I’ve got this thing where I can feel myself walking toward someone and I just… keep walking. The kind of guy with a jawline that could cut glass, abs you want to trace with your tongue, and the way his jeans sit low enough that you’re already thinking about what happens when they come off. You know that moment when your brain’s screaming “abort mission” but your body’s already ordering the second drink? That’s where I was last Saturday when “Chasing Devils” came on at pregame. Suddenly the group chat telling me to pace myself felt less relevant and more like background noise.
Yeija’s half Japanese, half British, grew up in Germany as a shower singer who convinced her piano teacher to ditch classical for pop. She wrote this at the gym—which fucking tracks because you can hear it in that pulse, that beat that just makes you move. Now she’s made her first full pop single about exactly what I was doing last Saturday: wanting someone who knows how to fuck you right but has zero plans to stick around after.
Right out the gate, she’s not playing games. “Wide awake don’t you say baby baby / Sleep with me till your heart tastes me chase me” – this is about wanting someone, physically, urgently. Sleep with me. Chase me. She’s wide awake making this choice. “Wanna dive deep deep / Can’t touch me / Don’t dare leave” – and there’s the contradiction already. Dive deep but you can’t actually touch me, not really. Stay but keep your distance. It’s the push-pull of wanting intimacy but keeping walls up.
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Here’s where she shows her cards. “Baby I like you like you / Not tryna excite you / Might loose to you you got them moves” – she likes him and he’s got the kind of moves that make her forget she was trying to play it cool. “To keep me around like a girl that wished upon a star” – fuck, this line gets me. She’s staying around hoping for something more, like a girl making wishes that probably won’t come true. She knows what this is but she’s hoping anyway.
The production is funky as hell, that rhythm hits in a way that makes you want to dance, makes you want to move your body against someone. “I can feel your body calling me to your horizon / I be swimming in your thoughts and fear and it’s exciting / Your water” – she’s swimming in him. In his thoughts, in his fear, in all of it. And she’s calling it exciting. Not healthy, not safe—exciting. His water. She’s drowning in him and getting off on it. If you’ve ever been with someone who made you feel like you were constantly about to either come or combust, you know exactly what’s happening here. “Wanna dive deep deep / Can’t catch me / Don’t dare leave” – there it is again, that same contradiction. Go deeper but you’ll never really catch me. Don’t leave but don’t get too close.
Then she flips the script. “I go up / The rest goes down with me / Talk to my nice, I don’t have time for apologies / Stay in your lane / Got my heart upon my sleeve” – she’s done playing small. When she rises, everyone else better keep up or get left behind. She’s done apologizing, done explaining herself to anyone. She’s telling him to stay in his lane—know your place, know what this is. Her heart’s out there but she’s not being pathetic about it.
Then comes the reality check. “Don’t go chasing devils when your heart ain’t at peace” – fuck, there it is. That’s your friend grabbing your arm at the bar like “babe, we should probably leave” when you’re already staring at him across the room. “I wrote this song over multiple days, and lyrically it captures the contradictions — I just wanted to write something fun for a change,” Yeija says. Contradictions. Yeah. Because half of you wants to go home with him and the other half knows you’re gonna regret it by noon tomorrow.
“Honey honey / Take me on a date you’re funny / I just like the way you giving me your loving babe” – she’s trying to keep it cute and flirty. Take me out, make me laugh, fuck me good. Just casual fun, right? But that repetition of “honey honey” feels like she’s trying to convince herself like when you tell your friends “it’s so chill, we’re just having fun” while internally spiraling about when they’re gonna text back.
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But she’s not fooling herself completely. “Know you the type to make rules / Love me with all of my wounds tonight / I can’t be fooled” – she sees him. He’s the guy who makes all the rules—when you hook up, when you don’t, what this means. She’s letting him because the sex is that good. Love me with all my damage. Tonight. Just tonight. She can’t be fooled—she already knows what this is. “To keep me around like a girl that wished upon a star” – and there’s that line again. She keeps coming back to it because it’s true. She’s staying for someone hoping it’ll turn into more.
The clock’s ticking and she knows it. “Gotta go too soon too soon so make me worth your time / Thinking bout all of the things that we can do tonight” – he’s leaving soon. This is temporary so she’s making demands. If you’re gonna bail in the morning these next few hours better be fucking worth it. She’s already thinking about what they could do, how good it could be. “To keep me around like a girl that wished upon a star” – one more time. The girl who wishes. The girl who stays. The girl who hopes even when she knows better.
This whole track is about wanting someone who’s gonna wreck you tonight and disappear tomorrow. He knows how to touch you. He knows what to say. Yeija made a song for being young and chasing that rush even when you know your heart isn’t ready for the aftermath. When the physical is so good you ignore the emotional disaster waiting for you in the morning.
The group chat’s telling you to slow down. You’re three drinks in and he just texted.
