#ina wroldsen

[white-cat-of-doom]

The UK/International Tour 2022 is currently in Oslo, Norway for some shows, and here are some backstage photos from the last few days.

Although not ever officially casted as such, Kayleigh Thadani has been performing many shows as Electra! We love to see her smiling face!

Here with Carrie Willis covering Jemima, Aaron Hunt as Bill Bailey, and Sebastian Goffin as Alonzo.

Ina Wroldsen has returned temporarily to the cast for this stop, the last in Norway, here with Connor McAllister covering Old Deuteronomy.

#CATS Musical #CATS the Musical #CATS UK Tour 2022 #CATS International Tour 2022 #Electra #Kayleigh Thadani #Grizabella #Ina Wroldsen #Old Deuteronomy #Connor McAllister #Jemima #Carrie Willis #Alonzo #Sebastian Goffin #Bill Bailey #Aaron Hunt

[deadcactuswalking]

REVIEWING THE CHARTS: 11/11/2023 (Olivia Rodrigo, Jax Jones/D.O.D/Ina Wroldsen, The Kid LAROI)

Welp, with a ton of sales and some actually good streaming traction, the Beatles have done it. With their supposedly final single, they now have 18 #1s, the second most of anybody charting only second to Elvis. It’s their first #1 since 1969, “Now and Then” surging up to the top spot this week. So what about the rest? Well, welcome back to REVIEWING THE CHARTS!

Rundown

It should be no surprise that “Now and Then” hit #1. They sold 78,000 units - a lot of it being physical copies - which naturally stomps on the usual sales figures we get nowadays. They set all kinds of chart-span records, including gap between #1 singles, and whilst it’s far from the only story this week, it is pretty great to have a genuine chart moment much like the Christmas #1 where the average person may actually give a damn about the chart. Now that you’re interested, here’s what’s on the chart, our notable dropouts - songs exiting from the UK Top 75 after five weeks in the region or a peak in the top 40. This week, we say farewell to all the Halloween-related re-entries and debuts - probably not worth listening here, just make five guesses and check last week’s episode, you’re probably correct - and then it’s just “ONE MORE TIME” by blink-182, “bad idea right?” by Olivia Rodrigo, “Bittersweet Goodbye” by Issey Cross and “Kill Bill” by SZA, it’s not exactly a week for big losses.

This is also one of those weeks where we do see resurgences of old songs, with “Bad Habits” by Ed Sheeran back at #74, as well as the return for “Iris” by the Goo Goo Dolls at #67. This is its first time in the top 75 since 2014, and it has a bit of a bizarre run in general. It charted at #50 on release, died almost immediately, came back the next year at #26 before soon drifting back away. With the introduction of digital sales and eventually streaming, however, “Iris” has won out, going in and out of the charts for 100+ weeks since 2006. It peaked at #3 after a performance on The X Factor in 2011 pushed its sales up, which meant it was competing with Sak Noel’s “Loca People” and Maroon 5’s “Moves Like Jagger”. Elsewhere, we see gains for “Everywhere” by Fleetwood Mac at #61, “Someone You Loved” by Lewis Capaldi at #58, “As it Was” by Harry Styles at #57, “Another Love” by Tom Odell at #51 and the earliest defrosting of the Christmas hits ever, with “All I Want for Christmas is You” by Mariah Carey at #40 and “Last Christmas” by Wham! at #37. Therefore, Christmas rules need a reminder: I will not discuss Christmas gains past the top five unless they are entering the top 75 for the first time that year in that week. It means the rundowns get a lot less tedious during the holiday season.

To be fair, we have some more contemporary gains, like “MONEY ON THE DASH” by Elley Duhé and Whethan at #63, “Black Friday” by Tom Odell at #54, “Dance the Night” by Dua Lipa, “Would You (go to bed with me?)” by Campbell and Alcemist at #29, and “On My Love” by Zara Larsson and David Guetta at #22. Additionally, Jung Kook’s solo debut album GOLDEN debuts at #3 on the albums chart, thus we see gains for “3D” featuring Jack Harlow at #45 and a re-entry for “Seven” featuring Latto at #35, alongside a new single in the top 10 which we’ll talk about later, standing right next to Taylor Swift swapping out “Slut!” for “Cruel Summer” returning at #7, and speaking of the top 10…

The top five this week consists of “Water” by Tyla back up to #5 with Tate McRae’s “greedy” at #4, Taylor Swift’s “Is it Over Now?” holding on at #3, “Prada” by casso, RAYE and D-Block Europe at #2 and of course the Fab Four at the very top. Now for our pretty scarce but vaguely interesting batch of new songs, though I say the term “new” a bit loosely.

NEW ARRIVALS

#75 - “The Night We Met” - Lord Huron

Produced by Ben Schneider

Okay, so we have another weird chart run here. This song by California indie rock band Lord Huron was originally released in 2015 - which is soon, terrifyingly, near a decade ago - and did not make much noise until it was featured on the soundtrack to Selena Gomez-backed polarising Netflix show 13 Reasons Why in 2017, the year in which this song actually charted below the top 75 for a brief couple weeks. The year after, a remix featuring Phoebe Bridgers of boygenius was featured in the soundtrack for the show’s second season, and gave the song a bit of a third wind… and now it’s back for a fourth because God knows why, probably TikTok because the show is long cancelled. Thankfully this constant slow-burn of a chart run is for a song that is genuinely very good, going for a slightly retro-sounding guitar lick with the haunting doo-wop vocal lead-in, for a song about losing the spark and connection of a relationship and just desperately wanting to recapture - or honestly, escape - the initial moments. I wish the lead vocalist would really get into it a bit more as whilst his fried devastation is effective, I’d like to hear a real belt considering the desperate melodrama of these lyrics. It’s also not the bets co-ordinated-sounding chorus in the world, isn’t really that impactful, and the mix can feel a bit compressed, but as a song, the qualities are there, and I think it lacking a bridge or real climax is by design. It’s the closer of the album after all, and I’m not about to complain about something that could be corrected by listening to the full record. I prefer the Bridgers version, primarily because of how a female perspective in the second verse just touches a better note for me, I don’t exactly know why. It doesn’t make any major differences to the composition so either will work, and if it ends up sticking around, it’s far from the worst indie pop track to have lying around at the bottom of the charts. Isn’t that right, Vance Joy?

#66 - “Brilliant Mind” - Blanco

Produced by Jensmuller

We’ve seen UK rapper Blanco, specifically accompanied by Central Cee, and he didn’t make much of an impression then, though the song wasn’t bad. Here he is backed with what may be one of the best drill beats I’ve heard this year, if it counts as one, applying the rhythms to a club bounce and some African-influenced blocky percussion, as Zelda-sounding flutes ring off in the background and as soon as Blanco starts rapping, a warm sax joins the mix, adding a lot of richer potency to otherwise standard flexing and violence, though the rhyme schemes and flows are on point, and Blanco has a fantastic delivery to sell all of this. I find the lack of ad-libs for the most part really interesting too, it makes the song feel a lot more self-interested, inward-looking rather than flexing on the audience, where each thing he’s grateful for in his life has the added caveat of what should have happened or what eventually does happen to defy the purpose and meaning of it, like when his old gang friends hop the gated fence he has up. It’s a shame that the name of the song comes from a corny sex pun in the hook because there really is a lot to this one, and I think a better outro would seal it for me, but as this there’s still a lot of quality here, especially in the production and that frankly fantastic second verse, for me to call this a pretty excellent example of where British hip hop could be going. Check this out.

#41 - “BLEED” - The Kid LAROI

Produced by Billy Walsh, Omer Fedi, Blake Slatkin and The Kid LAROI

So The Mid LAROI has slowly been drip-feeding songs from the new album he just released this week, and whilst rap is still an influence, LAROI is moving further into the pop rock direction Post Malone kind of took, which makes complete sense for LAROI considering he is some kind of amalgamation of Posty, Bieber and Juice WRLD, with the only thing that really makes him all too recognisable being his hate-it-or-love-it voice. Now I love “WHAT JUST HAPPENED”, but that’s not the single that charted this week. Instead, we have “BLEED”, which just goes for a similar indie pop-influenced acoustic rock sound, except more familiar and laidback than what the other single went for. It’s not bad at all, even if LAROI’s rawer lead vocal take seems a tad detached from the backing harmonies. I do quite actually like that interplay - or more accurately counterplay - on the chorus, where LAROI’s vocal inflections seem particularly dejected when he’s not going for a half-rap angst. The soaring backdrop makes this a pretty solid track, even if perhaps a one-note one that doesn’t go for much more than the one cool trick it saves for the second verse, that being the fast-pace build-up with the distorted guitar and synth flutters sliding in, but it doesn’t lead up to all that great of a final chorus, especially since some of the extra layers are stuck in the back of the mix or only in the left channel. There’s a good song here, but it’s not really fully realised and I don’t think it’ll ever be a great one.

#28 - “Won’t Forget You” - Jax Jones, D.O.D and Ina Wroldsen featuring The Blackout Crew

Produced by Jax Jones, D.O.D and Mitch Jones

Part of me perhaps optimistically hopes that D.O.D will offset some of Jax Jones’ copy-and-paste house-pop genericism by a lot trying a little, and we have Ina Wroldsen - who you probably heard on Jones’ older hit “Breathe” - on the meaningless vocals, so it’s not exactly a good sign, but hey, it’s not awful. Wroldsen sounds frankly terrible but the Euro-trance revival is still in full effect and that slightly jerkier take on the beeping trance synths is actually a bit of a cool, different touch amidst the rest of the oddly drowned-out atmospherics that Wroldsen is mixed way over. It was probably D.O.D’s idea but that’s not important, it’s still there… but it loses its novelty past the first drop. It’s an earworm for sure, though and for whatever reason, the Official Charts Company credits “The Blackout Crew” here for the less-streamed “donk edit”, which is basically the song sped-up and with comical rapping over the drop. Welcome back, Blackout Crew, you haven’t charted since you “Put a Donk on It” in 2008, and you haven’t gotten any better in those 15 years, but it’s still… just delightful. In fact their style of comical EDM-rap they introduced with that classic novelty single is probably more influential than I’d like to admit nowadays. I’d like to see them collaborate with some of the people that clearly take influence from them, like Kak Hatt or, uh, the “give me some time, I’ll have that Rover” guy. Yeah, that would work.

#18 - “Can’t Catch Me Now” (from The Hunger Games: The Ballad of Songbirds & Snakes) - Olivia Rodrigo

Produced by Dan Nigro

Welp, there’s a new Hunger Games, and Lorde isn’t hip with the young-adult demographic anymore so guess who’s back? This seems to act as a semi-motivational semi-revenge track that makes many direct references - albeit through metaphors and imagery you could absolutely apply to, say, a breakup - to the film’s plot, or at least seems to. Rodrigo plays a powerful woman responding to mistreatment by just being everywhere and having whoever wronged her constantly reminded me of O-Rod, without them being able to “catch” her. It’s a cool idea for a song, but perhaps not an acoustic ballad? Rodrigo doesn’t feel like she’s signifying much power here, even if the acoustic guitars sound a lot richer this time around and the harmonies are pretty gorgeous as one would expect. For an acoustic Olivia Rodrigo ballad, it’s actually up there quality-wise, even if just for the swell and for the lack of annoying wordiness that is a bit of an O-Rod trademark at this point. The haunting strings do a pretty good job at feeling surrounding and particularly enclosing, giving a ghostly essence to the reverb and echo on Rodrigo’s “oohs” in the post-chorus. In fact, the bridge kind of seals it: her performance is fantastic, the initial hit is great, but then it repeats as a mantra, gaining swell but losing most of its steam. Unlike LAROI’s ballad from earlier, there IS a great song here, somewhere, but the structure of it - and perhaps my lack of connection of the franchise - doesn’t do it as many favours for me. I can see it growing on me or really being a fan favourite but for now, I just think it’s pretty good.

#6 - “Standing Next to You” - Jung Kook

Produced by watt and Cirkut

I’m still yet to be impressed by BTS solo work and whilst Jung Kook is somewhat close - he definitely has the charisma of a pop star - I feel like he ends up losing me just in the songs department, as they really end up being a competent version of a mostly competently-written song with a fun performance, and nothing more. They’re so fine-tuned and well-done it makes me forget that he was at some point a K-pop singer, and that’s definitely true for this one that just throws 80s synth funk grooves, harmonies and disjointed blasts of horns and bass at you, to convince that there’s some kind of bombast. But I’m honestly not convinced: it’s trying a lot, trying to make some kind of epic, but it doesn’t have a lot of the guts. One of the big lines in the chorus is “it’s deep like DNA” and the wham line it drops on is just a stuttered, kind of weakly-sold “take off”. There’s also just not a lot lyrically here at all, and I mean that in quite literal terms of how many unique words there are. It’s not bad, it’s just a nothing burger.

Conclusion

And sadly, on a decent week, that’s enough to get Worst of the Week. I probably have to clarify given it’s Jung Kook that I have absolutely nothing against the boys, just I’m not a fan of the song. I can’t sincerely give out a Dishonourable Mention so I’ll tie the Honourable Mention between “The Night We Met” by Lord Huron, specifically the version featuring Phoebe Bridgers, and Olivia Rodrigo for “Can’t Catch Me Now”, whilst Best of the Week goes to, surprisingly enough, Blanco for “Brilliant Mind”. I guess, keep it up, man. As for what’s on the horizon, we’ll be in festive season soon enough, but maybe PinkPantheress will give us something less confectionery to chew on in the interim? I don’t know. Regardless, thank you for reading and I’ll see you next week!

#uk singles chart #song review #pop music #jung kook #olivia rodrigo #the kid laroi #blanco #lord huron #phoebe bridgers #jax jones #ina wroldsen #d.o.d #blackout crew

[where-our-stories-start]

“No Day But Today” (Rent) // Game of Thrones // The Fault in Our Stars, by John Green // The Lord of the Rings: The Fellowship of the RIng // “My Shot” (Hamilton) // Dead Poets Society // “We Are Gonna Live” by Ina Wroldsen

#web weaving #carpe diem #seize the day #you only live once #make the most of it #rent #game of thrones #the fault in our stars #john green #lotr #the fellowship of the ring #hamilton #dead poets society #ina wroldsen

[yagirlyacchan]

Because all the haunted girl playlists I found weren't right

#Haunted girl autumn #Mine #Playlist #Indie #Pop #florence and the machine #Kate Bush #billie eilish #Philder #Eivor #Hania lee #Emilie Simon #Squalloscope #Ina Wroldsen #Karliene #Aesaes #Eluiveitie #Eliza Rickman #Happy halloween #The amazing devil #Laura marling

[bwops]

i'm not in control of what i do, it's not me when i'm not with you

#places #martin solveig #ina wroldsen #english #dance #2017 #2010s music #Spotify #Youtube

[my-chaos-radio]

Release: August 17, 2018

Lyrics:

As the sun rises

She opens up her hazel, beautiful eyes and begins

Her baby cries

She picks him up and tells him beautiful lies again

She come from the favela-la

Hills of Santa Teresa-sa

Underneath the Redeemer-mer

And the sun in the sky

She come from the favela-la

Ask me e aí, beleza-za

Underneath the Redeemer-mer

Where the hills come alive

She works the favela night

She works the favela night

Favela

She works the favela night

And the wind blows

She lives on lonely streets where nobody goes alone (oh)

Just a young girl (just a young girl)

Born on the left side of this right-handed world, she knows

She come from the favela-la

Hills of Santa Teresa-sa

Underneath the Redeemer-mer

And the sun in the sky

She come from the favela-la

Ask me e aí, beleza-za

Underneath the Redeemer-mer

Where the hills come alive

She works the favela night

Favela

She works the favela night

Favela

Deep in the colors and the streets

Lost in the funk favela beats

Prisioneira

Dancin' in the favela

Safe in the Ipanema bays

We raise a glass on holiday

It's a lopsided world when you're a girl

Born into nothing at all

She come from the favela-la

Hills of Santa Teresa-sa

Underneath the Redeemer-mer

And the sun in the sky

She come from the favela-la

Ask me e aí, beleza-za

Underneath the Redeemer-mer

Where the hills come alive

Songwriter:

She works the favela night

Favela

She works the favela night

Favela

She works the favela night

Edvard Foerre Erfjord / Ina Wroldsen

ArtistFacts:

👉📖

#new #new music #my chaos radio #Alok #Ina Wroldsen #Favela #music #spotify #youtube #hit of the day #music video #video of the day #youtube video #good music #2010s #2010s music #2010s video #2010s charts #2018 #pop #latin #electronic #dance pop #reggaeton #latin pop #dancehall #lyrics #songfacts #860

[lovebesblog]

Watch "Alan Walker & Ina Wroldsen - Strongest (Lyrics)" on YouTube

#alan walker #ina wroldsen #Strongest #Youtube

[bearsnub]

a screenshot redraw warm-up that got a little out of hand 🧍‍♂️

bonus:

#trigun #trigun stampede #vash the stampede #i listened to “mother” by ina wroldsen while drawing this and it made me very sad #when will i stop thinking about him 23 hours a day?

[myhughniverse]

#Kylie Minogue #Padam Padam #Grammy Awards #Ina Wroldsen IG story #The One and Only Kylie

[nvwu-moved]

tagged by @theycallmecarpet to post my top 5 songs atm!! thank you my lovely 🖤✨

cameo lover by kimbra

gomf (feat. bridges) by dvbbs

breathe (feat. ina wroldsen) by jax jones

lost in the fire by gesaffelstein + the weeknd

elviras vals/oravais menuett by gjallarhorn

(lastly a shameless plug) MY OWN ALBUM!! which also contains a version of the oravais minuet <3

tagging: @werewolfcafe, @bwaldorf, @chlap, @shapeshifter-of-constellation, @leoseazon, @hongjoongdaes, @reminiscebliss, @mawklee, or anyone who wants to!!

#tagged

[we-staybhaalin]

RULES: Post 5 songs associated with your OC, followed by 3 outfits they would wear

I was tagged by @bhaalbaaby and @the-eldritch-it-gay (on the main blog!). Thank you both!!!

Posting up for Niralei because of course lol!!

Songs:

Movement // Hozier

Bare With Me // Teyana Taylor

Savage // Megan Thee Stallion

Promiscuous // Nelly Furtado feat. Timbaland

Obsessed // Dynoro feat. Ina Wroldsen

For her everyday clothing, Niralei is a big fan of walking around looking like she walked off a portrait. She's usually wearing something with flower motifs on it and when she wants to be really extra, she's going to pull out one of like six thousand corsets she has that have been specially gifted to her.

When she's out adventuring, she dons armors and armaments that give her the appearance of a bardic swashbuckler--long decorated coat, long boots, and what have you.

No obligation tagging: @nocanonhere @feral--darling @antivan-surana and anyone else that wants to participate! Tag me if you do!

#bg3 tav #bg3 #bg3 tiefling #writing challenge

[white-cat-of-doom]

Photos from the last Norwegian date in the current schedule of the UK/International Tour 2022, 13 November 2022.

This was the last show with Ina Wroldsen, who performed in all of the stops in Norway as Grizabella, and with Mathieu Serradell, the Musical Director for the Paris Revival 2015, all casts of the UK Tour 2016 since 2018, and the Asia Tour 2020.

Kayleigh Thadani as Electra with Ina Wroldsen as Grizabella, from Trondheim last month.

Kayleigh Thadani covering Bombalurina with Mathieu Serradell.

Anna Campkin who is still performing as Autumn with Mathieu Serradell.

And lastly, Ina Wroldsen's last goodbye to Grizabella.

#CATS Musical #CATS the Musical #CATS UK Tour 2022 #CATS International Tour 2022 #Grizabella #Ina Wroldsen #Electra #Bombalurina #Kayleigh Thadani #Autumn #Anna Campkin #Mathieu Serradell

[stranger-rants]

Inspired by @robthegoodfellow ‘s headcanon that Billy & Billy’s mother have Swedish ancestry, here’s a playlist of songs by Scandinavian / Nordic artists I like featuring lyrics about isolation, anxiety, death, relationship dysfunction, queerness, and most prominently… a longing for home.

Song List:

Mother - Ina Wroldsen

Runaway - Aurora

Running to the Sea - Röyksopp feat. Susanne Sundfør

What They Call Us - Fever Ray

Silent Shout - The Knife

Keep the Streets Empty for Me - Fever Ray feat. Cecilia Nordlund

Bedtime Story - Susanne Sundfør

Internal Dialogue - Maria Mena

Accelerate - Susanne Sundfør

The End - Maria Mena

So Far - Ólafur Arnalds feat. Arnór Dan

In The End (Lost Tapes) - Röyksopp, Man Without Country, Susanne Sundfør

Remember Me - Eivør

#billy hargrove #music #i realize this is very niche #but enjoy nonetheless #my playlists #my things

[deadcactuswalking]

REVIEWING THE CHARTS: 27/01/2024 (Noah Kahan/Sam Fender, Benson Boone, Becky Hill/Sonny Fodera)

I think it’s this week that I’ve realised Noah Kahan might be a bonafide star. We’ll get more to it later, but “Stick Season” spends a fourth week at #1 - welcome back to REVIEWING THE CHARTS!

Rundown

As always, we start with our notable dropouts, which I define as songs exiting the UK Top 75 (read the FAQ) after five weeks in the region or a peak in the top 40, and this week wasn’t too busy but it did come with some fair losses. Therefore, we bid adieu to “When We Were Young (The Logical Song)” by David Guetta and Kim Petras, “Stop Giving Me Advice” by Lyrical Lemonade, Jack Harlow and Dave (might be back next week given the album), “Won’t Forget You” by Jax Jones, D.O.D and Ina Wroldsen, assisted by a (bizarrely, credited) “donk” edit featuring The Blackout Crew, “One of Your Girls” by Troye Sivan, “Me & U” by Tems and FINALLY, “Anti-Hero” by Taylor Swift. It feels like it’s been there forever.

When it comes to our returns, we see the oddity of Sam Fender returning to #35 assumingly because of a boost to “Seventeen Going Under” that resulted from… well, you’ll see, but otherwise, we only have a handful of notable gains that, during a pretty dreadful-looking week, show some promise, and no, I don’t mean “Someone You Loved” by Lewis Capaldi somehow still here at #59, more so “Praise Jah in the Moonlight” by YG Marley at #51, “Scared to Start” by Michael Marcagi at #47, kind of grew on me, and “Nothing Matters” by The Last Dinner Party at #41… and less so “Toxic” by Songer at #32, please, let’s not do this, and on that same pleading note, “Alibi” by Ella Henderson featuring Rudimental at #26… why?! I suppose on a good note, Flo Milli is up to #17 with “Never Lose Me” and I can’t really complain about Natasha Bedingfield’s second wind at #13 with “Unwritten”, but it is majorly a mixed bag over here.

Our biggest story, however, rests in our top five, as “Homesick” by Noah Kahan debuts at #5, thanks to a version with Sam Fender who, surprisingly enough, is actually credited by the Official Charts Company, probably because, well, it would have no reason to as high as this without him. More on that later, but for now, it’s pretty standard elsewhere - Jack Harlow’s “Lovin’ on Me” at #4, “yes, and?” by Ariana Grande at #3, “Murder on the Dancefloor” by Sophie Ellis-Bextor at #2 and of course, Mr. Kahan still sitting at the very top. Now we have a… considerably unpromising set of new songs to discuss, so I guess we’ve just got to trek through that, and our starting point is…

New Entries

#75 - “Coal” - Dylan Gossett

Produced by Dylan Gossett

There aren’t that many new arrivals this week but the songs apart from one all fall into being either by singer-songwriter types or working as faceless EDM, and if you’ve been following this blog at all, you’d know those two styles really aren’t my thing, but hey, an independent folk singer racking up a streaming giant with a song from last year, notching him licensing with Republic, it could be promising in the same way I like Zach Bryan or even Oliver Anthony, who I assume we will never see again but appears as a recommended song in Mr. Gossett’s Spotify search terms. One has to wonder why and how but first of all, the elephant in the room: Diamonds aren’t made from coal.

I found several articles, both from sustainable energy advocacy outlets like TreeHugger and the people selling diamonds like With Clarity, clarifying that diamonds cannot really be made from coal. Coal is an impure carbon whilst diamonds are purer and whilst pressure is involved in the process, it is not a simple “one equals the other” sum, since coal has too much organic matter to be made into crystalline diamonds, especially since you can see vividly in the colour of rarer diamonds to what other chemicals may be found in them. Now I’m tempted to believe these articles as they’re backed by science, but if I’m wrong and these articles are just using words I don’t understand to spread a mythical debunking of an already existing myth that diamonds originate from coal, which is actually true all this time, then I’ll stand corrected. For now, the main conceit of this song, asking why under all this pressure, how the Hell he’s still “coal”, doesn’t really make much sense, and the rest of the song reads like listing off proverbs and sayings that fit the part but he doesn’t fully understand them or tie them together. Singer-songwriters are supposed to weave stories, when this feels like playing word association with common and universal wisdoms. For all of Oliver Anthony’s imperfect wording, at least you can tie them together to refer to a specific viewpoint, seeing where those views align, without becoming vague “woe is me” platitudes that don’t hold much reason for said pity, or really any narrative detail. You might see this as nitpicking but when it’s just a guy with a guitar, he opens himself up for interpretation and autopsy, possibilities he seems to willingly flail away by displaying disappointingly little to even work with, and as the song fills itself up with non-verses, as tightly as this kind of song can be produced without a particularly impressive vocal performance, one starts to wonder what the appeal in this even is. It’s a non-song, let’s move on.

#71 - “Incredible Sauce” - Giggs featuring Dave

Produced by Payday and David Morse

The #1 album this week was Green Day’s best album in decades. I have a full first-impressions review of Saviors on my RateYourMusic listening log (exclusivelytopostown) and whilst I understand that sales factor in here, I’d have loved for the only song here that bucks the categorical trends I laid out earlier to be a cut from that record. Instead, we have a Giggs song from last year that I’m honestly surprised has yet to chart already, given the Dave feature and that it was released in August of last year. Apart from the… choice of a name, I still don’t really know what level of quality to expect from Giggs, outside of a comical menace that emerges largely from his attempt to be “laidback” that can more accurately be described as an active  coveting of his natural voice to sound much more relaxed than he really is, considering he’s never sounded comfortable with a flow he picks out, which becomes especially clear with Dave on the hook as he actually pulls off sounding effortless. Giggs’ delivery honestly reminds me of Dean Blunt’s satirical British rap project Babyfather more than anything, especially with the half-asleep cadences leaving so much dead air in this eerie, stagnant trap beat. The song doesn’t end with a piece of classic Dave wordplay, though he’s not on his A-game here comparing himself to Sonic the Hedgehog, it just ends with “Lingerie on a special occasion”… okay. That’s barely even a flex, why does it punctuate the track’s final moments? This is just another ugly showing of substanceless pretence from Dave over a pretty minimal beat with an absolutely worthless performance from Giggs, whose verses feel double the length and really halt any possible fun that could be had from Dave’s bite-size verse. Somehow, this ends up much like “Coal” - there’s just nothing here.

#39 - “Whatever” - Kygo and Ava Max

Produced by, well, Kygo

Speaking of nothingness, welcome back, Kygo and Ava Max… Jesus Christ. Okay, well, if anything is the saving grace this week outside of #5, it will be this.

I have just checked the sample credits, I have bad news. To delay the suffering, I will say that I kind of like the production here, the acoustics remind me of Avicii’s pretty seamless blend of folk pop with the anthemic festival house that defined much of his catalogue. Kygo has always been a detailed producer who pays much attention to ensuring his songs are as easy as possible on the ears, and he succeeds in the sense of this being a very pretty little tune with depths of cute synth pads, guitar rolicks and plucky percussion. Ava Max herself actually impresses me a tad here vocally, mostly because since this is a Kygo song, she can belt without clipping unnecessarily in the mix for once. However, and this is a big however, the main hook of the song, its crux, if you will, is a direct interpolation and rewording of the iconic melody to Shakira’s “Whenever, Wherever”, a 2001 single that debuted and peaked at #2 for two weeks in 2002 here in the UK, being kept off the top spot by Will Young’s double A-side of “Anything is Possible” and “Evergreen”. I can’t believe such a classic was blocked by not even Westlife, but a Westlife COVER, yet I digress, this is just a lazy and frankly obnoxious way of using the song’s chorus. Kygo is clearly dipping into the David Guetta pool of reskinning prior hits, and I will give it to him that he’s not just redoing a classic EDM track, this is largely a unique house single, but that may make the last-resort hook that much more disappointing. I’m disappointed in you, Kygo. Not you, Ava Max, you can just do whatever. Albania forever.

#36 - “Skin and Bones” - David Kushner

Produced by Rob Kirwin

Oh, we’re actually making David Kushner a thing, fantastic, that other song just had so much to offer, didn’t it? I feel like I can very quickly summarise this melodramatic, uber-serious noir piano ballad, deepened by some of the ugliest froggy-sounding snaps I’ve heard in pop music and only plunged further into sludge by Kushner’s insufferable lyrics, by just a stray observation. When I clicked on the Genius annotation for the first verse of this song, it was completely empty. At least to the first verse, there’s literally nothing there: an empty annotation box. It may just be a glitch on my part, or it was deleted for whatever reason, but regardless, I think this exemplifies how little this song has to offer: someone attempted to just touch upon the pretty self-explanatory first verse, attempted to offer some wisdom or deeper analysis that seems granted with the cinematic grandeur of it all, and couldn’t cough anything up. Once again, there’s just nothing here.

#34 - “Never be Alone” - Becky Hill and Sonny Fodera

Produced by Sonny Fodera

I mean… it has a pulse at least. In fact, this is much more interesting than I expected for Becky, and not necessarily in a lyrical front, simply because she does not need to do much more than recite boardroom word association over four-on-the-floor, but moreso with her vicious delivery, going into an attack that sounds like it was overpowering the mix before being blended a bit more clearly into the nostalgic breakbeat hardcore rhythm that punctuates a surprisingly long build-up into a… surprisingly unique drop. This is really just a flex show for Sonny Fodera here, but Becky stepped up to the plate to match his passion and energy, bringing more of a rough instinct to the trickling alien synth critter that grounds the 90s pads and rock-solid breakbeats into a killer pre-drop that genuinely took me aback, as did this drop, which completely ditches the breakbeats for a tense hardcore kick and more atmospheric, glitching pads that run through the mix like a spiralling staircase, as Becky’s vocalising becomes little more than an inhuman drone until it’s removed altogether. The intensity of the track, filling up the mix with padded quirks even when the breakbeats are relegated to simple fills, is genuinely unprecedented for Becky Hill, and I’m actually really glad that she is not only on hopping on much more effective and unique production, but stepping out of her comfort zone to riff and meander in a way that she never really lets herself do, even in her looser songs. I am honestly quite shocked, but this is fantastic. If this doesn’t smash like much of Becky’s tighter, more restrictive cuts have in the past few years, I will be immensely disappointed.

#18 - “Beautiful Things” - Benson Boone

Produced by Evan Blair

Sigh… one of my first thoughts when Kushner had success with “Daylight” was how much he seemed cut from the same cloth as Mr. Boone over here, and to be completely honest, the concept of the two charting the same week chased me in my worst of nightmares. Hey, at least my dreams have become reality! To be fair to Booner Boy here, he has what Khrushchev and Gossamer lacked: genuine lyrical detail in the verses. There is a certain dichotomy between the universalities of the choruses and pre-chorus compared to the pretty niche and incredibly lucky situation he’s found himself in during the verses, it almost reminds me of Tom Odell’s “Black Friday” given its wordy mundanity, but that’s only lyrically, as I don’t hear much here connecting the two sonically, especially given the faint bass and reliance on soaring guitars on “Beautiful Things” that makes it almost more of a pop rock tune, one that is surprisingly willing to ditch much of its initial build-up for a desperate screech over stop-and-start staccato guitar rhythms that go way harder than I expected. This is what I’ve been saying Lewis Capaldi should be doing for years, if these moan and drone singer-songwriter sadboys are going to have their voice fit over anything, it’s not basic adult contemporary swells, it’s melodramatic, no-holds-barred pop rock, and this honestly becomes pretty killer by that first chorus. The guy can let out a desperate cry, and I’ll be damned if he’s not convincing as he airs out his paranoia about this perfect relationship breaking down. The second chorus could use some deviation, but I’m a sucker for radio rock that takes itself way too seriously and considering his dire earlier material, this may as well be Mr. Boone: The Animated Series. I really want to hear more of this from this guy, and it seems that these last few songs may be the light at the end of the tunnel for an unpromising week.

#5 - “Homesick” - Noah Kahan and Sam Fender

Produced by Noah Kahan and Gabe Simon

Okay, it’s Noah Kahan: there is a base level of quality here and I am actually always excited to hear a new song from him because at least there’s always a lot to uncover and appreciate even if the song isn’t great or has some grating element throwing a spanner in the cogs. This is especially true with Sam Fender in play, as this raises the standard of quality to at least bearable and at its worst, it’s going to be an interesting and perhaps powerful narrative… and if we’re talking about lyrical detail, I mean, Kahan’s your man, almost too much so given some of the awkward wording in that original version from his Stick Season album. On hearing those church organs sliding just slightly off the careening heartland rock groove, I knew exactly why Mr. Fender ended up on this specific song, and this actually lets Kahan let out a little, have a little more fun as he vocalises playfully about his frustrations, delivered largely in the form of punchlines, about his slow small town, with the chorus being him breaking down and basically begging for a reason to grab him out of that place, even if it’s where he grew up, using an on-the-nose but still fun play on words with the term “homesick”. I do wish there was a bit more to its mid-section, it feels like it stagnates a bit once we reach the chorus for the first time, mostly structurally. I want to hear more of Kahan’s stray, funny observations, but we don’t really get more of that even with the ramped-up intensity and a guitar solo way too Weezer-coded for me to not get a stupid grin on my face.

As for the Fender version, well, this is the best-implemented anyone has been in these Kahan duets yet, given Fender brings a new verse giving a unique and personal story about the background of riots in northern England that informed his town, injecting further reason to why one may be Kahan’s form of “homesick”, but also, despite being more strikingly intimate and less darkly comic in his observations, finding a valid and heartfelt reason to live his life outside of that home town: the dreams his father set out for him lay far away from where they were instilled. It adds a lot of depth to the song, and whilst Kahan and Fender don’t play off each other incredibly well, they have a decent chemistry that from interviews with Dork and People seem to have arisen from very similar hapless upbringings and recurring topics in both catalogues. Additionally, I like Fender’s voice more than Kahan’s, and the harmonies fill out the  mix so it’s a tad more impactful, so I think this new version actually beats out the original. I’m also pretty happy that this week, starting off with a lot of mediocrity and not exactly a promising set of artists for me, personally, ended up surprising me with that three-track run by the end, and trailing off with two killer rock songs is the best way to make me feel a lot happier about a week as a whole.

Conclusion

I’m relatively predictable, especially when we get alt-rock on the charts, so I feel like despite how much I liked the Becky Hill song, it’s no surprise that Benson Boone ends up snabbing an insanely close Best of the Week for “Beautiful Things”. It was pretty much neck-and-neck with “Homesick” by Noah Kahan and Sam Fender, which is of course the Honourable Mention, and whilst I think that it is lyrically more insightful, there’s an instinctual raucousness to the emotion in The Booney One’s track that just hits that bit harder. As for the worst, I mean David Kushner obviously gets Worst of the Week pretty much effortlessly with “Skin and Bones”, but I do think I was just frustrated enough with Dylan Gossett to grant his song “Coal” with the Dishonourable Mention. At least Giggs wasn’t trying to say anything profound, and if he was, then I sincerely worry for him.

What’s on the horizon next? God knows, it’s January, but Justin Timberlake has a comeback single, Tom Odell has an album, it may be the week of even more whiny white dudes. Story of my life. Thank you for reading and I’ll see you perhaps a bit earlier than next week.

#uk singles chart #pop music #song review #noah kahan #sam fender #benson boone #sonny fodera #becky hill #david kushner #kygo #ava max #giggs #dave #dylan gossett

[mistresslrigtar]

'On Repeat' Playlist

Rules: shuffle your ‘on repeat’ playlist and post the first ten tracks, then tag ten people 🎶

I was tagged by @onewingedsparrow Thank you so much! This was fun! I definitely have go to songs when I am writing. Each of my stories or one-shots has at least a song or songs that inspired them

Below my 'on repeat' songs for my current WIP Adore:

Instant Crush by Daft Punk

Come Undone by Duran Duran

Save a Prayer by Duran Duran

Luv (sic) by Nujabes

Luv (sic) pt2 by Nujabes

Shadowplay from Ka Cirque de Soleil

Love Dance from Ka Cirque de Soleil

Flight from Ka Cirque de Soleil

Somewhere Only We Know by Keane

Adore by Jasmine Thompson

Obviously, Adore was the major inspiration for this story. The lyrics are absolutely perfect, and I will share them here :)

Come to me and I shall give you peace Come to me lay down your head Touch the rain and feel the summer breeze Say the things we've never said I will keep you from the world outside I will never let you go I will be the thing you dream about Come to me and you will know

I adored you Before I laid my eyes I laid my eyes on you L'amour toujours I just can't take my eyes can't take my eyes off you

Follow me to where the rivers meet Tell me I belong to you Feel the grass crumble beneath your feet Set me free and let me loose Take my heart for it is yours to keep Shackle my spirit to you You are mine and mine eternally Come to me you always knew

I adored you Before I laid my eyes I laid my eyes on you L'amour toujours I just can't take my eyes can't take my eyes off you

Source: LyricFind Songwriters: Ina Christine Wroldsen / Paul Simon Gendler / Steve Mac Adore lyrics © Reservoir Media Management Inc, Universal Music Publishing Group

Tagging (if you want to play along) .@aurathian .@bahbahhh .@flutefemme .@cooking-with-hailstones and anyone else. I love getting new music recs.

#tag game #go to playlist #zelink #friends #music to write to

[fabiochampioraro]

URL playlist

Tagged by the dear @lawsandother 💙

F Follow You - Bring Me The Horizon

A Addicted - Kelly Clarkson

B Beautiful- Douwe Bob

I I’m Outta Time - Oasis

O One of Us - New Politics

C Concrete Jungle - Bad Omens

H Heroes - Måns Zelmerlöw

A Arcade - Duncan Laurence

M Miracle - Bad Omens

P Portami Via - Fabrizio Moro

I It’s Not Over - Daughtry

O One of Us -Ava Max

R Roses - Boy in Space

A A Love Like War - All Time Low

R Remember Me - Ina Wroldsen

O OBSESSED - Ava Max

tagging: @eneabastianini23 @forzadybala @fedechiesa @cheekyoreo @max-fewtrell @oscar-piastri @chiesajpg @isthisatlantis @scharletred @juri-andthemoon @nyehhh-hh @leclercpiastri @www98vikitoo @plaidetchocolatchaud @football-sucks @lxndonorris

#tag game