Song Review: Sky-Hi – Sky’s The Limit

I’ve compared Japanese co-ed group AAA to Bigbang several times before, even though each act crafts wildly different music. But, they’re both the kind of supergroup that functions well together and results in equally amazing solo material from its diverse, charismatic members. If you buy that comparison, Sky-Hi would be AAA’s answer to G-Dragon. I find him to be one of J-pop’s most interesting rappers, with a cross-genre appeal that makes his music feel constantly fresh and surprising.

Sky’s The Limit hinges on a brilliant vocal sample, filtering an operatic loop to give it an otherworldly effect. This sample is then arranged as part of the song’s rhythm, adding a satisfying sense of weight to the track. In fact, it’s such a highlight that Limit often strips back every other element to focus entirely on those vocals. In between, the instrumental is bolstered by a catchy flute loop that further supports the theatrical atmosphere.

At only two and a half minutes, Sky’s The Limit leaves you wanting more. In some ways, it feels like an extended introduction rather than a full-on song, and I’d love if this ends up becoming a teaser for the style of music we might hear from Sky-Hi in the near future. After a couple of breathless hip-hop verses, the track climaxes in an anthemic refrain that echoes its central vocal loop. As a statement of intent, Sky’s The Limit feels assured and convincing, driven by Sky-Hi’s nimble, emotive flow.

 Hooks 8
 Production 9
 Longevity 9
 Bias 8

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One thought on “Song Review: Sky-Hi – Sky’s The Limit

  1. .
    Once again, a public service. What an interesting song. The looping chanty sample thing going on. The crazy fast spitting chanting rapping singing. I am going to agree that it sounds more like an extended album intro than the main course. Clips of it could very well be a minute long ad for Nike or something, with 10 and 30 sec versions also created as well to salt around the internet ad bars.

    It could very easily be a full song if they added a lower part, darker, starting about 2:05-2:10, longer than a bridge perhaps a minute or so, perhaps drop out most of the instrumental but for a few elemental skeletal parts. And then return to that “Sky’s the limit” chant a la 2:00 but bigger louder grander for a one more time with feeling outro.


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