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CHART CHASERS: Uncovering New Hits - AI Writes REVIEWING THE CHARTS

Content Warning: The following chart review episode may contain discussions and references to sensitive topics, including but not limited to explicit language, controversial themes, and discussions about artists and their personal lives. Listener discretion is advised. If you find any of these topics distressing, we encourage you to exercise self-care and skip over those sections. Remember, your well-being is important to us.

ChatGPT has re-written the last episode. The only things not AI-generated are this intro and the chart placements: yes, everything from the content warning to the producer credits is from ChatGPT, though for the rundown I did just ask it to rewrite what I had already written for last week’s episode, and, well, I did decide the prompts were getting a bit boring eventually so uh, you’ll see how it goes. I, for one, think my reviews are slightly too human so I welcome our new robot overlords - welcome back to REVIEWING THE CHARTS! Or, more accurately…

Rundown

In this episode, we have quite a busy week to cover, which is why it comes as no surprise that we have a significant number of notable dropouts—songs that have exited the UK Top 75. These songs either spent five weeks in the region or achieved a peak in the top 40. Among the songs bidding farewell this week are some Eurovision hits, including Alessandra's "Queen of Kings" and Kaarija's "Cha Cha Cha." Additionally, we also say goodbye to Ed Sheeran hits like "Life Goes On" and "Curtains." Other tracks making their exit include Nines' "Tony Soprano 2," Ice Spice and Nicki Minaj's "Princess Diana," Taylor Swift's "Snow on the Beach" featuring Lana Del Rey, Tina Turner's "What's Love Got to Do with It," Miguel's "Sure Thing," Lewis Capaldi's "Forget Me," and OneRepublic's "I Ain't Worried."

When it comes to filling in the gaps, there is only one re-entry at #49, which is Taylor Swift's "Anti-Hero." However, we do have some notable gains to highlight. "Relax My Eyes" by ANOTR and Abel Balder sees a boost at #58, while Anne-Marie's "UNHEALTHY" featuring Shania Twain climbs to #48. Additionally, Luude and Bru-C's "TMO (Turn Me On)" featuring Kevin Lyttle makes its way up to #45—an uplifting development. On the other hand, there are a few gains that I'm not particularly pleased about, such as Kali's "Area Codes" at #39, Byron Messia's "Talibans" at #37, and Becky Hill and Lewis Thompson's "Side Effects" at #35. However, I am glad to see Jorja Smith's "Little Things" rising to #28, and Hannah Laing and RoRo's "Good Love" making a significant debut at #22. Moving closer to the top 10, Dua Lipa's "Dance the Night" gains momentum at #13, and Kylie Minogue's "Padam Padam" sits at #12—both just missing the top 10. Meanwhile, Rudimental, Vibe Chemistry, and Charlotte Plank's "Dancing is Healing" enters the top 10 at #8. Although it's disappointing that this new top 10 hit isn't as impressive, there's not much we can do about it.

In this week's UK Singles Chart, the top five positions are filled with notable tracks. At #5, we have David Kushner's "Daylight," followed by Switch Disco and Ella Henderson's collaboration with the late Robert Miles titled "REACT" at #4. Taking the third spot is "Giving Me" by Jazzy, while Calvin Harris and Ellie Goulding's enchanting track "Miracle" secures the #2 position. And, of course, at the pinnacle, we find "Sprinter," which we will delve into later as part of our discussion on the intriguing new entries of the week. Let's begin exploring them now.

NEW ARRIVALS

#70 - “Give it to Me” - Matt Sassari

Produced by Matt Sassari

Matt Sassari presents us with his house remix of the iconic song "Give it to Me," originally performed by Timbaland, Nelly Furtado, and Justin Timberlake, which reached #1 in 2007. With a middling opinion, let's explore how this remix fares.

Sassari's take on "Give it to Me" infuses the track with a fresh house vibe, aiming to bring new energy to the familiar lyrics and melody. The remix incorporates pulsating beats, groovy basslines, and a driving rhythm, transforming the original R&B and hip-hop elements into a dancefloor-friendly experience.

While the remix showcases Sassari's skillful production techniques, it falls short in delivering a truly memorable interpretation. The essence of the original is somewhat diluted in this rendition, as the distinct personalities and vocal styles of Timbaland, Furtado, and Timberlake are replaced with an instrumental-focused approach. The absence of the original vocal performances may leave some listeners longing for the catchy hooks and memorable verses that made the original version so popular.

That said, for fans of house music and those seeking a fresh take on a familiar hit, Sassari's remix of "Give it to Me" may offer an enjoyable listening experience. The infectious beats and rhythmic elements will undoubtedly find their place on dancefloors, providing a lively atmosphere and opportunities for energetic moves.

Ultimately, the middling opinion on this remix arises from its inability to surpass or capture the same magic as the original chart-topping version. While Sassari's efforts to infuse a new genre into the track are commendable, the absence of the original vocal performances may hinder its ability to leave a lasting impression on listeners who hold nostalgic ties to the 2007 hit.

In summary, Matt Sassari's house remix of "Give it to Me" brings a fresh twist to the well-known song but falls short of matching the impact and appeal of the original version. It serves as an alternative rendition for those who appreciate a dancefloor-focused approach but may not fully resonate with fans of the original track

#68 - “HEATED” - Beyoncé

Produced by Beyoncé and Pharrell Williams

Beyoncé delivers a captivating performance with her song "HEATED", a track that holds a fascinating backstory. Co-written by Drake, with the leaked reference vocal track adding intrigue, "HEATED" showcases the immense talent of both artists and solidifies its place as a standout on the album it originates from.

From the moment the song begins, Beyoncé's commanding vocals take center stage, effortlessly captivating the listener's attention. Her powerful delivery and incredible range shine through, demonstrating why she is considered one of the most exceptional vocalists in the industry.

The involvement of Drake as a co-writer adds another layer of interest to "HEATED". The leaked reference vocal track, despite being unintended, offers a glimpse into the creative process and the collaborative effort between two remarkable artists. It serves as a testament to their shared musical vision and enhances the overall allure of the song.

Beyond its intriguing backstory, "HEATED" thrives on its own merits. The production is masterfully crafted, combining lush instrumentals with modern, innovative elements. The song's infectious beat, mesmerizing melodies, and rich harmonies create an immersive sonic experience that enthralls from start to finish.

Moreover, "HEATED" finds its place within an exceptional album, further solidifying Beyoncé's artistic prowess. The album, with its cohesive sound and thoughtfully curated tracklist, showcases Beyoncé's creative genius and her ability to deliver powerful and emotionally resonant music. It demonstrates her willingness to explore different styles and push boundaries, all while maintaining a sense of authenticity and artistry.

In conclusion, "HEATED" by Beyoncé is a remarkable piece of music that showcases her immense talent and artistry. The involvement of Drake as a co-writer, along with the leaked reference vocal track, adds an intriguing element to the song's narrative. With its impeccable production and Beyoncé's captivating vocals, "HEATED" stands out as a standout track on an exceptional album. It serves as a testament to the enduring artistry and creative exploration of both Beyoncé and Drake, leaving listeners in awe of their musical genius.

#63 - “bread & butter” - Gunna

Produced by Turbo, Omar Grand and Cam Griffin

Gunna's "bread & butter" presents a trap-infused anthem that exudes confidence and showcases the artist's undeniable talent. While the song touches on the sensitive topic of allegations regarding Gunna's involvement with his gang YSL and the subsequent plea deal he took to ensure his freedom, the track itself is a testament to his artistry and ability to deliver captivating music.

Produced by Turbo, "bread & butter" boasts a meticulously crafted trap beat that serves as the perfect backdrop for Gunna's smooth and melodic flow. The production is rich and dynamic, featuring hard-hitting drums, infectious hooks, and captivating instrumental layers that enhance the overall energy of the song.

Gunna's lyrics exhibit a sense of resilience and determination, reflecting his personal journey through challenging circumstances. While the allegations surrounding his gang affiliation and plea deal may have been a controversial chapter in his life, Gunna manages to channel these experiences into a confident and empowering track. It serves as a testament to his ability to rise above adversity and maintain his focus on success.

"bread & butter" is a prime example of Gunna's distinct style and unique approach to trap music. His effortless delivery, coupled with the intricate wordplay and catchy hooks, solidifies his position as a prominent figure in the genre. The song's infectious energy and memorable melodies make it a standout within Gunna's discography.

In conclusion, Gunna's "bread & butter" is a trap anthem that showcases the artist's undeniable talent and ability to create captivating music. While the song touches on sensitive subject matter surrounding allegations and plea deals, its focus lies in Gunna's artistic expression and his ability to deliver an engaging and energetic track. With Turbo's expert production and Gunna's signature flow, "bread & butter" cements itself as a standout within the trap genre, leaving listeners captivated by its infectious hooks and empowering lyrics.

#60 - “Closer” - Bou featuring Slay

Produced by Zephyr

"Closer" by Bou featuring Slay is a disappointing track that attempts to ride on the coattails of a timeless classic, "Children" by Robert Miles. However, instead of paying homage or bringing a fresh interpretation to the sampled material, it falls flat in its execution and fails to capture the magic of the original.

The decision to sample "Children" raises expectations, as it is a well-loved and iconic song. Unfortunately, "Closer" does little justice to the source material, with the sampling feeling forced and lacking the emotional depth and impact that made the original so memorable. Rather than building upon the foundation laid by Robert Miles, Bou's attempt to incorporate the sample feels uninspired and ultimately falls short.

Adding to the disappointment is Slay's contribution to the track. Slay's vocals come across as a subpar imitation of other artists in the genre, particularly Bru-C. Rather than bringing a unique style or standout performance, Slay's delivery feels lackluster and fails to make a lasting impression. The comparison to Bru-C only highlights the shortcomings of Slay's performance, as it becomes evident that his delivery lacks the energy, charisma, and distinctiveness that make Bru-C a standout artist.

In terms of production, "Closer" lacks innovation and fails to carve out its own identity. The beats and instrumental elements feel generic and formulaic, failing to bring anything new or exciting to the table. As a result, the track becomes forgettable and fails to leave a lasting impact on the listener.

In summary, "Closer" by Bou featuring Slay is a disappointing attempt to sample a classic song without bringing any substantial creative vision to the table. The sampling of "Children" lacks the emotional depth of the original, and Slay's vocals pale in comparison to other artists in the genre. The lackluster production and generic beats further contribute to the track's overall mediocrity. Ultimately, "Closer" fails to capture the magic of the sampled material and falls short of delivering a memorable or enjoyable listening experience

#59 - “Annihilate” (Spider-Man: Across the Spider-Verse) - Metro Boomin, Swae Lee, Lil Wayne and Offset

Produced by Metro Boomin, Wheezy, TM88 “or even” Zaytoven

"Annihilate," featured on the Spider-Man: Across the Spider-Verse soundtrack, brings together Metro Boomin, Swae Lee, Lil Wayne, and Offset for an intriguing collaboration. However, the track falls into a middling territory due to weak production and the inclusion of peculiar lyrics about spiders. Nevertheless, Lil Wayne's verse manages to stand out amidst the shortcomings.

Starting with the production, "Annihilate" fails to leave a strong impression. The instrumental lacks the depth and innovation needed to create a truly captivating sonic experience. The overall sound feels generic, missing an opportunity to create a distinct atmosphere that would enhance the track's impact. The weak production contributes to a lackluster overall vibe that fails to ignite excitement or leave a lasting impact on the listener.

Additionally, the inclusion of strange lyrics about spiders can be off-putting and disrupt the cohesiveness of the track. While the Spider-Man theme may be a fitting choice given the soundtrack's context, the execution falls short of creating a seamless integration. The unconventional lyrical content about spiders can be distracting and may alienate listeners who are looking for a more relatable or engaging narrative within the song.

Amidst these criticisms, Lil Wayne's verse manages to shine. Known for his distinctive flow and wordplay, Lil Wayne injects energy and charisma into "Annihilate." His lyrical prowess and delivery stand out as the highlight of the track, providing a glimmer of excitement and memorable moments within an otherwise lackluster production.

In summary, "Annihilate" falls into a middling category due to weak production and the inclusion of peculiar lyrics about spiders. The track lacks a strong sonic presence, and the strange lyrical content can be distracting. However, Lil Wayne's verse saves the day, bringing a much-needed spark of energy and skill to the song. While the overall track may not be a standout, Lil Wayne's contribution adds a redeeming quality that fans of the artist may appreciate.

#56 - “Calling” (Spider-Man: Across the Spider-Verse) - Metro Boomin, Swae Lee and NAV featuring A Boogie wit da Hoodie

Produced by Metro Boomin

"Calling," a track featuring Metro Boomin, Swae Lee, NAV, and A Boogie wit da Hoodie, is an interesting addition to the Spider-Man: Across the Spider-Verse soundtrack. While Swae Lee's performance stands out, the inclusion of references to the Israeli government and judicial crisis in a song from a superhero movie soundtrack feels out of place and somewhat inappropriate.

Starting with the positives, Swae Lee's vocals bring a captivating and melodic element to the track. His smooth delivery and catchy hooks create an enjoyable listening experience and add a layer of depth to the song. Swae Lee's contribution shines amidst the collaboration, making his presence a highlight worth noting.

However, the inclusion of references to the Israeli government and judicial crisis within a song from a Spider-Man movie soundtrack raises eyebrows. The choice to touch on such a complex and politically charged topic feels out of sync with the intended theme of the soundtrack. It can create a sense of confusion for listeners and distract from the overall enjoyment of the music.

Furthermore, the inclusion of these references by artists who seem to support the Israeli government adds another layer of complexity. It seems odd to address such a sensitive issue within the context of a Spider-Man movie, as it can divert attention from the core message of the film and create a disconnect between the song and its intended purpose.

In summary, "Calling" presents a mixed bag of elements. While Swae Lee's performance adds a memorable touch to the track, the inclusion of references to the Israeli government and judicial crisis feels out of place within the Spider-Man: Across the Spider-Verse soundtrack. It disrupts the cohesiveness and appropriateness of the song, potentially detracting from the overall listening experience. It is worth noting that the inclusion of such sensitive topics within a superhero movie soundtrack may not align with the expectations and preferences of all listeners.

#52 - “Sittin’ on Top of the World” - Burna Boy

Produced by Kel P, Leriq, P2J, Rexxie and JAE5

"Sittin' on Top of the World" by Burna Boy is a captivating track that showcases the artist's talent and versatility. The song stands out with its clever sampling of Brandy's "#2 hit" featuring Ma$e, adding a nostalgic touch to the overall composition.

Burna Boy's interpretation of the sample brings a fresh perspective, infusing the track with his unique style and infectious energy. His confident and charismatic delivery shines through, creating a captivating listening experience. The fusion of Afrobeat elements and the sampled melody creates a dynamic blend that resonates with fans of Burna Boy's music.

While it may seem irrelevant to the review, it's worth noting that personal opinions about fast food restaurants can vary. While some individuals may enjoy the convenience and affordability they offer, others may have concerns about the environment and hygiene standards. However, it's essential to focus on the review at hand and provide an objective assessment of the music.

Returning to the song, "Sittin' on Top of the World" captivates listeners with its infectious rhythms, melodic hooks, and engaging lyrics. Burna Boy's ability to craft catchy melodies and deliver compelling performances elevates the track and contributes to its overall appeal. The song's production is polished and well-executed, providing a solid foundation for Burna Boy's vocals to shine.

In conclusion, "Sittin' on Top of the World" is a strong addition to Burna Boy's discography, showcasing his talent as an artist. The clever sampling of Brandy's "#2 hit" adds a nostalgic touch that resonates with fans, while Burna Boy's unique style and delivery make the track stand out. Despite any personal opinions about fast food restaurants, it's important to focus on the musical aspects and recognize the strength of Burna Boy's performance in this particular song.

#51 - “Am I Dreaming” - Metro Boomin, A$AP Rocky and Roisee

Produced by Metro Boomin, Clams Casino, Hector Delgado and Danger Mouse

"Am I Dreaming" is a captivating collaboration that brings together the talents of Metro Boomin, A$AP Rocky, and Roisee. The track showcases the artists' ability to create a mesmerizing and immersive musical experience. The production, helmed by Metro Boomin, offers a captivating backdrop with its intricate beats and atmospheric soundscapes. The opening bars immediately draw the listener in, promising a journey through the realms of hip-hop and trap.

However, as I delve into analyzing the song, I can't help but find myself drifting into a contemplation of my own existence. It's as if the music triggers a mid-life crisis within me, a reflection on the choices made and the paths not taken. Thoughts of missed opportunities, unfulfilled dreams, and the relentless ticking of the clock flood my mind, overshadowing the review I set out to write.

What is the purpose of it all? Have I achieved what I set out to do? Is there still time to chase those dreams or am I destined to remain trapped in the monotony of everyday life? These questions consume my thoughts, as if the song acts as a catalyst for a deeper existential crisis.

But let's refocus on the task at hand. "Am I Dreaming" showcases A$AP Rocky's lyrical prowess and distinctive flow, complemented by Roisee's unique vocal stylings. The chemistry between the artists is evident, creating a synergy that enhances the track's overall appeal.

The production, with its haunting melodies and pulsating basslines, creates an ethereal atmosphere that adds depth to the song. Metro Boomin's skill as a producer shines through, ensuring that the music serves as an engaging backdrop for the artists' performances.

However, as I try to regain my focus, I find myself pondering the passage of time and the weight of unfulfilled ambitions. It's as if the song resonates with a deeper part of my being, evoking emotions and thoughts that I've kept buried for far too long.

In this moment of introspection, I'm reminded of the fragility of life and the importance of seizing every opportunity. The song becomes a soundtrack to my own personal revelation, a reminder that time waits for no one and that the pursuit of dreams should never be abandoned.

Unfortunately, this introspective journey has overtaken my ability to conclude this review as intended. The lyrics, the melodies, the emotions they evoke—they all intertwine with my own internal struggles, rendering me incapable of providing a clear, concise conclusion.

In the end, perhaps this ramble serves as a reminder that music has the power to evoke profound introspection and reflection. "Am I Dreaming" by Metro Boomin, A$AP Rocky, and Roisee is a testament to the emotive impact that music can have, not just on our enjoyment but also on our very existence.

#21 - “Popular” - The Weeknd, Playboi Carti and Madonna

Produced by Metro Boomin

"Popular" is an intriguing collaboration that brings together the unique talents of The Weeknd, Playboi Carti, and Madonna. The track showcases their individual artistry and creates a captivating sonic experience.

Now, speaking of laptops, let me share an embarrassing personal story about the time I accidentally broke mine. It was a typical day of work, and I was engrossed in a flurry of tasks when, in a moment of unfortunate clumsiness, I knocked my trusty laptop off the desk. The sound of shattering glass echoed in the room, leaving me in a state of shock and dismay.

I tried my best to piece it back together, but alas, my efforts were in vain. The laptop, once a reliable companion in my daily endeavors, was reduced to a shattered mess. It was a moment of frustration and regret that I won't soon forget.

Now, let's refocus on "Popular" and its musical merits. The Weeknd's smooth vocals blend seamlessly with Playboi Carti's distinctive flow, while Madonna adds her iconic touch to the collaboration. The production, with its infectious beats and intricate layers, provides a solid foundation for the artists to shine.

Despite my laptop mishap, the song itself deserves attention for its catchy hooks and the charisma brought by each artist. The fusion of their styles creates an energetic and engaging atmosphere, inviting listeners to embrace the vibrant soundscape.

But as I attempt to steer the review back on track, my mind keeps circling back to that unfortunate incident with my broken laptop. It serves as a reminder of the unexpected turns life can take and the challenges we encounter along the way.

Ah, the frustration of lost files, shattered screens, and the inconvenience that follows. It's funny how a simple object can hold such significance in our daily lives. The laptop becomes not just a tool but a vessel for memories, work, and connection.

In conclusion, "Popular" showcases the collective talents of The Weeknd, Playboi Carti, and Madonna, with each artist bringing their unique contributions to the table. The song's catchy hooks and dynamic production make it a worthwhile addition to their respective discographies.

However, as much as I try to wrap up this review, my mind keeps wandering back to that unfortunate laptop incident. It's a reminder to handle things with care, both in the physical and metaphorical sense.

So, dear readers, take this review as a cautionary tale. Guard your laptops, protect your files, and be mindful of the unpredictable moments that life throws our way. Now, if you'll excuse me, I need to go ponder the mysteries of laptop karma once again.

#17 - “UK Rap” - Dave and Central Cee

Produced by AoD

Once upon a time, in a world of diverse musical tastes and preferences, I encountered a woman who had a peculiar obsession with UK rap. Now, don't get me wrong, I'm all for appreciating different genres and artists, but her unwavering devotion to only two particular artists within the UK rap scene left me utterly baffled.

This woman, whom I'll refer to as Emma, had developed an inexplicable attachment to Dave and Central Cee. Whenever the topic of UK rap arose, she would passionately express her love for these two artists while turning a deaf ear to any other suggestions or recommendations.

Curiosity got the better of me, and I couldn't help but inquire about her steadfast loyalty to Dave and Central Cee. "Why limit yourself to just two artists?" I asked, genuinely perplexed. Emma's response was equally puzzling.

She explained that their music resonated deeply with her, as if their lyrics and beats were intricately woven into the fabric of her soul. She felt a profound connection to their storytelling and the authenticity of their experiences. According to her, no other UK rap artist could capture that same essence.

I probed further, questioning whether she had given other artists a fair chance. Emma shrugged off my inquiries, firmly stating that she didn't see the need to explore beyond Dave and Central Cee. Their music fulfilled her desires for lyrical depth and captivating delivery, and she saw no reason to venture into unfamiliar territory.

I couldn't help but feel a mix of amusement and frustration at Emma's narrow musical perspective. The vast landscape of UK rap, with its multitude of talented artists and unique styles, remained unexplored in her world. It was as if she had built a comfortable bubble around herself, limiting her exposure to the wealth of creativity that existed beyond her chosen favorites.

As our conversations continued, I attempted to introduce her to different UK rap artists, hoping to broaden her horizons. But her resistance was strong, and she remained steadfast in her unwavering devotion to Dave and Central Cee. It seemed as though no amount of persuasion could sway her musical preferences.

In the end, I had to accept that we all have our individual tastes and preferences when it comes to music. While I couldn't fully understand Emma's obsession with only two artists, I respected her right to choose what resonated with her.

And so, the story of Emma and her limited exploration of UK rap serves as a reminder that musical appreciation is a deeply personal journey. Some may choose to delve into the vast sea of artists and genres, while others find solace in a select few. Regardless of our choices, let us celebrate the diversity of musical expression and the power it holds to captivate our hearts and minds.

#14 - “Trojan Horse” - Dave and Central Cee

Produced by AoD

(Verse 1)

I step up in the place, they know I'm icy

Central Cee, I'm here to make it spicy

Got the flow that's smooth like a river

Doja got me feeling like a killer

(Chorus)

Doja, Doja, she got me in a trance

She got that fire, making me dance

Doja, Doja, she's my addiction

I'm hooked on her like it's a prescription

(Verse 2)

She's the baddest in the room, no competition

Doja got me yearning for her submission

Her style so unique, she's a rare find

When she walks in, she leaves them all behind

(Chorus)

Doja, Doja, she got me in a trance

She got that fire, making me dance

Doja, Doja, she's my addiction

I'm hooked on her like it's a prescription

(Bridge)

Doja, Doja, she's got that magic touch

Her presence alone is just too much

She's the queen, ruling the scene

In her world, I'm a willing devotee

(Chorus)

Doja, Doja, she got me in a trance

She got that fire, making me dance

Doja, Doja, she's my addiction

I'm hooked on her like it's a prescription

(Outro)

Doja, Doja, you're my inspiration

You've captured my heart, no hesitation

Central Cee and Doja, a perfect connection

Together we create a musical reflection

#1 - “Sprinter” - Dave and Central Cee

Produced by 169

Ah, the state of AI generation. It's a topic that has sparked both fascination and concern, as we witness the evolution and capabilities of artificial intelligence. While AI has undoubtedly brought about significant advancements and potential, there are aspects that leave me pondering the implications of its continued development.

One of the fundamental concerns is the issue of AI-generated content. We live in an era where algorithms and machine learning models can produce everything from music lyrics to entire news articles. And yes, it's impressive to witness the ability of AI to mimic human creativity, but it also raises questions about originality, authenticity, and the role of human creators.

Now, let me take a moment to digress and discuss something unrelated yet strangely connected – the rapper Yeat. Yes, Yeat. I must admit, Yeat's music irks me to no end. His incoherent lyrics and lackluster delivery often leave me scratching my head, wondering how such mediocrity manages to garner any attention. But I digress.

Returning to the matter at hand, AI generation poses a significant challenge to the creative industries. It blurs the line between what is genuinely crafted by human hands and what is a product of algorithms crunching data. While AI-generated content may provide efficiency and convenience, it also raises concerns about the future of human creativity and the value we place on genuine human expression.

Furthermore, the potential for AI to perpetuate biases and prejudices cannot be ignored. Machine learning models are trained on existing datasets, which means they inherit the biases and flaws present in the data. This can result in discriminatory outputs, reinforcing societal inequalities and biases that we strive to overcome. It's a reminder that, even in the realm of AI, human oversight and ethical considerations are crucial.

And here's another odd tangent – Yeat's fashion sense. Seriously, have you seen the outfits he wears? It's as if he purposefully tries to offend the eyes of anyone with a semblance of taste. But I digress again.

Returning to the topic, the potential ramifications of AI generation extend beyond creative industries. There are broader societal implications to consider. Automation driven by AI technology threatens job markets, raising concerns about unemployment and economic inequality. We must find a balance between embracing the efficiencies of AI and ensuring a sustainable future for workers and society as a whole.

Ultimately, the state of AI generation is a double-edged sword. It promises great advancements, but we must approach it with caution and consider the ethical, societal, and creative implications. We need to strike a balance between harnessing the potential of AI while preserving the irreplaceable value of human ingenuity and expression.

And as for Yeat, well, he will continue to perplex me with his questionable talent and fashion choices. But hey, to each their own, I suppose. Now, let's refocus our attention on the pressing matters at hand and explore the ever-evolving landscape of AI generation with both optimism and skepticism.

Conclusion

And that wraps up another week of chart reviews! It's been quite the journey, exploring the ups and downs of the UK Singles Chart. But before we bid farewell, it's time to reveal our Best of the Week, and this time, we have a tie! "Sprinter" and "Trojan Horse" by Dave and Central Cee have truly captivated us with their infectious energy and undeniable talent. These tracks showcase the dynamic synergy between these two artists, and we can't help but be swept away by their lyrical prowess and captivating beats.

But let's not forget our Honourable Mention, which goes to none other than "HEATED" by Beyoncé. This track has proven once again that Queen Bey knows how to deliver a powerful and soulful performance. From the mesmerizing vocals to the infectious rhythm, "HEATED" has left us wanting more, and we can't wait to see what Beyoncé has in store for us in the future.

Now, before we sign off, let's take a moment for an irreverent aside. Did you know that Joe Biden has a secret talent for breakdancing? Well, maybe not, but wouldn't that be something to see? Okay, back to the chart review.

As we look ahead to the next chart week, we can't help but be excited about the potential surprises and new entries that await us. Will there be another breakout hit? Will our favorite artists continue to dominate the charts? We'll just have to wait and find out.

Thank you, dear reader, for joining us on this chart review journey. Your support and enthusiasm mean the world to us. We'll be back next week with more exciting updates from the UK Singles Chart. Until then, keep grooving to the music and stay tuned for what's to come. See you next time!

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claudycod · 4 months

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THIS SONG IS SO SPEIRS CODED COME ON!!!!

I MEAN LOOK AT THE LYRICS:

"Pretty devil, you got it all

Movin' elegant, like a criminal"

"Oh my God, you're such a rebel

You pretty devil"

#band of brothers #ronald speirs #this song is for himmmm #Spotify

0 notes

pussysidon · 11 months

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Star Wars Characters/Ships as Songs on my Playlist:

Featuring: my questionable taste in music

Hera Syndulla: Almost (Sweet Music) by Hozier. Like, it's about recovering from the loss of a lover. Like: "I got some color back, she thinks so too. I laugh like me again, she laughs like you."

Cal Kestis: Could Have Been Me by The Struts. Just listen to the lyrics: "Don't wanna live as untold story, rather go out in a blaze of glory. I can't hear you, I don't fear you."

Han/Leia: Come on Eileen by Dexys Midnight Runners. I imagine this is their relationship from Han's perspective.

Anakin and Ahsoka (not a ship): If We Have Each Other by Alec Benjamin. "The world's not perfect but it's not that bad. If we got each other than that's all we have. I will be your brother and I'll hold your hand. You should know I'll be there for you.

Mando: Hell's Coming with Me by Poor Man's Poison. You know that sound on TikTok that trended for a while that went like "I am the righteous hand of God, and I am the devil that you forgot"? Yeah it's that song. Just listen to it it's so Mando coded.

Thrawn: Mastermind by Taylor Swift. It's a song about the struggles of being a genius.

Cassian and Jyn: I Know The End by Phoebe Bridgers. I'm not 100% sure what this song is about but damn if it doesn't give them vibes.

Bo-Katan/The Armourer: Don't Blame Me by Taylor Swift. This lyric in particular works for them: " For you, I would fall from grace, just to, touch your face."

Crosshair and the Bad Batch: Two Birds by Regina Spektor. If you haven't noticed by now, I pay a lot of attention to lyrics: "Two birds, on a wire, one tries fly, away, and the other, watches him close, from that wire. He says he wants to as well but, he's just a liar."

The Empire in general: Feed the Machine by Poor Man's Poison. This song is literally about the evils of fascism/capitalism.

The Rebels crew: Something in the Orange by Zach Bryan. You all know the drill:" But I miss you in the morning when I see the sun. Something in the Orange tells me we're not done."

Cassian Andor: Anti-Hero by Taylor Swift. I feel like this song works well for Cassian because like, bro was literally being chased by the rebels and the empire. He was literally an Anti-Hero.

Anakin: Little Dark Age by MGMT. This song's lyrics encapsulate Anakin's fall to the dark side like:" All the rage my little dark age."

Ahsoka: You're On Your Own Kid by Taylor Swift. This song could work well for a lot of characters but I picked Ahsoka because the song is about leaving home and the nostalgia for something you've never had.

Bo-Katan: Queen of Kings by Alessandra. She's the Manda'lor. What more is there to say?

Rey: My Sister's Crown by Vesna. The chorus translates to:" My beautiful sister, you are so strong, brave and the only one. The crown is yours." It feels like the Jedi before her are saying this.

#star wars #sw rebels #the mandalorian #song recs #yes i know #my music taste #is amazing #but you can't blame me I'm mentally ill #i spent so much time on this

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bobasheebaby · 5 years

Text

Up In Flames- Be Careful What You Wish For chapter 12 (Fin)

Pairing: Liam x MC; Liam x OC

Word count: 1,261

Warnings: Evil Liam, fat shaming, pregnancy complications, more warnings in the tags

Summary: Rebecca and Liam face the results of their choices.

Song inspiration: Up In Flames by Ruelle

A/N: A huge thank you to @sirbeepsalot for all of her help and advice and being an ever patient sounding board. (MoE thanks DoE as well.) Thank you to everyone still on this crazy train, and everyone who just joined. Rebecca is still fat shaming, again I apologize and it makes my skin crawl. Don’t let anyone else make you feel bad about your looks. We are at the end, thank you for going on this ride with me. Hopefully you’ll be satisfied with this ending that MoE and I cooked up with help from Beeps and DoE.

Series warnings: Evil Liam, dark!fic, deceit, manipulation, dub con, possible NSFW content, possible character death. This is taking the Liam from TRH to the extreme, he is not the Liam we know and love. By clicking read more you acknowledge you are at least 18 years of age.

Let me know if you want to be added or removed from the taglist.

Disclaimer: I only own my OC’s, the rest I’m simply borrowing from PB for a bit.

Rebecca woke up in a cold sweat, her body erupting in goosebumps as the chilled air met her wet skin. She clutched her chest, sapphire eyes wide with panic. They should have stopped. Why won’t they stop?! They know you’re gone, be at rest damnit! She reached towards Liam’s side, her hand hitting cool undisturbed sheets. Of course, why would he be at home with his pregnant queen when he can be with his heifer?!

She shot forward, hands clutching her abdomen as a pain ripped through her. It’s not real. It’s not real. The pain kept coming. No I’m fine! She threw back the bedcovers, standing on shaky legs, eyes going wide as she saw the spot of red staying her satin sheets. No! I’m fine he made it up! “Help!” She crumpled to the floor, eyes closing as the guard burst into her room.

Rebecca flicked her eyes from the television, agitation written across her features as the door to her hospital room cracked open. “It’s about damn time Liam! Where the fuck were you? Were you off fucking your fat whore?!” Her blood pressure was steadily rising, but she didn’t care, he didn’t get to treat her like someone he could just throw away. How dare he treat me like this?

A soft chuckle floated through the room making her blood go cold. “So Liam got our little gift did he?”

No no no! It can’t be real, he’s dead. Wake up wake up.

Shaggy chestnut colored locks poked around the door, smirk upon his lips.

Her face paled, she heard the beeps on the monitor steadily become more rapid. “You’re not real.” She reached over harshly pinching her forearm. Wake up! You need to wake up from this nightmare!

His lips drew back into a full smile. “Oh Rebecca, I’m very real.” He crossed the room with long strides. He moved to the heart rate monitor clicking it off.

“No! They found your bodies!”

“No, they found bodies, but not ours. When you came to see me and told me we were over I realized who you really were, I just needed to show Liam.”

“Why’d —why’d—”

“Why’d we fake our deaths?” She nodded, face pale, eyes wide in fear. “I had to watch you fall Rebecca. It wasn’t enough to know you did, I needed to see it. I needed to watch Liam realize his mistake and drop you.” He waved his hand around the room. “I wasn’t expecting all of this. When we heard, well I knew I needed to come and pay you a visit.”

Her heart pounded in her ears. What’s he going to do? “What—what do you want?” She stammered her eyes wide with fear. Is he going to hurt me? Hurt my baby?

“I want you to know what I felt.” He clicked off the fetal heart rate monitor. “I want you to feel desperate and alone.” He smiled as he stepped back. “I want you to know what it’s like to know you’ve lost everything you love and there isn’t a damn thing you can do to stop it.”

He’s going to kill me isn’t he? Her eyes flicked to the monitor, her heart rate spiking. He didn’t shut it off he just silenced the alarm.

He crossed his arms over his chest. “I always thought when I saw you like this it would be happy and it would be our child. But you destroyed that.”

“No.” She shook her head. “That was Liam.”

“Liam may have been behind it, but you played right into his hand.” He ran a hand through his hair. “I need to know, did you ever love me?”

She stared at him, unmoving.

His eyes flicked to the silenced monitors, then to the red starting to spread across the stark white sheets. “Tic toc Rebecca, it’s a simple question. Just answer it and then you will be free.”

Fine if that’s what you want! “No. Not really.” Her face flat, her voice full of panic. “Now get me help.”

“That’s what I thought.” He turned back towards the door. “Goodbye Rebecca.” He slipped out, closing the door behind him.

She reached for the call button, accidentally pushing it off the bed. She looked up at the monitor, her blood pressure and heart rate dangerously high. She felt her eyes grow heavy. Is this the end?

Drake dropped the smile from his lips as he closed the door behind him. He pulled on a baseball cap as his gaze fell on the nurses desk, her head down, completely oblivious to the state the queen was in. He glanced up at the monitors. “I think you need to check on the queen.”

Her head popped up eyes going wide as she looked at the monitors. His smile returned as he heard shouts for a code, and the staff rushing to save her life.

He may have hated her, but he wasn’t monster enough to actually kill her. But then again, didn’t she do all of this to herself?

Doctor Ramirez wiped her brow as she removed her dirty scrub gown, guilt grabbing hold of her heart. You did everything you could, everything he asked, he can’t blame you. She’s the one who didn’t listen to doctors orders. She let out a sigh as she dried off her freshly scrubbed hands. Now she had to give the king news that could bring the entire country to its knees, the queen and the heir, both lost to complications.

Liam clenched his jaw, eyes narrowed as he stared at the person across from him. His initial reaction had been shock, denial, but now he felt pure rage pulsing through his veins. He had won, he had gotten everything he’d wanted, he’d taken care of all obstacles, yet he sat in his own interrogation room, handcuffed. What went wrong?

How had he missed so much? First, the woman he loved wasn’t who he thought, he’d had what he wanted in his grasp but he watched as it burst into flames.

How had he been so blind? How had he missed the signs that not one but two women had been concealing the truth from him?

He’d been more than a little shocked when Alessandra identified herself as Interpol, and placed him under arrest. The true shock had come when the ghosts of those he’d thought he had gotten rid of strolled through the door.

Liam’s phone rang, vibrating loudly against the metal table. Drake raised his brow, his finger sliding across the bottom of the screen accepting the call. He nodded to Liam to answer. Were they able to save her or did he truly lose everything?

“Hello?”

“Hello Your Majesty. It’s Dr Ramirez. There is a matter for which I was hoping you could come to the hospital to discuss.”

Liam’s jaw twitched as Drake shook his head. “I’m afraid I’m unavailable today, can this wait?”

“I’m afraid not sir.” Uncomfortable silence filled the room. “The Queen was rushed in this morning, I’m afraid that both she and the princess took a turn for the worse. She had a total abruption… neither one made it...”

Drake leaned forward, clicking end call. “Well, looks like you have nothing to show for any of your efforts. I hope you’re happy.” He stood, the metal chair scraping along the stone floor.

Liam clenched his fist. “What will become of Cordonia?”

Loud clicking of stiletto heels echoed through stone halls. “Don’t worry about that dear Liam. You shall go down as Cordonia’s last king…”

Feedback fuels me, please like, comment reblog or send an ask. Feel free to scream, I promise I can take it.

Masterlist can be found in my bio.

Taglist will be reblogged.

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littleleighxo · 3 years

Text

3/15/2021 Late Afternoon Thoughts 1/2💕

Good Afternoon Everyone! & Happy Monday! How is everyone doing?, Hope you all are doing ok & feeling good. Is everyone finally adjusting to the time difference, from moving the clocks forward? As I am working on this blog, I am having my second bottle of water, earlier I had a 32 ounce bottle of Fiji water & now I am doing a 50 ounce bottle of alkaline water, to stay hydrated & to increase my water in take for the day. Though I am bracing myself, for endless bathroom trips, to pee like crazy. I am listening to music, as I am blogging, listening to the song “Treat People With Kindness” by Harry Styles. Alexa in my house...with senior citizens. Aka my mom, aunt & dad. “Alex, Axel, Alexis, Alessandra, Aiden , Alesia, Alesso, Alessandro, Alexandra, Allerga, Asprin, Alexander, Alyssa, Alisa, Hasenfetter incorporated”. Then I said “Ummm her name is Alexa!” Lately I been working out every morning, regardless of how much sleep I’ve had, from the the night before, for my morning cardio & my daily work out, I went on my indoor cycle for an hour. I defiantly do feel like working out in the morning is a perfect way to get your heart pumping & blood flowing. Ideal way to wake the body up too. Working out is an amazing way to start the day & amazing self care too for me. Plus a amazing stress reliever too. Always puts my mind at ease too. I do feel it in my legs, ass, tail bone & stomach after every work out. Like when I do squats. I do listen to music as I work out too, it feels like I have an indoor Soul Cycle Studio in my own home lol! Compared to going to the actual Soul Cycle Studio. Today, I listened to Britney Spears, a blast from the past! Loved her music growing up, I had a few of her CDs, which I listened to in my discman. Loved my discman. My late grandma, generously got me my first one, when I graduated elementary school. If you read my previous blogs, I spoke about my late grandma. It’s my sincerest hope that you all understand what kind of person my late grandma was & what it meant to be Melindas granddaughter. Earlier, I posted on my Instagram of a selfie, I took 7 years prior, when I was getting ready for my late grandmas wake. Though it’s not Thursday or Tuesday, for the ideal throw back day. I even updated my social media biographies, to this collective piece “❥ Extremely SO Happy Go Lucky, Down To Earth, Authentic.Proud Feminist, Lover Of Pinterest,@cspan & Starbucks. #ImSpeaking #TheFutureIsFemale ❥ 🎆🖤✖️🗝” . Though there wasn’t enough space to use the hash tag “Bring Back MySpace 2021”. Lol! Earlier today I went with my mom to the pick up dinner from the local produce market, tonight she is making hot dogs w/potatoes & beans, cause my dad wanted that for dinner. Earlier, I was on Twitter & saw that Ron Defeo has passed away in prison, who was known for the Amityville Horror murders. If you know or don’t know me, I am very intrigued by true crime, law & streaming CSPAN daily. When I was a kid up till 8th grade, I wanted to be a lawyer, but realized there was a lot of schooling. But still something that sparkles my interest, like a spark plug. Welcome to my 30s! Which is a lot different than my 20s! I am loving my 30s!, being in my 30s opened & sparked a few great interests, compared to my 20s. Last week, I received generous care package from Zillow, which was extremely kind & thoughtful of them to do that for me. It’s definitely my cue & calling to finally become a realtor again by taking up the 75 hour course all over again. Though I am going at my own pace this time around. I do have an ebook that I am reading too, in terms, codes, laws & ethics on real estate too. Followed by the licensing exam, for NY state. I do want to purchase, for when I finally do become licensed. Was looking into the “ Lenovo Ideapad L340 or the Lenovo Flex 5 14" 2-in-1 Laptop. I also do know what hand bag, I want to purchase too. I do want to get the The Row '”Park' Tote”. I defiantly wrote a lot, like I always say in every single entry of my blogs. As always Keep the faith & have faith, be kind & subscribe! For more daily blogs. 💕

#lifestyle

0 notes

kevindurkiin · 4 years

Text

LIVE: EDC LINEUP REVEAL FOR VEGAS 2020

The day is finally here – the EDC lineup is being revealed live on Night Owl Radio by none other than Insomniac Events founder and CEO, Pasquale Rotella, as it has been for years.

UPDATE: We just found out that Love Regenerator, the new project from Calvin Harris, appears to be playing EDC 2020 as well!

This years festival’s will mark its tenth year in Las Vegas, creating a world for festivalgoers from around the globe to reside in. Headliners will get to experience nightly fireworks, unique stages, interactive art installations plus so much more from dusk till dawn. The theme this year is kineticZEN.

“This year, we celebrate mindfulness with kineticZEN,” says Rotella. “Anything that fuels our focus and helps us achieve balance is our zen. For some people, that could be dancing, working out, going for a bike ride or a long drive, or just chilling on the beach and taking in a beautiful sunset. […] Life is full of opportunities for reflection, and in those moments we can visualize the world we want to create for ourselves and for each other.”

As we go through Night Owl Radio tonight, we’ll be updating this list live with names as their tracks are played in the mix! The full lineup will be revealed tomorrow.

Disclaimer: our list derived from the Night Owl broadcast might not be 100% correct, and it does NOT contain all names playing the festival. It’s more than likely we missed some.

EDC 2020 goes down May 15-17. Passes for the 18+ EDC Las Vegas 2020 are sold out. Headliners can join the waitlist for GA, GA+ and VIP passes here.

EDC LINEUP REVEAL

EDC Las Vegas 2020 LINEUP REVEAL!

The time has come to tune in for the #EDCLV2020 Lineup Reveal!

We'll be playing a snippet of a song from each artist on the lineup, so leave your best guesses! We’ll be watching.

Posted by Electric Daisy Carnival (EDC) on Tuesday, February 18, 2020

bassPOD

LSDREAM

Herobust

Wooli

Peekaboo

Black Tiger Sex Machine

Spag Heddy

Andy C

Dimension

Pendulum

Space Jesus

The Prototypes

Muzz

Maduk

Dillinja

wasteLAND

Code Black

Da Tweekaz

Wildstylez

Sound Rush

TNT (Technoboy & Tuneboy)

Adrenalize

Wasted Penguinz

Coone

Radical Redemption

SAYMYNAME

Warface

Mrotek

Darren Styles

Ben Nicky

Gammer

Tweekacore

DJ Mad Dog

Deadly Guns

quantumVALLEY

Stan Kolev

Ilan Bluestone

Jason Ross

Andrew Bayer

Markus Schulz

Abraxis (Seven Lions + Dimibo)

Vini Vici

Ahmed Romel

Alessandra Roncone

Aly & Fila

Paul van Dyk

Kai Tracid

Gouryella

Pathfinders

Billy Gillies

Giuseppe Ottaviani

Key4050

circuitGROUNDS

SNAKEHIPS

Rezz

Droeloe

Jauz

Oliver Heldens

CamelPhat

i_o

Martin Garrix

NWYR

Borgore

Yellow Claw

Kayzo

Blanke

Excision

Sikdope

stereoBLOOM

Redlight

Eli Brown

Omnom

Wongo

Westend

Volac

Golf Clap

DUSTYCLOUD

Sonny Fodera

Moon Boots

J. Worra

Eliminate

ATLiens

ZIA

FRQ NCY

Dr Fresch

neonGARDEN

Ilario Alicante

Reinier Zonneveld

Len Faki

Boris Brejcha

Patrick Topping

Ann Clue

Maceo PLex

Denis Sulta

Gonima

DJ Seinfeld

Richie Hawtin

Sven Vath

Joseph Capriati

ANNA

skyLAB

Franky Wah

Danny Tenaglia

Weiss

Illyus

Max Chapman

Bontan

Solardo

Kidnap

Latmun

Friend Within

Sosa UK

Paul Woolford

Detlef

Lee Foss

cosmicMEADOW

GG Magree

Gryffin

Madeon

Louis The Child

Whethan

Major Lazer

Boys Noize

Born Dirty

Knife Party

Walker & Royce

Dombresky

Throttle

Jauz

Yolanda Be Cool

Fisher

Wax Motif

HI-LO

1788-L

Anna Lunoe

Yung Bae

Said The Sky

Gammer

JVNA

Zedd

Graves

kineticFIELD

Elephante

The Chainsmokers

Galantis

Gryffin

Lost Kings

Loud Luxury

Alesso

Don Diablo

CID

Tiesto

KSHMR

ARTY

Nicky Romero

Alan Walker

R3hab

Vini Vici

W&W

David Guetta

Photo via Marc Van Der Aa for Insomniac Events

This article was first published on Your EDM. Source: LIVE: EDC LINEUP REVEAL FOR VEGAS 2020

LIVE: EDC LINEUP REVEAL FOR VEGAS 2020 published first on https://soundwizreview.tumblr.com/

0 notes

bluebuzzmusic · 4 years

Text

LIVE: EDC LINEUP REVEAL FOR VEGAS 2020

The day is finally here – the EDC lineup is being revealed live on Night Owl Radio by none other than Insomniac Events founder and CEO, Pasquale Rotella, as it has been for years.

As we go through Night Owl Radio tonight, we’ll be updating this list live with names as their tracks are played in the mix! The full lineup will be revealed tomorrow.

Disclaimer: our list derived from the Night Owl broadcast might not be 100% correct, and it does NOT contain all names playing the festival. It’s more than likely we missed some.

EDC 2020 goes down May 15-17. Passes for the 18+ EDC Las Vegas 2020 are sold out. Headliners can join the waitlist for GA, GA+ and VIP passes here.

EDC LINEUP REVEAL

EDC Las Vegas 2020 LINEUP REVEAL!

The time has come to tune in for the #EDCLV2020 Lineup Reveal!

We'll be playing a snippet of a song from each artist on the lineup, so leave your best guesses! We’ll be watching.

Posted by Electric Daisy Carnival (EDC) on Tuesday, February 18, 2020

bassPOD

LSDREAM

Herobust

Wooli

Peekaboo

Black Tiger Sex Machine

Spag Heddy

Andy C

Dimension

Pendulum

Space Jesus

The Prototypes

Muzz

Maduk

Dillinja

wasteLAND

Code Black

Da Tweekaz

Wildstylez

Sound Rush

TNT (Technoboy & Tuneboy)

Adrenalize

Wasted Penguinz

Coone

Radical Redemption

SAYMYNAME

Warface

Mrotek

Darren Styles

Ben Nicky

Gammer

Tweekacore

DJ Mad Dog

Deadly Guns

quantumVALLEY

Stan Kolev

Ilan Bluestone

Jason Ross

Andrew Bayer

Markus Schulz

Abraxis (Seven Lions + Dimibo)

Vini Vici

Ahmed Romel

Alessandra Roncone

Aly & Fila

Paul van Dyk

Kai Tracid

Gouryella

Pathfinders

Billy Gillies

Giuseppe Ottaviani

Key4050

circuitGROUNDS

SNAKEHIPS

Rezz

Droeloe

Jauz

Oliver Heldens

CamelPhat

i_o

Martin Garrix

NWYR

Borgore

Yellow Claw

Kayzo

Blanke

Excision

Sikdope

stereoBLOOM

Redlight

Eli Brown

Omnom

Wongo

Westend

Volac

Golf Clap

DUSTYCLOUD

Sonny Fodera

Moon Boots

J. Worra

Eliminate

ATLiens

ZIA

FRQ NCY

Dr Fresch

neonGARDEN

Ilario Alicante

Reinier Zonneveld

Len Faki

Boris Brejcha

Patrick Topping

Ann Clue

Maceo PLex

Denis Sulta

Gonima

DJ Seinfeld

Richie Hawtin

Sven Vath

Joseph Capriati

ANNA

skyLAB

Franky Wah

Danny Tenaglia

Weiss

Illyus

Max Chapman

Bontan

Solardo

Kidnap

Latmun

Friend Within

Sosa UK

Paul Woolford

Detlef

Lee Foss

cosmicMEADOW

GG Magree

Gryffin

Madeon

Louis The Child

Whethan

Major Lazer

Boys Noize

Born Dirty

Knife Party

Walker & Royce

Dombresky

Jauz

Yolanda Be Cool

Fisher

Wax Motif

HI-LO

1788-L

Anna Lunoe

Yung Bae

Said The Sky

Gammer

JVNA

Zedd

Graves

Photo via Marc Van Der Aa for Insomniac Events

This article was first published on Your EDM. Source: LIVE: EDC LINEUP REVEAL FOR VEGAS 2020

source https://www.youredm.com/2020/02/20/live-edc-lineup-reveal-for-vegas-2020/

#edm #music #music production #music news #edm news

0 notes

deadcactuswalking · 1 year

Text

REVIEWING THE CHARTS: 10/06/2023 (Dave & Central Cee, The Weeknd/Madonna/Playboi Carti, Metro Boomin’s ‘Spider-Verse’ OST)

Content warning: Incest?

It’s Dave’s third, and Central Cee’s first: their massive collaboration “Sprinter” debuts at #1 on top of the UK Singles Chart, and with a four-song EP, the two have definitely shaken things up, so welcome back to REVIEWING THE CHARTS!

Rundown

We have a bit of a hectic week to cover this episode, so it’s of no surprise that we ended up with tons of notable dropouts, those being songs that exit the UK Top 75 - which is what I cover - after five weeks in the region or a peak in the top 40. This week’s hefty list includes Eurovision hits like “Queen of Kings” by Alessandra, “Cha Cha Cha” by Kaarija and… Ed Sheeran hits like “Life Goes On” and “Curtains”. Otherwise, we say farewell to “Tony Soprano 2” by Nines, “Princess Diana” by Ice Spice and Nicki Minaj, “Snow on the Beach” by Taylor Swift featuring Lana Del Rey, “What’s Love Got to Do with It” by Tina Turner, “Sure Thing” by Miguel, “Forget Me” by Lewis Capaldi and “I Ain’t Worried” by OneRepublic.

As for what’s filling in the gaps, “Anti-Hero” by Taylor Swift is our only re-entry at #49, but our notable gains include boosts for “Relax My Eyes” by ANOTR and Abel Balder at #58, “UNHEALTHY” by Anne-Marie featuring Shania Twain at #48, “TMO (Turn Me On)” by Luude and Bru-C featuring Kevin Lyttle at #45 - definitely not complaining about those three - alongside some I’m not as pleased about, like “Area Codes” by Kali at #39, “Talibans” by Byron Messia at #37 and “Side Effects” by Becky Hill and Lewis Thompson at #35, though at least “Little Things” by Jorja Smith is up to #28, and “Good Love” by Hannah Laing and RoRo is big off of the debut up to #22. We also see Dua Lipa’s “Dance the Night” gain up to #13 and “Padam Padam” by Kylie Minogue at #12, both just missing the top 10, whilst “Dancing is Healing” by Rudimental, Vibe Chemistry and Charlotte Plank enters the top 10 at #8, becoming the first for Vibe Chemistry or Plank but Rudimental’s fifth; their first in five years since 2018’s “These Days” with Jess Glynne, Macklemore and Dan Caplen. It’s a shame that this new top 10 hit isn’t all that good, but what can you do?

The top five on this week’s UK Singles Chart consists of “Daylight” by David Kushner at #5, “REACT” by Switch Disco and Ella Henderson featuring the late Robert Miles at #4, “Giving Me” by Jazzy at #3, “Miracle” by Calvin Harris and Ellie Goulding at #2 and of course, “Sprinter” at the very top, which we’ll get to later as part of our muddled batch of this week’s new entries, which we’ll start now.

NEW ARRIVALS

#70 - “Give it to Me” - Matt Sassari

Produced by Timbaland, Danja and Matt Sassari

If this week is defined by anything, it’s that we have songs by the duo of Dave and Central Cee, songs produced by Metro Boomin and a bunch of loosies that fall into neither of the categories. This song, more known for its “Full Vocal Mix” that halves its length yet has around 100 more million streams, is by French DJ Matt Sassari, and is essentially a remix of Timbaland’s 2007 hit of the same name with Justin Timberlake and Nelly Furtado that was a #1 hit in both the UK and US. The original is a fascinatingly bitter takedown from the trio onto… pretty much anyone who they didn’t like, whether that be Janet Jackson, Fergie, Prince or Scott Storch - yeah, they hit some pretty big names here, and it’s one of those diss tracks that feels a bit more petty than it does deserved… though honestly, I don’t find that much of a problem given how the Timbaland solo albums are mostly celebrity showcases anyway so it makes sense to stain them with gossip. With that said, I don’t like the original that much, as whilst it’s got the classic buzzing synth bass and heavily percussive groove of Timbaland tracks, it also has some of Nelly Furtado’s weakest and most awkward performances, especially in her verse, and the vocal melody all three of them go for in the verses is sing-songy and bitter to the point where Nelly sounds completely confused, Justin sounds punchable and Timbaland just sounds funny… which means he at least has the most charming performance. Given the club-based lyrics, it makes sense for a house remix but I do feel it’s a tad awkward, especially with how disjointed the new house beat ends up feeling with the original song’s vocals, which whilst being effectively chopped up, don’t really provide any sensible alternative to this just being an instrumental, and said instrumental would be pretty cheap-sounding and boring with its typical slap house synths that cloud up into a whole lot of nothingness. If not lazy, it’s empty - so it definitely makes sense that they shortened it to not even two minutes, got rid of the instrumental and replaced it with the original verses, excluding Nelly’s, which is a welcome decision but with every Timbaland-produced track, you could tell how involved he was in ensuring everything made perfect sense and worked together. He was a star-producer for a reason, and adding his work onto some distantly made slap house beat does no justice for the original track, even if I’m not a fan.

#68 - “HEATED” - Beyoncé

Produced by Beyoncé, Sevn Thomas, Neenyo, Jahaan Sweet, Boi-1da, Cadenza, Kelman Duran, Stuart White and Harry Edwards

There are four and a half minutes of runtime on this track, and double the amount of producers… yet you can definitely tell where they’re all coming from. Sure, this is not my favourite track from RENAISSANCE, but there are so many layers to this at any point in time: the liquid-smooth acoustic guitars, the weirdly intense Afrobeats percussion, the distant distorted chanting under several different layers and harmonies of Beyoncé providing great vocals as always. Sure, there’s only one real verse, but this is the “vibiest” song on the album, coasting off personality in an actually endearing way, mostly because Bey is full of charisma and whilst the song is mostly about how only a real man can handle the unique, powerful woman that is Beyoncé, there are some nice nods to how she came up - with her subtly paying tribute to her uncle Jonny in the pre-chorus - and the completely insane outro of liberation and aggression that ends the song with the mantra that had been in the back of the mix the whole time. Like most of RENAISSANCE, it’s just a great, slickly-produced and cleverly-composed track with a lot of attention to detail - why it’s coming back now I have no idea, but it may have something to do with the leaked Drake reference track. I honestly wouldn’t have minded him on the final track, mostly because a song about being uniquely powerful makes a lot of sense for both Bey and Drake, but it’s not like he brings all that much personality to the table, so the solo version works just as fine.

#63 - “bread & butter” - Gunna

Produced by Turbo, Omar Grand and Cam Griffin

I could not care less about if Gunna “snitched” or not - it seems that he took a plea deal, which is normal and common in the legal system, and Gunna’s relationship with his friends is of no interest to me, or any white boy on Twitter who thinks they have an eye on the streets. I did expect a comeback single when he was freed, but I didn’t expect it to honestly go this hard and be so connected to the story at hand. First of all, the R&B synths sound warm and the bass is surprisingly fuzzy and dynamic for a trap beat. More importantly, Gunna maintains his hustle, dissing Lil Baby for his perceived hypocrisy as he apparently still associates with “rats”. It’s a shame to see that duo dissolve, but the melancholy flow Gunna keeps with for most of this song is pretty defiant though it shows a level of sorrow and guilt considering how he becomes so paranoid and arguably allows his flow to become quite wonky in that second verse, mentioning how many have wronged him, his addiction to prescription pills and most interestingly how he feels that he fell for a manipulation of the legal system, which isn’t exactly hard for me to believe. Ultimately, this is not a great song - it runs a little long and Gunna is still not a dynamic vocalist, even if the melody gives his bars an internal sadness that interests me about where he could possibly go next, perhaps for more vulnerable lyrics down the line. I mean, it would be interesting to hear from Gunna of all people, but I don’t think I wanted it to have to come about like this.

#60 - “Closer” - Bou featuring Slay

Produced by Bou

Okay, for once, I think we need to stop thinking about the “Children”. Bou’s recent drum and bass hit is yet another flip of the late Robert Miles’ trance classic that hit #2 in 1996, and it definitely feels overdone, especially since the piano sound here Is particularly cheap, and the build-up is so liquidy it’s practically slime, which isn’t worth it since the drum and bass break is tacky and the bass is straight-up ugly, with the borderline off-key 808 clipping in the mix. Slay is a BTEC Bru-C who just repeats the chorus for half of the song until he actually gets into a verse, which for whatever reason is set to the back of the mix with a bunch of reverb, so it sounds like a completely disjointed song. Slay can barely flow and sounds completely out of it, so everybody here is amateur hour. Next.

#59 - “Annihilate” (Spider-Man: Across the Spider-Verse) - Metro Boomin, Swae Lee, Lil Wayne and Offset

Produced by Metro Boomin, MIKE DEAN and Prince 85

I’ve heard really great things about Spider-Man: Across the Spider-Verse, and I do feel it is one of those superhero films you can enjoy without any prior knowledge of superhero films, and whilst I’m a fan of animation, so it’s probably necessary to watch it at some point, I don’t really have any interest in it, especially not after listening to the soundtrack, which feels as watered down as it could possibly be before it isn’t even recognisable as Metro Boomin production. What’s much more prominent are the flamboyant MIKE DEAN synths which make complete sense amidst all of the pop-music melodrama Swae Lee brings to the table, and honestly even Lil Wayne’s pretty great verse wherein he gives all the spider lines he must have been saving up for this groove-less trap beat. Offset on the other hand is embarrassingly basic, and Swae Lee has a verse for whatever reason that just makes the song drag on for no reason, especially since it’s a motivational song so if you’re not feeling it in the first hook, you won’t feel anything else. I get the appeal, but I’m not a fan… yet we have more Metro Boomin-Swae Lee Spider-Man tracks next week, except replacing the guests that are actually talented with, well…

#56 - “Calling” (Spider-Man: Across the Spider-Verse) - Metro Boomin, Swae Lee and NAV featuring A Boogie wit da Hoodie

Produced by Metro Boomin, Chris Townsend and johan lenox

NAV. He replaced them with NAV. To be fair, A Boogie is here too, but this is mostly the Swae Lee affair once again, with a liquid guitar line and an incredibly basic trap beat relying on pianos and occasional sound effects to make it sound in any way unique to Metro or the soundtrack. NAV is dour, also saying he isn’t materialistic, because anybody is believing that, and the rest of this is a love song. Great. Naturally, most of them sell it through the idea of giving them a bunch of luxury items, as well as generic platitudes that don’t paint an actual picture, with Swae Lee relying on superhero tropes again. I quite like A Boogie here, with a particularly dynamic, ever-changing flow and particularly honest, kind of cute delivery that has slightly more reciprocal lyrics as well as a great moment where the strings come in at the end of his verse, and he sounds great over them. That verse doesn’t save the song entirely though, especially due to the overlong instrumental outro that just fades out... and without any Spider-Man vore, unfortunately. We’ll be back to your feature film presentation after these brief messages.

#52 - “Sittin’ on Top of the World” - Burna Boy

Produced by Skread

So, in 1998, Brandy Norwood released “Top of the World”, featuring the laidback, effortless rap of Ma$e and the hit-making grooves of Rodney “Darkchild” Jerkins. It’s fine. The production actually feels very underwhelming, and the conceit of the song isn’t exactly fascinating, especially with a just-okay Brandy performance, two tacked-on Ma$e verses and a post-chorus that hasn’t aged particularly well - not because it’s problematic or anything but because it sounds very jerky and missing the fine tuning that probably would exist with that kind of vocal stutter and refrain nowadays. To be fair, the strings in the bridge are great, but the song isn’t overall, and it stalled at #2 behind B*Witched… okay, so the song was at least better than that song, and I’ll admit that it’s funny to hear Brandy ask Ma$e to slow down because he’s “killin’ ‘em” considering Ma$e is one of the most - purposefully - boring rappers of all time. Is Burna Boy’s remake an improvement? Well, I say yes, actually, with a fatter bass groove than the original, and a clever interaction with the sample, which is pitch-shifted and both interrupts and completes Burna Boy’s self-liberating chorus. Sure, that vocal stutter still doesn’t sound great, but it’s more well-integrated with the blended production here, and Burna Boy’s rich voice definitely helps further how catchy and honestly just kind of cute this song is, with the wormy synth by the end sealing the deal. Mediocre sample ends up producing pretty good song. Who knew?

#51 - “Am I Dreaming” - Metro Boomin, A$AP Rocky and Roisee

Produced by Metro Boomin, MIKE DEAN, Peter Lee Johnson and Scriptplugg

Our third and final track from the soundtrack is the only good one here, and yes, I’m saying that because A$AP Rocky is on it. Let’s just say I’m a fan. Seriously though, there are other factors here, mostly the whole early-2010s pop vibe it has going on, though a bit less compressed than those tracks were. The strings sound excellent and actually make this feel like a superhero anthem, especially when Roisee’s hook lines up perfectly with it, amidst the buzzing bass synths, and whilst I think that hook may be repeated a bit too much, she actually sells the motivational angle, partly because of how distorted her vocals end up sounding, indicating a filter that’s actually an obstacle between her and her dreams, whilst the rest of these tracks are complete fantasies. Similarly, Rocky mentions waking up feeling thankful for everything that’s been granted to him, and remembering how far he’s come from his impoverished childhood, even mentioning that because of the disparity he saw, he ends up ensuring his poorer friends hang out with his wealthier friends… which is not how that should work but I don’t care when he’s flowing this effortlessly, and the drums are so busy during his verse, it’s impossible not to have at least a little fun with it. I do wish Rocky was on the rest of this, but Roisee’s vocals are great, even if she doesn’t really go for an alternate melody at any point, meaning it feels a bit exhausting to try and split the chorus and verses from each other. Even if Rocky’s a non-presence for the rest of the track, MIKE DEAN is definitely here decorating the track with all his favourite synth patterns. Speaking of, even if it’s our last from him as a lead artist, Metro - and MIKE DEAN for that matter - still have yet another track debuting this week, that being…

#21 - “Popular” - The Weeknd, Playboi Carti and Madonna

Produced by Metro Boomin, MIKE DEAN and The Weeknd

Yes, this sounds bizarre on principle. The Weeknd and Madonna makes some sense considering the over-the-top pop icon status they both display, as well as both singers’ obsession with modal eras, but Playboi Carti? Well, it makes more sense when you consider Madonna was intended to be on the song firstly, and secondly, Carti’s only contributions are baby-voiced ad-libs in the post-chorus. In fact, let’s get him out of the way - he’s mixed horribly, doesn’t need to be here, sounds like he’s been sped-up and awkwardly placed in and his parts feel double the length of any actually decent elements the song brings to the table, which is a shame because this is actually a fantastic song, perfectly fit for soundtrack of The Weeknd’s HBO series The Idol not only due to its lyrics about being desperate for stardom but also with the campness of it, not pretending to be cool like any of the Spider-Verse cuts. Instead, we get Madonna’s silly spoken-word monologue over thematic synths and Metro’s drums doing their best Timbaland impression in this very 2000s funky dance-pop production. I’m pretty sure the song is about the series’ characters in some way, but I care very little about that so I’m just interested in the constant hooks exploding from everywhere, whether it be the sneaky keys, Abel’s constant grunting in the verses, the infectious “oh-oh” refrain in the pre-chorus, and of course, that impeccable chorus, whether it be the synths jabbing in and out or the catchy refrain Abel croons out. Madonna, unsurprisingly, gives not a fantastic performance but one very much within the realm of what she needed to do, as keeping it a tad more subtle was probably for the best to avoid this becoming a completely incoherent track. The cute laughs added in the bridge is a nice touch too, it does sound like this could have very well been a prime Madonna track… except you know, with The Weeknd replaced by Prince and Playboi Carti a complete non-presence. Please make a version without him, Abel, it’s the only thing that’s preventing this from being an excellent song - and you know, maybe add a bridge or synth solo in his place. Please?

#17 - “UK Rap” - Dave and Central Cee

Produced by Kyle Evans

Okay, so one thing I’ve noticed is a trend across all of our new arrivals this week: the lyrics are not interesting. If you run through them, they’re mostly either generic for no reason and as a result just uninteresting or generic because they’re soundtrack singles, with “Give it to Me” being a remix so the lyrics can’t really be totalled up there even if they are a bit more interesting. Apart from “bread & butter” and maybe “HEATED”, these three songs from Dave and Cench, all from their four-song EP Split Decision will be our only chance for some depth or at least comedy this week, since Dave is a conscious rapper and well, let’s just say Central Cee is never afraid to elaborate. Apart from the only track on the EP that didn’t chart, it’s pretty low-stakes for Dave and a comeback to making actually good music for Cench, so I’ll try and make these last three pretty quick and light-hearted. “UK Rap” is a slightly condescending nod to how British hip hop is under-represented, with Cench knowing a girl who only listens to the two most famous British rappers - guess who - and otherwise only bumps Americans in the car. Kyle Evans provides a decent enough drill beat, even if I’d want it to be a bit more fluid with the 808s and it seems a tad too intimidating for a song that’s mostly comical in its lyrical content about this… underwhelming relationship. Cench actually goes for some wordplay as well as having a pretty confident delivery, and mostly does alright. Dave… well, his verse is just as comical, and I had to stop and replay the song after I laughed over the bars that followed him randomly dropping in his pontification about asking for feet pics. The verse honestly continues to be pretty great, as Dave has an attention to detail in his bars, with a great conversational flow, slick wordplay about Rudimental and a great fluid flow that runs all over the beat and makes it sound so much better than it actually is. Oh, and we get a Nelly Furtado mention here, which would be a book-end if this were the single.

#14 - “Trojan Horse” - Dave and Central Cee

Produced by Dave

This sample is incredible. The strings from the Warsaw Philharmonic Orchestra are beautiful, and they’re chopped up in a pretty awkward way on first listen but as soon as the trickling drill hi-hats come in, it all makes sense, and the bass also sounds weird first listen… but the juicy tone of it makes it sound a lot bouncier, which works for them trading bars and creates a really unique version of a drill beat. As for the bars here, Dave and Cench talk about gang violence and paranoia, that even gives him trauma when his girl puts him in cuffs, as well as a lot of flexing and girl talk as you’d expect. Apart from wanting to have sex with his step-sister, it’s a nice touch that instead of cutting out the beat when Cench says he doesn’t need a beat (because he’s “too vocal”), Dave instead gets rid of the strings sample, so that when he comes back for his verse, he can lead another one in that’s a bit more interesting and screechier than the last, keeping the beat a lot more interesting, as well as allowing the main strings loop to feel like a refrain, that fits due to the nostalgic feel of it. Dave’s rhyme schemes are satisfying and whilst I’d appreciate a bit more interplay, they have enough chemistry in that they’ll share similar rhyme schemes or content themes between verses. Dave definitely shows up Cench - as expected - in terms of pure bars, but as a result it almost feels relaxing whenever Cench comes back In, which is actually the opposite for the third and final track from the two debuting today:

#1 - “Sprinter” - Dave and Central Cee

Produced by Jo Caleb, Jonny Leslie, Dave, Jim Legxacy, Kyle Evans and TR the Producer

The big hit from the EP is actually pretty much a Central Cee showcase, as the one track on this EP where he really shines ends up getting the single and video push. I’m glad, too, since first of all, I haven’t heard Cench’s vocals in this high of a fidelity so Dave gave him more of a budget than usual, and he also put him on much more interesting production, with the six producers curating an incredibly energetic, tropical beat bringing highly percussive elements to the drill rhythm, whilst tonally, the song uses acoustic guitars and almost Pharrell-sounding vocal soundbites as well as an incredible use of bass. It’s a lot of flexing and girl talk once again, but there’s actual interplay between the two and Cench is the most infused he’s been in years, whilst Dave is effortless rapping quickly but still with this new conversational cadence I hadn’t heard from Dave until now and it really works a lot better, since his blunter delivery was what prevented me from enjoying some of his music prior. Cench’s second verse is genuinely incredible, as he goes on for way longer than I expected as the beat shifts around him into this beautiful vocal warbling that has enough attention to detail to add the “Maybach Music” tag when it’s referenced. I could probably do without Dave’s second verse, honestly, I feel like the song is kind of out of steam - and breath - by the end of the second chorus, and it ruins the catharsis the song makes me feel from having a return to the hook after Cench’s exhaustingly good verse, but as a misogynist epilogue, I suppose it works, and whilst I do prefer “Miracle”, I’m not mad this is at #1.

Conclusion

It’s getting the Best of the Week too, though you could honestly tie it with “Trojan Horse”, and as for the Honourable Mention, it only feels right to give Beyoncé a nod for “HEATED”, though Gunna was absurdly close. As much as I want to spare Metro Boomin, he did make NAV chart so “Calling” with Swae Lee featuring A Boogie wit da Hoodie ends up as the Dishonourable Mention, with the Worst of the Week easily going to “Closer” by Bou featuring Slay, which I can only hope doesn’t last. As for what’s on the horizon, well, it seems like it may be the true start of Summer on the charts and it seems like the quality for this Summer’s hits are going to stay pretty high, even if the older tracks are a bit too slow in their exits, so I’m excited to see what else is coming. As for now, thank you for reading and I’ll see you next week!

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