Joji isn’t an unfamiliar name in music — his songs have long made themselves known in the music industry for their slow pace, deeply soulful lyrics and gut-wrenching meanings. Unsurprisingly, Joji’s new extended play (EP), “Last of a Dying Breed,” follows this same structure.

Released on Jan. 23, the five-track EP serves as an introductory sample of his upcoming album, “Piss in the Wind,” released on Feb. 6. The EP’s tracklisting is not loyal to the album with the latter’s third song serving as the title track — a choice that changes the tone drastically.

While the album comes off melancholy, dusty and slightly strange in premise, the EP comes off more aggressive, violent and firm. All traits come together to give the EP a harsher intent and set a precedent for the raw, unfiltered feeling in the upcoming album.

Solemn, unrestricted and without a sense of belonging are all feelings reflected in the first song, “Last of a Dying Breed.” Joji waits to present himself, giving an air of mystery to the song, his entrance not even the focal point of the song’s introduction. The instrumental carries the listener for the first 30 seconds before the lyrics start. When he begins singing, it is to pry at his gripe against an optimist as a result of his own self doubt. Joji sings, “Ooh, you’re the last of a dying breed / To the sun, flying high and free / Ain’t no man in the pilot’s seat / Silence, please, this is what you need.” He talks about the relationship between a person and their love for life as well as freedom as a means of extinction. He views this way of life as dire and ultimately fruitless for the pursuer. 

In the second song “Love You Less,” Joji enters a toxic relationship where he continues to offer all of himself with little reciprocation, driving him crazy. He sings, “Keep gettin’ less of you / When I give you the best of me / Maybe my love is just too much / Can’t get enough of you, no, no / But you won’t set me free.” This track is deeply emotional, and his hurt resounds through emotionally strained lyrics. His lover keeps taking him for granted, only appreciating him when he is gone.

Joji’s romantic turmoil continues in “Past Won’t Leave My Bed,” where his deeply depressive state bleeds through each remorseful lyric, creating a notion of hopelessness. Joji can’t get over a past lover, a fact he makes clear by saying, “I open my eyes / Her face lingers on the walls / She’s stuck on rewind in my mind / I try to move on, but the past won’t leave my bed.” He references sleep, insinuates death and holds onto quiet whispers that only remind him of what he’s lost. His past won’t leave his mind; his brain chemistry wired to focus on her presence instead of moving himself towards the future. A happy ending is not imminent or within reach as the song repeats its nostalgic chorus and painfilled melody.

The EP’s interlude “If It Only Gets Better,” shows a semblance of hope and progression in self fulfillment. He reflects on the previously heartbreaking and pessimistic tracks of the EP by singing, “If it only gets better from here / Then what’s there to change about it? / S**t, I just won’t think about it.” He quits the moping and somewhat picks himself up. He leaves things how they are, committing to his mission of moving on, relying on the fact that as things pass, his unhappy feelings surely will too.

The most streamed track of the EP, “PIXELATED KISSES,” was dropped as a single prior to the EP’s release. The instrumental starts off abrupt, loud and aggressive, matching the aesthetic set by the teeth shown in the EP’s cover art. Joji takes more romantic dominion in this song, finally appearing in control. He sings, “Waiting for the signal, baby, never make a sound / If you never hear from me, all the satellites are down / Yeah, they’re all f****n’ down.” He has grown thicker skin since the previous stories in the prior tracks He blames the satellites for his lack of complete commitment, showing a new mindset of how he now approaches love after heartbreak, as seen in “Past Won’t Leave My Bed.”

Joji’s new EP follows the same agonizing premise as most of his songs do, grappling with love, heartbreak and emotional exhaustion — all the things for which he and his music are known for. While, “Last of a Dying Breed,” proves itself as a notable addition to this discographic theme, it comes off with an aggressive theme of self-preservation which he hasn’t previously explored. Listeners can only hope the new album “Piss In the Wind” will follow this precedent of violent protection from heartbreak and continue to explore romance.

Audrey Phoukong is an Arts & Entertainment intern for the winter 2026 quarter. She can be reached at aphoukon@uci.edu.

Edited by Rhea Sigur and Sasha Alikhanov

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