Sometimes, when one is alerted to an unlikely duo working together on a remix version of a song, the initial reaction is one of skepticism, followed by unexpected “head-bopping.” This as a result of quickly coming around to the unlikely duo in question because the remix they’ve put out actually comes off quite well (e.g., the PinkPantheress and Zara Larsson remix of “Stateside”). Other times, even when a duo is theoretically well-matched, the result turns out to be surprisingly unfavorable (e.g., Ariana Grande and Mariah Carey working ensemble for the “yes, and?” remix). Which brings one to Tame Impala and JENNIE joining forces to remix the former’s third single from Deadbeat, “Dracula.” For this particular collaboration is something that falls into an entirely different “new remix featuring…” category.
To sum up this third, other kind of remix category: Tame Impala and JENNIE not only seem like they wouldn’t theoretically “mesh well” (to use a Tai Frasier expression) on a musical level, but they also, as anticipated, do not. So no, there is no “pleasant surprise” to be had with the “JENNIE Remix” of “Dracula.” That much is obvious from the very beginning of the song, which sounds no different than usual as Kevin Parker emits what is now his signature “ah-ah-ah-ah-ah-ah-ah-ah-oh” before the beat drops and takes the listener on a journey through the night (regardless of whether it’s daytime when they’re listening or not). At around the thirty-eight-second mark, however, JENNIE makes her presence known with the line, “The shadows, yeah, they keep me pretty like a movie star/And daylight makes me feel like Dracula.”
Tame Impala then wastes no time in taking over again, delivering the chorus, “In the end I hope it’s you and me [though no one could have ever imagined that might refer to Parker hoping it was him and JENNIE “in the end”]/In the darkness I would never leave/You won’t ever see me in the light of day/It’s far too late.” This declaration being one that doesn’t really fit in with JENNIE’s persona the way it does with Parker’s. So maybe that’s why Parker opts to instead give her another line to repurpose from the original song, having her remake it as, “My friends are saying, ‘Shut up, Jennie, just get in the car.’” (Previously, the “Jennie” in that line was, what else, “Kevin”). But, for most of the song, whenever JENNIE “appears,” all one wants to do is tell her to shut up full-stop because none of her “add-ons” to the track do anything to improve it.
It can’t even be said that the pronouns were changed from “I” to “we” in the following verse, “We saw this moment coming from afar/Now here we are.” If that had been the case, it would have made at least something about JENNIE saying the line instead of Parker somewhat “special.” And yet, it’s just another aspect of what makes this so-called remix utterly “throwaway.” Done solely for the purposes of putting two names together that seemed to think they could benefit from one another’s fanbase. Though it’s obvious, if anyone were to benefit from it, it’s probably Parker, who could use a “jolt” of “JENNIE energy” to attract some new (or at least slightly more diverse) listeners. This being most overtly indicated by the fact that, mere days after the Grammys, Parker was spotted wearing a JENNIE t-shirt as a means to confirm their rumored collaboration. Though, in truth, it would have probably been preferable for them to work on an original song together, rather than trying to pass this “remix” off as anything even remotely unique.
When the part that is “unique” (or is supposed to be, anyway) finally does arrive—JENNIE’s little verse—it does little to impress, with the Blackpink member-turned-solo artist trying her best to stay on vampiric theme by “rapping,” “Hey Kevin, what’s up?/Come pull up in my spot/Let’s keep the night glowin’/I don’t ever wanna stop/I’ll never leave this floor/Got me needin’ more/Sky is turnin’ blue/Let it clear the smoke/Lip stain on the rim/Bass is ‘bout to blow/Sinking in my teeth, I buy time.” Alas, no amount of “time-buying” throughout this song can make it even remotely interesting compared to Tame Impala’s solo iteration.
Indeed, the most “interesting” and “altered” thing about the remix is that the original video, directed by Julian Klincewicz, is repurposed (now as a “lyric video”) in such a way as to further focus on the outdoor “zombies” of the narrative, stylizing the footage in a manner that lends it an even more surreal quality. Even more surreal than Tame Impala and JENNIE working with one another. And when JENNIE is the one to woodenly repeat, “Run from the sunlight, Dracula,” it’s an urging that only makes the discerning listener want to run from this remix and straight back into the arms of the original. But hey, not every remix is destined to usurp its OG version. In other words, they can’t all be Tove Lo’s “Stay High (Habits Remix)” or Charli XCX and Lorde’s “Girl, so confusing.” But maybe they should be, if an “effort” like “Dracula (JENNIE Remix)” is any kind of motivation for subsequent attempts at unexpected remix pairings.
Genna Rivieccio
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