Wildin is not going-hard, it is spinning, throwing, scratching. It is a high-voltage signal transmitted on the brink of the personal collapse, in sludged hooks, trap-infested beats, is a track that contains whispered threats and auto-tuned screams. It does not sound like a cry for help. It is a twisted flex in trauma wrapped-up in–a song of the monster by a man who is half-way to self-destruction and half-way to godood. And that is the contradiction which lends it strength.
Alon Mylo does not plea to be understood. He is not shy of voice. In this climate of vulnerability that is commodified or is a joke, which has been the trend in many settings, Wildin dares to show vulnerability as strutting around. It does not come with a ribbon on it but it is dirty jeans, bleeding lips, and pupils that widen with shame and pride. Mylo has taken to the use of werewolves as metaphor and mask: an animal ruled on instinct, remorse, and pure desire. Sex addiction. Demons. The soul creature. These are not lyrical motifs; they are confessions covered with flexes. And they jab at something more fundamental, the expectation of silence when an artist is too off track in their mental health.
Under the regime of the mainstream pop and the selected and curated indie aesthetics, mental health has been permitted, but only in the form that is consumable. That performative healing is spat upon by Mylo. And this is not wellness-core. This is spiralling. It is a blackout that is recorded in 808s and distortion. and it isn?t pretendable like you folks can take it.
The great thing about the song is not that it is so chaotic, but the aspects of sanity within that confusion. Through the boast runs a core narrative of the contrariveness of intentness and defenselessness. Alon Mylo struts as though he is an unbeatable man but you can see the quiver in his voice. The hunger and the fear of being understood is the contradiction that drives the record home. He does not want to be rescued. He wants to be heard, fangs included.
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