speaks to the comforts of romantic love. It’s one of the rare tracks that do not suffer from the album’s synthesizers, allowing in its ability to stand alone and provide something unique. It is a great way to break up the album’s sonic complexity that can be overwhelming to listen repeatedly. Again, the emotion of Shake is convincing. She conveys her feelings with genuine warmth, which is the reason that even the weakest tracks on the album stay clear of the skip. —Hamza

Kid Cudi’s influence can be seen in full display in this track. “Stay” pleads for a lost love’s devotion and is the album’s final attempt to save the relationship. The strained, imperfect vocals add to the emotional tone of the second verse, and the hook (“I am so lonely and I’m not letting that leave”). It’s not certain if the appeal is effective however, the powerful production suggests there’s a light in the tunnel. Even in the closing moments of the album Shake is able to convey the same kind of emotion that was evident at the beginning, atop of a soaring melody. —Hamza

An intimate love letter describing the disconnection in love. Shake sets the stage and opens her heart to let us experience the Polaric moments described by “Stay”‘s lyrics. It reveals the emotions and the lows of that love. Inspiring by an iconic beat and the most eminent adlibs “Stay” takes us on an epic journey that will convince you to keep on. Stay close to Shake’s side regardless of the person would like to be there doesn’t. Particularly when those calls that read ” hold on, don’t let me go,” are repeated in succession. The energy build up leading to the time of the chorus is exhilarating and emotionally powered. It’s an example of the artist’s diverse music isn’t restricted to one genre of sound only. —Amanda

“Se Fue La Luz” is a Spanish translation of The Power went out , and having such a title as the closing of what is what is a strong song, this is Shake ending her career. A perfect track for a victory lap for the track-star in her final goodbye to this period that she has recorded. There’s something Gatsby in the way the track fades into a music that evokes jazz, and is accompanied by the triumphant trumpets. Instead of Leonardo DiCaprio raising his glass to toast his sweet tooth during his big moment on stage as Jay Gatsby, it’s Dani Moon substituting the image of him taking the shine with her and watching the firework display fly in her direction. —Amanda

“You Can’t Kill Me” appears to end with Shake in a solitary. “Se Fue La Luz” is a heartbreaking close that concludes the album’s chapter of optimism. The song’s chorus is by Shake in his native Spanish and is the perfect addition to the album’s poetry (“Light in my world The moment you left to the dark, the power was gone”). The song’s structure is very simple, however the album’s emotional heft explodes in “Se Fue La Luz” which is a strong reminiscence of the gut-punch track “Terminal B” off Shake’s previous album, Modus Vivendi. If there’s one thing that 070 Shake does well is to close an album with tears. —Hamza