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Disambiguating links to Under the Radar (link changed to Under the Radar (magazine)) using DisamAssist.
[td]== Composition and themes ==[/td] [td][/td]
[td][/td] [td]Robinson intended to avoid the stylistic elements of his previous work when writing ''Smile!
'', stating in an interview with ''[[Dork (magazine)|Dork]]'' that "every project [he has] done has been a total reinvention."<ref name="Shutler 2024"/> Larisha Paul from ''[[Rolling Stone]]'' concurred, and felt that the album brings the vocal performances and lyrics to the forefront of the production, in contrast with the "atmospheric" sound of ''Nurture''.<ref name="Paul 2024"/> The album's instrumentation draws from the [[pop-punk]] and [[rave music]] styles from the early 2000s,<ref name="Macartney 2024"/> as well as modern [[hyperpop]].<ref name="Dork 2024"/> ''[[The Skinny (magazine)|The Skinny]]''{{'s}} Ian Macartney found [[chiptune]] influences similar to Robinson's contemporaries [[Anamanaguchi]] on the opening track "Knock Yourself Out XD".<ref name="Macartney 2024"/> ''[[Under the Radar]]''{{'s}} Caleb Campbell found the record had similarities with early-2000s [[Y2K aesthetic]]s and the [[Warped Tour]].<ref name="Campbell 2024"/>[/td]
[td]Robinson intended to avoid the stylistic elements of his previous work when writing ''Smile!'', stating in an interview with ''[[Dork (magazine)|Dork]]'' that "every project [he has] done has been a total reinvention."<ref name="Shutler 2024"/> Larisha Paul from ''[[Rolling Stone]]'' concurred, and felt that the album brings the vocal performances and lyrics to the forefront of the production, in contrast with the "atmospheric" sound of ''Nurture''.<ref name="Paul 2024"/> The album's instrumentation draws from the [[pop-punk]] and [[rave music]] styles from the early 2000s,<ref name="Macartney 2024"/> as well as modern [[hyperpop]].<ref name="Dork 2024"/> ''[[The Skinny (magazine)|The Skinny]]''{{'s}} Ian Macartney found [[chiptune]] influences similar to Robinson's contemporaries [[Anamanaguchi]] on the opening track "Knock Yourself Out XD".<ref name="Macartney 2024"/> ''[[Under the Radar (magazine)|Under the Radar]]''{{'s}} Caleb Campbell found the record had similarities with early-2000s [[Y2K aesthetic]]s and the [[Warped Tour]].<ref name="Campbell 2024"/>[/td]
[td][/td]
[td][/td] [td]The framework for the album's style was conceived during the tour of ''Nurture'', when Robinson performed with a live band. He felt that much of his prior discography focused on personal subject matters, and instead decided to adopt a more lighthearted approach with a "spirit of play" inspired by his experiences on stage.<ref name="Shutler 2024"/> Discussing the composition process, Robinson said he intended to create a work that was "no sincerity, all fun, [and] an album that revels in absurdity for a world that rejects context", but eventually began to write about his emotions.<ref name="Yopko 2024"/> Robinson emphasized songwriting techniques he felt were clichΓ©d, such as common pop [[chord progression]]s.<ref name="Campbell 2024"/> Several songs address Robinson's relationship with his fans.<ref name="Campbell 2024"/> "[[Cheerleader (Porter Robinson song)|Cheerleader]]", the second song from the album, is a commentary on the [[parasocial relationship]]s audience members can develop with artists,<ref name="Paul 2024"/> and the final track "Everything to Me" is a [[ballad]] in which Robinson expresses that he values his audiences.<ref name="Campbell 2024"/>[/td]
[td]The framework for the album's style was conceived during the tour of ''Nurture'', when Robinson performed with a live band. He felt that much of his prior discography focused on personal subject matters, and instead decided to adopt a more lighthearted approach with a "spirit of play" inspired by his experiences on stage.<ref name="Shutler 2024"/> Discussing the composition process, Robinson said he intended to create a work that was "no sincerity, all fun, [and] an album that revels in absurdity for a world that rejects context", but eventually began to write about his emotions.<ref name="Yopko 2024"/> Robinson emphasized songwriting techniques he felt were clichΓ©d, such as common pop [[chord progression]]s.<ref name="Campbell 2024"/> Several songs address Robinson's relationship with his fans.<ref name="Campbell 2024"/> "[[Cheerleader (Porter Robinson song)|Cheerleader]]", the second song from the album, is a commentary on the [[parasocial relationship]]s audience members can develop with artists,<ref name="Paul 2024"/> and the final track "Everything to Me" is a [[ballad]] in which Robinson expresses that he values his audiences.<ref name="Campbell 2024"/>[/td]
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β Previous revision
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[td]== Composition and themes ==[/td]Revision as of 01:21, 30 August 2025
[/td][td]== Composition and themes ==[/td] [td][/td]
[td][/td] [td]Robinson intended to avoid the stylistic elements of his previous work when writing ''Smile!
'', stating in an interview with ''[[Dork (magazine)|Dork]]'' that "every project [he has] done has been a total reinvention."<ref name="Shutler 2024"/> Larisha Paul from ''[[Rolling Stone]]'' concurred, and felt that the album brings the vocal performances and lyrics to the forefront of the production, in contrast with the "atmospheric" sound of ''Nurture''.<ref name="Paul 2024"/> The album's instrumentation draws from the [[pop-punk]] and [[rave music]] styles from the early 2000s,<ref name="Macartney 2024"/> as well as modern [[hyperpop]].<ref name="Dork 2024"/> ''[[The Skinny (magazine)|The Skinny]]''{{'s}} Ian Macartney found [[chiptune]] influences similar to Robinson's contemporaries [[Anamanaguchi]] on the opening track "Knock Yourself Out XD".<ref name="Macartney 2024"/> ''[[Under the Radar]]''{{'s}} Caleb Campbell found the record had similarities with early-2000s [[Y2K aesthetic]]s and the [[Warped Tour]].<ref name="Campbell 2024"/>[/td][td]Robinson intended to avoid the stylistic elements of his previous work when writing ''Smile!
'', stating in an interview with ''[[Dork (magazine)|Dork]]'' that "every project [he has] done has been a total reinvention."<ref name="Shutler 2024"/> Larisha Paul from ''[[Rolling Stone]]'' concurred, and felt that the album brings the vocal performances and lyrics to the forefront of the production, in contrast with the "atmospheric" sound of ''Nurture''.<ref name="Paul 2024"/> The album's instrumentation draws from the [[pop-punk]] and [[rave music]] styles from the early 2000s,<ref name="Macartney 2024"/> as well as modern [[hyperpop]].<ref name="Dork 2024"/> ''[[The Skinny (magazine)|The Skinny]]''{{'s}} Ian Macartney found [[chiptune]] influences similar to Robinson's contemporaries [[Anamanaguchi]] on the opening track "Knock Yourself Out XD".<ref name="Macartney 2024"/> ''[[Under the Radar (magazine)|Under the Radar]]''{{'s}} Caleb Campbell found the record had similarities with early-2000s [[Y2K aesthetic]]s and the [[Warped Tour]].<ref name="Campbell 2024"/>[/td]
[td][/td][td][/td] [td]The framework for the album's style was conceived during the tour of ''Nurture'', when Robinson performed with a live band. He felt that much of his prior discography focused on personal subject matters, and instead decided to adopt a more lighthearted approach with a "spirit of play" inspired by his experiences on stage.<ref name="Shutler 2024"/> Discussing the composition process, Robinson said he intended to create a work that was "no sincerity, all fun, [and] an album that revels in absurdity for a world that rejects context", but eventually began to write about his emotions.<ref name="Yopko 2024"/> Robinson emphasized songwriting techniques he felt were clichΓ©d, such as common pop [[chord progression]]s.<ref name="Campbell 2024"/> Several songs address Robinson's relationship with his fans.<ref name="Campbell 2024"/> "[[Cheerleader (Porter Robinson song)|Cheerleader]]", the second song from the album, is a commentary on the [[parasocial relationship]]s audience members can develop with artists,<ref name="Paul 2024"/> and the final track "Everything to Me" is a [[ballad]] in which Robinson expresses that he values his audiences.<ref name="Campbell 2024"/>[/td]
[td]The framework for the album's style was conceived during the tour of ''Nurture'', when Robinson performed with a live band. He felt that much of his prior discography focused on personal subject matters, and instead decided to adopt a more lighthearted approach with a "spirit of play" inspired by his experiences on stage.<ref name="Shutler 2024"/> Discussing the composition process, Robinson said he intended to create a work that was "no sincerity, all fun, [and] an album that revels in absurdity for a world that rejects context", but eventually began to write about his emotions.<ref name="Yopko 2024"/> Robinson emphasized songwriting techniques he felt were clichΓ©d, such as common pop [[chord progression]]s.<ref name="Campbell 2024"/> Several songs address Robinson's relationship with his fans.<ref name="Campbell 2024"/> "[[Cheerleader (Porter Robinson song)|Cheerleader]]", the second song from the album, is a commentary on the [[parasocial relationship]]s audience members can develop with artists,<ref name="Paul 2024"/> and the final track "Everything to Me" is a [[ballad]] in which Robinson expresses that he values his audiences.<ref name="Campbell 2024"/>[/td]
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