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zombiesrhere · 1 year

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ALBUM RATING!

since i’m not too into stranger things as much i was back in the summer i wanted to dive into something new! album rating! now, i’m not a critic or whatever but i randomly got 2 free months of spotify premium so i’m using my time wisely.

i was scrolling through music and remembered that Demi Lovato made a new album like last year and it was more of a rock album, something she’s haven’t really done in a while, so i was like, “why not rate it?” because i like rock and i like to talk about things sooo.

HOLY FUCK the album.

DISCLAIMER(S)

-this will be a very unbiased rating, i am not a fan of Demi and i’m not a hater, so i was just going in as someone who likes music.

-this isn’t going to be a DEEP rating and critique of the album because that takes way too long. just numbers and generalizations.

-the ratings are gonna be colored too going from purple, being the best, and red, being the worst.

going im order of the track list:

Freak(featuring Yungblud): 6/10; it’s okay…but it’s definitely supposed to be a song to advertise the album and plus i don’t like Yungblud.

Skin of my teeth: 8/10; great vocals with a great meaning, it was really fun to listen to.

Substance: 8/10; also another great song, it has a pretty strong social statement about society (joker reference).

Eat Me: 7/10; i think song was also another song that was used to advertise the album and it definitely sounds like it. it’s okay, it’s a bit better than Freak.

29: 8.5/10; talks about trauma and what she had to face when she was younger, and a lot can relate. amazing vocals and message, probably my favorite song.

Happy Ending: 7.5/10; it was okay, i actually don’t remember much about this song, if that tells anything.

Heaven: 6.7/10; speaks about how pleasuring oneself is good, which IS SO REAL, but it wasn’t the lyrics that made me not favorite this song, it was the sound of the song.

City of Angels: 7.5/10; don’t remember much about this songs either, but it had a nice sound so.

Bones: 6.7/10; it’s honestly a nice song but definitely not at the time for me, had a nice SOPHIE type-beat moment at the end so that was cool.

Wasted: 8/10; nice lyrics, great sound and i just liked it a lot. (could you tell that i don’t remember this song well either?)

Come Together: 6/10; THIS SONG DEFINITELY HAS A DOUBLE MEANING! lyrics were okay, sound wasn’t my taste either.

Dead Friends: 7/0; a genuine sweet song about their dead friends, kinda reminiscing, i loves it.

Help me(featuring Dead Sara): 8/10; GREAT SONG! i love the sound of this song! it was so fun and had great vocals coming from Demi and Dead Sara. this is also a song i favorite on this album.

Feed: 7.7/10; a good song, lyrics were a bit cringe (im not even going to lie!) and it had an okay sound, vocals killed as usual though.

and last but not least….

4 EVER 4 ME: 8/10; a slower love song, something Demi KILLS in, and it was amazing. also in my top 3 from this album. i was eating up the vocals, yes yes!

OVER ALL: 7.5/10

it was a decent album! like nothing can really be “perfect” and i wasn’t expecting this album to be, but i wasn’t disappointed! i would definitely re-listen to a couple of song from this album, even added some to my playlist too, so i would recommend giving a listen.

they dived more into a old-rock and punk sound WITHOUT sounding too overproduced! it was refreshing as much of modern punk and rock is very overproduced and doesn’t have that authentic feel to the songs anymore.

lyrics weren’t cringe either! no, “i’m in spain, without the s”, no horrible twisted version of a nursery rhyme, everything sounded like it was coming from them and had some personality. lyrics: 8/10

GO GIVE IT A LISTEN! (i’m secretly Demi’s PR team 😈🙏🏽)

#demi lovato #music #pop muisc #punk #music album #ratings #random rants #2000s aesthetic #pop rock

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crybabyddl · 6 months

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In honor of grammy noms coming sometime this week, I’d like to once again say…

FUCK THE GRAMMYS!!!

(If you’d like to read my rant about the grammys snubbing demi lovato, along with an unintentional tangent that came from my ranting where i analyze demi’s confident, tell me you love me, dancing with the devil… the art of starting over, and holy fvck eras, that’s below here lol.)

It has honestly lost all its credibility for me since Demi Lovato wasn’t nominated for pop vocal album for Tell Me You Love Me, OR for a best performance for Anyone. Not to mention, the amount of hype and build up they created around Demi all those years only to snub them TWICE. Like I’m sorry but Demi is one of the very few actual vocalists left in this day and age, and is someone who actually cares about music, how it’s made, and is genuine about why it’s being made.

The HOLY FVCK album is in the top 3 of their discography and it was barred from promotion FOUR (4) DAYS after its release. Physical copies of the album were literally banned from being sold in stores in the UK. Demi said in an interview that they knew HF wouldn’t be a mainstream success. They don’t make music for the money, fame, or commercial reasons. They almost DIED, they have no time for the insincere bs that comes with promoting music or selling your brand as an artist. They’re simply making music to make music because they are talented and have a gift that needs to be shared. Notice how most of the grammy noms are songs and albums that have been the most commercially successful? Yeah, Demi doesn’t fit that mold and I’m glad they don’t. I’d rather have a “flop” album that was made with genuine feelings and heart than a grammy winning album that was made to get on the charts.

Demi has said that confident was their attempt to get a grammy nom and sure enough, that’s the one album of theirs that got a grammy nomination. It wasn’t fully genuine, and while being a lovatic during the confident era was one of the most fun and memorable times of my life, and the album is without a doubt INCREDIBLE, it’s extremely noticeable that it wasn’t as Demi as an album like HOLY FVCK. What I mean by “Demi” is that there’s a certain… metaphorical wall between the music they’re putting out and the listener. With Confident, while I love the album with all my heart and listened to it nonstop until TMYLM came out, there’s a palpable separation between the art, the artist, and the listener. When I think about the Confident era, it just feels like Demi was so disconnected from the music. Yeah, they were SUPER active with the fans on social media, but when you look back, you can see what was promo and what wasn’t. We recently learned the kind of stuff they don’t like doing, like going to red carpets and the Future Now Tour outfits, which makes the disconnect more obvious. Plus, now that it’s been a few years, along with taking into account the things Demi’s said about their previous albums and their respective eras, it’s easier to see the degrees of separation that existed.

With TMYLM, of course Sorry Not Sorry had a lot of commercial success, and the documentary Simply Complicated coincided with the album’s release. It was an incredibly effective tactic created by Demi’s (old) (and awful) team, I won’t lie. And with this era, we also saw a more vulnerable Demi. They’d split from Wilmer in 2016. It made for an emotional life on the Future Now Tour, (a joint tour with nick jonas set up by demi’s management. It was basically the Confident album tour.) and TMYLM was the product of it. So to recap, Demi relapsed with their ED after their breakup with Wilmer, was on tour with Nick Jonas who she had unreciprocated feelings for, and she began dating again. They were connected to Bomba, Luke Rockhold, Neymar Jr., Lauren “Kittenz” Abedini, Kehlani, and of course was famously caught setting the perfect thirst trap for Mr. Henry Cavill. (Although I personally don’t believe Demi dated Neymar or Kehlani. Neymar was a not-so-sneaky link. As for Kehlani, they were just on tour together and shared a kiss. Maybe they hooked up tho.) All of this struggle and romance allowed for some really intense songwriting. That’s why we have so many scrapped songs from the TMYLM era. (Also bc it is believed that it was going to be a living album that had droplets during and after the TMYLM tour, but that didn’t happen bc they relapsed with alcohol & substances.) Anyway, from the album AND the discarded masterpieces, it’s obvious that Demi was feeling A LOT of strong feelings. Navigating loss, rejection, casual sex, new love, relapsing, being controlled, etc. It allowed that wall between a masterfully calculated, commercially successful album and its listeners/enjoyers to fall. While it still isn’t akin to watching Demi write a song in front of you, it’s definitely a glimpse into what their life was like during 2016-2017. At the start of tour, you can tell the wall goes back up a little bc it has to be promoted and the show has to be captivating so that people show up bc these days, talent isn’t enough to be successful, and everyone knows Demi has more than enough talent. But the wall comes back down as they get more comfortable, but it goes back up once April hits, when Demi starts the European leg of the TMYLM Tour. It’s there where they relapsed with alcohol, which led to them eventually relapsing with drugs. People had assumptions, especially when they wore sunglasses to that one show, but it wasn’t until June that Demi revealed they were no longer sober, and even then, it seemed like it was only alcohol that Demi had picked up again. I don’t remember when they relapsed with drugs, but I do think it was a bit after, like after Demi left Europe. I think it might’ve been in May when Demi picked drugs up again. Anyway that’s not the importance of any of this. I kinda got sidetracked. Whatever. Anyway, tmylm was more genuine than confident but the pressure for the album to be successful was what created that separation that can still be felt there.

With dwtdtaoso, you can feel a lot of authenticity within the album itself. Not just the songs, but just like the stops in between the songs and just holding the physical album. But again, there was the pressure of a comeback album, a new manager, a sense of having to prove that they were back and better than before. The album was also made and came out during covid so that messed EVERYTHING up. Literally 2020 was set to be demi’s year with the success of Anyone at the Grammys, the acclaim of their national anthem at the Super Bowl, and a clean slate to start this new chapter, it was looking so great. Then the buzz single I Love Me came out and it wasn’t exactly what fans were expecting, but we supported it like crazy and it’s honestly a cute bop in my eyes and for Demi, someone who was healing and getting back on their feet, it was fitting for them. Anyway, then covid and m*x happened so the soulful, petty, r&b-influenced, and collaboration-heavy album was scrapped. Or maybe, it was scrapped after Commander In Chief. Idk. Anyway, we got Demi’s droplet era in lieu of an album, with collabs up the wazoo. I can’t speak on how genuine this era was bc Demi wasn’t even Demi during the droplet era. They were still figuring out their sobriety, they were dating and engaged to a psychopath, they were in their activist era on social media, and they were struggling with their ED. Anyway, go to 2021 with the alphabet album and i love it. I love that album so much, and even tho demi has said it felt like they were making the album for everyone else to show they were okay, it still was very genuine bc all the songs can be connected to parts of demi’s life. Anyone was written 4 days before the od, dwtd is obviously about addiction and relapsing, icu was about the aftermath and how it affected their sister, taoso was about starting over and not letting a partner define them, lonely people was about the bittnerness that comes after a breakup and trying to turn it into something positive, twydlam is about demi’s ed and how being in a relationship can trigger than, especially bc it was rumored that wilmer would try not to be seen with demi when they were heavier, and it made them feel like crap and question everything ofc, melon cake is word for word about their ed experience with their old manager, mhln was written by ariana and since she and demi are friends, she knew it was fitting for demi’s situation with maxipad, wops actually had lyrics leaked somehow in 2020 so we knew it was coming and demi was basically reflecting on how they lost sight of what really matters bc of being a celebrity, their sobriety, etc. carefully is literally about learning to trust someone and letting someone into your life after being hurt in the past, tkolia is about demi’s journey of acceptance with their sexuality and imagining themself with someone new and what they would preface their relationship with, easy is about losing a lover and trying to mourn, 15 minutes is a genius song about maxipad and how he overstayed his welcome in demi’s heart and took them for granted and how he’s going back to the streets where he belongs. mgamb is about surrounding yourself with good friends after a breakup bc nobody understands you better than your besties so focus on the fun and friendship. California sober is about being california sober and that is what demi tried doing. Mad world is a cover about how society is fucked up and the world makes you feel like you’re doing everything wrong and it feels like you’re in a spinning state that you cant escape and everyone’s watching you try to get out and criticizing you for not being able to navigate it all at the snap of your fingers. Butterfly is about demi’s birth father and how they learned to accept his passing and their strained relationship. Good place is about being in a good place even if it took a lot of bad times in bad places to get there. It all ties into what demi was going through during their hiatus and up until the release of the album.

Holy Fvck is what I consider to be their most genuine album bc it’s honestly the first time we’re given a glimpse into Demi’s anger. It also talks about grief, being in the public eye, and addressing and/or overcoming trauma. If you know enough about Demi, you can connect each song to a theme in Demi’s life that explains what the song is about, just like I did for dwtdtaoso. I’m tired so maybe I’ll edit this post and add that in at some point, but I also feel like if you get it you get it and if you feel unsure about any of it, you dont get it. And that’s ok. But i love holy fvck and i love being able to scream it in the car when im feeling intense feelings and dont really want to cry about them. So i just belt it out to demi’s music

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zaynmalikupdates · 5 years

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Zayn And Becky G release special version of "A Whole New World"

Song Is Performed In Spanish By Becky G And Will Be Featured In Disney's "Aladdin" In Latin Spanish Speaking Markets

Original Motion Picture Soundtrack To Feature Classic Score And Original Songs By Composer Alan Menken, Lyricists Howard Ashman And Tim Rice, Plus A New Song Written By Menken, Benj Pasek And Justin Paul

OFFICIAL PRESS RELEASE

BURBANK, Calif., May 17, 2019 -- Multi-platinum and global award-winning superstar singer/songwriter ZAYN and global award-winning superstar singer/songwriter and actress Becky G are set to perform the Oscar and GRAMMY-winning duet "A Whole New World" ("Un Mundo Ideal").

The song will be featured in the film's end credits in Spanish speaking Latin American markets and on the Walt Disney Records Latin Spanish language soundtrack.

The new updated rendition of the classic song is produced by Saltwives aka Alex Oriet and David Phelan, and the music video will be directed by Philip Andelman.

The duet features ZAYN's vocals in English and Becky G's vocals in Spanish. "Un Mundo Ideal" is now available at streaming services and for download in the U.S. and Spanish-speaking markets.

"As with his choice of Zhavia Ward to duet in English, ZAYN impresses again with his personal selection of global superstar Becky G to duet with him, singing her parts in Spanish," said Mitchell Leib, president of Music & Soundtracks for the Walt Disney Studios. "This stunning "Spanglish" version really expands the footprint of ZAYN's modern interpretation of this all-time classic Disney song."

The timeless ballad, featuring Alan Menken's beautiful melody and Howard Ashman's unforgettable lyrics, received an Academy Award®, Golden Globe® Award and GRAMMY Award, among other accolades, upon its release in 1992.

The "Aladdin" original motion picture soundtrack features an unforgettable score from eight-time Oscar-winning composer Alan Menken ("Beauty and the Beast," "The Little Mermaid"), along with new recordings of the original songs written by Menken and two-time Academy Award winner Howard Ashman ("Little Shop of Horrors"), three-time Oscar winner Tim Rice ("The Lion King") and one song written by Menken and Oscar and Tony Award®-winning songwriters Benj Pasek and Justin Paul ("La La Land," "Dear Evan Hansen").

A thrilling and vibrant live-action adaptation of Disney's animated classic, "Aladdin" is the exciting tale of the charming street rat Aladdin, the courageous and self-determined Princess Jasmine and the Genie who may be the key to their future. "Aladdin" opens in U.S. theaters nationwide May 24, 2019 and in Latin America May 23 or 24, 2019 (depending on the market).

The Aladdin Spanish language soundtrack will be available at streaming and download services on May 21 at 9:00pm PT. For more information on Walt Disney Records releases, follow us at Facebook.com/Disney, Instagram/disneymusic, Twitter.com/disneymusic and our Disney Hits Playlist at http://disneymusic.co/DisneyHits.

About Aladdin:

Directed by Guy Ritchie ("Sherlock Holmes," "The Man from U.N.C.L.E."), who brings his singular flair for fast-paced, visceral action to the fictitious port city of Agrabah, "Aladdin" is written by John August ("Dark Shadows," "Big Fish") and Ritchie based on Disney's "Aladdin." The film stars Will Smith ("Ali," "Men in Black") as the larger-than-life Genie; Mena Massoud ("Tom Clancy's Jack Ryan") as the charming scoundrel Aladdin; Naomi Scott ("Power Rangers") as Jasmine, the beautiful, self-determined princess; Marwan Kenzari ("Murder on the Orient Express") as Jafar, the powerful sorcerer; Navid Negahban ("Legion") as the Sultan concerned with his daughter's future; Nasim Pedrad ("Saturday Night Live") as Dalia, Princess Jasmine's free-spirited best friend and confidante; Billy Magnussen ("Into the Woods") as the handsome and arrogant suitor Prince Anders; and Numan Acar ("The Great Wall") as Hakim, Jafar's right-hand man and captain of the palace guards.

"Aladdin" is produced by Dan Lin, p.g.a., ("Sherlock Holmes") and Jonathan Eirich, p.g.a., ("Death Note ") with Oscar® nominee and Golden Globe® winner Marc Platt ("La La Land") and Kevin De La Noy ("The Dark Knight Rises") serving as executive producers. "Aladdin" opens in U.S. theaters nationwide May 24, 2019.

About ZAYN:

ZAYN's debut album Mind of Mine was released in 2016 and saw him become the first male solo artist in the world to simultaneously chart at #1 in the UK and US album charts in the first week of release. The record was critically lauded upon release receiving widespread praise and adoration from fans. The album's lead single "Pillowtalk" hit #1 in 68 countries around the world, underlining his status as one of the most important artists of his generation. Since, ZAYN has collaborated with numerous global superstars, including Taylor Swift on "I Don't Wanna Live Forever," the title track from the soundtrack for "Fifty Shades Darker," which picked up an MTV VMA for Best Collaboration, and with SIA on the huge "Dusk Till Dawn" which was accompanied by a Mark Webb ("The Amazing Spider-Man," "500 Days of Summer") directed video with ZAYN starring alongside Jemima Kirke. The "Dusk Till Dawn" video has racked up over one billion views since its release.

Alongside building a reputation as a world class music artist, ZAYN has become one of music's biggest fashion icons. He has graced the cover of every major magazine from Highnobiety to Vogue. ZAYN has designed and released capsule collections including a sneaker collection with Giuseppe Zanotti and both male and female ranges for Versus Versace. In addition to being named 'Most Stylish Man' at the GQ Man of the Year Awards, he also was awarded 'New Artist of the Year' at the American Music Awards.

About Becky G:

Singer, songwriter and actress Becky G was born for the spotlight and her multifaceted career is shaping up to be nothing short of iconic. Her achievements include two number one hits on the Billboard Latin Airplay Charts ("Mayores" & "Sin Pijama"), a starring role in "Power Rangers," and guest-starring in Fox TV's Emmy-winning "Empire" series.

She recently won two 2018 Latin American Music Awards, for Favorite Female Artist and Favorite Urban Song (for "Mayores") and was awarded YouTube's Diamond Play Button for surpassing 10 million followers on the platform. Becky G has toured alongside Katy Perry, Demi Lovato, J Balvin, Fifth Harmony and Jason Derulo, and has recorded collabs with Pitbull, Daddy Yankee, Maluma, Anitta, Bad Bunny, Yandel, and CNCO, among others.

Becky has recently been honored by the Latin Recording Academy as a one of the Leading Ladies of Entertainment (2018) and by her home city of Inglewood, California for her contributions to the Hispanic community; and has been recognized as one of Rolling Stone's, "18 Teens Shaking Up Pop Culture" and one of Billboard's "21 Under 21."

SOURCE WALT DISNEY RECORDS

(via Pressparty)

#zayn malik #un mundo ideal #becky g #Press release #pressparty #walt disney records #05.18.19

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omdaily10 · 5 years

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Guest Artist: Demi Lovato

Writers: Wayne Hector, Daniel Davidsen, Maegan Cottone, Peter Wallevik, Mich Hansen

Producers: Cutfather, Daniel Davidsen, Peter Wallevik

Album: Never Been Better

Release Date: 04/01/2015

B-Side: Up (Live Acoustic Version) (Credits as above) / 'Dear Darlin’' (Live Performance at ITV Special)' (See 'Dear Darlin’' entry for writing credits)

Chart Positions: #4 (UK), #3 (Ireland), #3 (Slovenia), #5 (South Africa), #6 (Austria), #8 (US), #8 (Hungary), #9 (New Zealand), #14 (Australia), #15 (Belgium), #15 (Italy), #17 (Germany), #22 (Czech Republic), #28 (Switzerland), #29 (Slovakia)

Sales: 600k (UK, Platinum), 140k (Australia, 2x Platinum), 50k (Italy, Platinum), 15k (New Zealand, Platinum)

Nominations: ‘Best British Single’, BRIT Awards 2016

No sooner had 'Wrapped Up' charted - and foundered in its quest to give Olly another lead number one single from a new album - then plans almost immediately moved onto the single that was to follow it. And for only the second time in his career, it was to be a track that he didn't have a hand in writing.

An early demo of 'Up', written for the main part by one of his long time collaborators, Wayne Hector, and produced by the legendary Danish pop producer Cutfather - who had been behind countless UK and international chart toppers over a twenty year plus career - was put forward in the initial recording sessions for the 'Never Been Better' album.

A rousing, almost country esque mid-tempo thumper about rekindling the spark in a relationship gone awry that called to mind Lady Antebellum’s ‘Need You Now’, it was clear that Olly had recorded a sure-fire smash, but he felt that it needed another presence on it to elevate it to another level. Chiefly, in contrast to his other collaborations to that point, it needed a female vocal. Numerous different names were touted and approached - amongst them, Nicole Scherzinger, Cheryl and Ellie Goulding. But for his US label Columbia, keen on building Olly's Stateside profile after the success of the 'Right Place Right Time' album, they had their eyes on a much bigger star.

Enter Demi Lovato. A child star from the age of 10, she was one of the big breakout stars from the Disney fold like Britney Spears, Hilary Duff and Miley Cyrus before her, best known at that point for her role alongside Jonas Brothers in the 'Camp Rock' films for the Disney Channel. She had already successfully crossed over to a contemporary pop career, and was relatively well known to British audiences, having hit the UK top 10 with the hits 'Skyscraper' and 'Heart Attack'. However, her success here was a drop in the ocean compared to what it was Stateside, where she was absolutely huge – and in a further tie with The X Factor, she was also a judge on the US version of the series.

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It made sense therefore, to have her on board for 'Up'. Demi flew over to the UK to film the video with Olly in November 2014, which saw them go hell for leather, Aerosmith style, around an old apartment, literally tearing down walls and smashing up instruments to find each other. She returned just a few weeks later at the start of December, when Olly and Demi debuted their first – and to date only - performance of the single together on the final of that year’s X Factor at Wembley Arena.

Even though the single didn’t officially appear until the new year, the impact of the performance and the song had clearly crossed over in a big way, as just on sales of the track as an album cut, it raced into the top 5 for Christmas that year, eventually settling at a peak of #4. It was still on the chart and all over the airwaves three months later, when Olly’s next single we’ll meet in our next review made its debut.

The plan had been to push ahead with this as a summer single in America following the release of the album Stateside in January 2015 and the conclusion of his UK arena tour in May. However, several changes of circumstance meant that this wasn’t to be, chiefly the availability of Demi for promotional commitments, but also with some developments in Olly’s career back in Blighty.

Regardless, it became a top 20 hit in fourteen other countries, and also earned Olly his fourth nomination at the BRIT awards for the ‘Best British Single’ trophy at the 2016 ceremony, and even now remains one of his most popular songs on tour, with everyone from Ella Eyre to former member of girl group legends The Saturdays, Vanessa White, joining him on occasion to perform Demi’s section. It also proved that even if it didn’t hit the top of the chart, a song like ‘Up’ proved that Olly was still one of pop’s most consistent hitmakers.

OTHER THOUGHTS

A live acoustic version was the main B-side of the digital bundle and Europe only CD single, recorded around the same time as the video for the song. UK fans also had a treat in store on the digital bundle, in the form of a stripped back mix of ‘Dear Darlin’’, first performed for his 2014 TV special for ITV, A Night In With Olly Murs. The show was an hour-long entertainment and variety show showcasing performances of tracks from the ‘Never Been Better’ album, as well as sketches with John Bishop, Shane Richie and Caroline Flack.

#Olly Murs #Olly Murs Daily #OM Daily #OMDaily10 #Up #Demi Lovato #Never Been Better #2014 #2015 #Review #10th Anniversary #Fourth Album #Retrospective

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remykolpakopoul · 6 years

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RKK Klik Klak ► Salut, Rachid Taha !

► Il revient à nos mémoires des souvenirs familiers... On revoit ces deux lascars en train de s’acoquiner... La nuit du mardi 11 au mercredi 12 septembre 2018, Rachid Taha s’en allé retrouver son vieux complice Rémy Kolpa Kopoul du côté de l’Éternité. S’il laisse la France un peu moins douce, aucun renouvellement de Carte de Séjour ne sera nécessaire Là-Haut... Depuis fort longtemps, entre le rocker et le ConneXionneur, le courant passait : ce “Coran alternatif” sur lequel se branchait brillamment le chanteur. ▼

Lorsqu’en 1999, RKK célébra son Mi-Centenaire à Paris, salle Confluences, son ami Rachid était bien sûr de la party. (Lire RKK’nniversaire ► 23 février) ▲ Photos © Bill Akwa Bétotè

À l’antenne de Radio Nova, leur conversation se poursuivait inlassablement (▲ Photo © Marc Melki)...

Au cours d’un Contrôle Discal diffusé le dimanche 12 janvier 2014, Rachid Taha explora avec délice la discothèque de l’Inspecteur La Galette. Tous deux exercèrent l’honorable activité de DJ et chacun possédait une impressionnante collection de vinyles. (Écouter Habibi Rachid : l’hommage de Radio Nova à Rachid Taha)

Aux rendez-vous que lui donnait Rémy Kolpa Kopoul, Rachid Taha répondait présent : pour un festival en pleine garrigue (Les Vidourlades de Quissac) ou pour une pétillante nuit parisienne... Lorsqu’en 2015 fut célébré l’ultime anniversaire du ConneXionneur dans le cadre d’un Lundi c’est Rémy au Comedy Club, il interpréta avec Rodolphe Burger, Hakim Hamadouche, Imed Alibi et Fred Soul “Walk On The Wild Side” de Lou Reed... (Lire Reportage ► Surpreeez Night : RKK'nniversaire - Lundi c’est Rémy @ Comedy Club, Paris [ 23/02/15 ])

▼ Vidéo © Régis Mestre

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▼ Vidéo © Alejandro Rumolino

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Parmi une flopée d’invités, un étonnant numéro d’équilibriste avec canne conclut cette inoubliable soirée. ▲▼ Photos © Laurent Lafont-Battesti

▼ Photos © Alexandre Olah

▼ Photos © Régis Mestre

Au même endroit, quelques mois plus tard, le lendemain de la disparition de RKK survenue le 3 mai 2015, ses fidèles se retrouvèrent pour y improviser un hommage. Avec Mirabelle Gilis et Hakim Hamadouche, Rachid Taha salua la mémoire de son camarade à bretelles. ▼ Vidéo © Laurent Lafont-Battesti

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▼ Photos © Alexandre Olah

▼ Photos © Rodolphe Gonzalez

Le 13 septembre 2015, Radio Nova et la famille Kolpa organisèrent un grand concert en l’honneur de Rémy (Lire Reportage ► Rémy Kolpa Kopoul : Un Dernier Voyage Improbable @ Cabaret Sauvage [ 13/09/15 ]). Sur scène, Rachid Taha engagea un dialogue virtuel et spirituel avec son regretté ami en introduction de “Rock El Casbah”, sa reprise de “Rock The Casbah”, morceau qu’il aurait lui-même inspiré au groupe The Clash. Punk pour toujours ! LL

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Rachid Taha ► Wikipédia ● Facebook ● Twitter ● Discogs ● AllMusic ● YouTube ● Deezer ● Spotify ● Apple Music

▼ RACHID TAHA PAR RÉMY KOLPA KOPOUL

En deux exemples, voici ce que le ConneXionneur pouvait écrire à propos du rocker. D’’abord, lors de la sortie de l’album “Made In Medina” (2000, Barclay Records) : ▼

Le cru Rachid Taha 2000 est arrivé. Suivez le guide, en onze plages, il vous pilote dans «sa» Medina, grande comme la terre, construite entre Paris, Londres, Marrakech et la Nouvelle Orléans. Un disque tout neuf et rien qu’à lui, en ce sens, le premier depuis «Olé Olé» il y a déjà cinq ans. Et pourtant, elles ont été plus que fertiles en rebondissements, pour lui, ces dernières années.

Pensez donc, «Diwan», une sorte de «best of Taha» restauré avec échappées technoïdes, paru en 97, fait bingo (et disque d’or) avec «Ya rayah». La reprise plutôt trad’ sortie par Rachid quatre ans plus tôt en toute confidentialité, est revendiquée et bastonnée à retardement par les DJs sur les dancefloors, jusqu’à devenir la première chanson en arabe à faire le bonheur des balloches hexagonaux du samedi soir. Histoire quasi-patrimoniale…

Et dans la foulée, il fait soleil, oui, lui, Rachid. Trublion, boutefeu en embuscade de la raï-connection, avec King Khaled et son dauphin Faudel. Taha apporte une touche rocker limite destroy, salutaire pour taquiner le consensus raï : Niagara de cordes moyen-orientales, Bercy en feu, double album commémoratif deux fois platiné (600 000 copies), c’est un sacré coup de soleil. Il était temps, car Rachid Taha aurait pu rester dans l’ombre. Pas celle, noire, des maudits, une autre, plus insidieuse, underground. En somme un objet de culte, attention, plus façon rock que Mahomet, mais prophète à sa manière !

Millésime Oran 58 devenu ado métropolitain, Rachid a, dès 82 (bien avant la raïmania), ouvert la voix au «chanter arabe» version urbaine électrique. Carte de Séjour, un groupe au nom sulfureux, à la gouaille méditerranéenne frondeuse et à la discographie en pointillé (deux albums… et demi en cinq ans), c’était, ne l’oublions pas, le Rachid d’avant Taha. Et, pourtant, le vrai Rachid Taha.

Celui qui allait se mettre à son compte : d'abord "Barbès" (91), puis "Rachid Taha" (93), emmené par un "Voila Voilà" avec emballage techno hardi et BPM leste et recélant le fameux "Ya Rayah" , enfin «Olé Olé» (96), une frénésie davantage tournée vers une pop européenne pimentée harissa, Rachid Taha a jusqu’à ces dernières années toujours fait référence, même auprès des plus sourcilleux, sans pour autant sortir du cénacle des initiés. Ceux qui savent, ceux qui suivent.

Nouveaux enjeux, donc… et même Rachid Taha. La tignasse est en friche et la barbe d’avant-hier. Sanglé dans un perfecto bravache ou le manteau élimé jeté en drapeau sur les épaules, il a la démarche précaire et le pas ostensiblement dé-synchrone. Cette silhouette bohème estampillée perturbe certains esprits qui, au demeurant auraient tort d’y voir les effets d’excès : Rachid, à l’eau plate ou au scotch, est comme ça tous les jours, tous les soirs. Et en plus, disponible à tous ceux qui l’abordent, taquin et modérateur, à la fois ado-pote et grand frère. Agitateur public depuis 82, c’est son tempérament…

Sans doute a t’il gagné en sérénité. Ado-quadra, tout de même… «Made in Medina» s’est mûri dans un zigzag tri-continental étalé sur un an ou presque. Dans l’ordre, maturation à Paris, gros œuvre à Londres, suppléments d’âme à Marrakech et New Orleans. Ces deux dernières villes ont en commun des esprits qui échappent à la raison pour mener jusqu’à la transe. Les rituels des gnawas du Maroc et du vaudou de Louisiane ont poussé sur racines voisines d’Afrique noire. Cette recherche d’une certaine spiritualité, d’une redécouverte de soi, affleure par petites touches dans ce disque. De groove «gris-gris» néo-orléanais en choeur féminin débridé (celui de Bnet’ Marrakech, une sorte de gospel chérifien), Rachid touche plus au jubilatoire qu’à l’ethnologique, voire au mystique.

C’est que dans ce voyage à rebondissements, notre homme a retrouvé son compagnon de (presque) toujours, Steve Hillage. Le grand échalas, pilote d’essai du rock underground des seventies aux commandes de Gong, retrouve périodiquement Rachid depuis 84. Un savoir-faire avec le tout-technologique, une culture qui ratisse large (les orchestrations pharaoniques de “1, 2, 3 Soleils”, c’était lui) et surtout une complicité au-delà des décennies… et des errances. Entre eux, d’interminables palabres, pour le plaisir et éventuellement trouver la demi-teinte adéquate… qu’ils ne cherchaient plus ! Et un postulat commun contre une démarche world bien pensante : pas de condescendance face au folklore ni de posture globe-trotter, aucun son n’est intouchable ni sacré.

À partir de là, vous avez les clés de «Made in Medina», son puissant avec escapades intimistes. Pour draper, cet album, une cohorte de musiciens, d’ici, d’orient, du grand ouest et de tous les suds. Un unique invité de marque, Femi Kuti, cette autre Afrique que Rachid (qui jadis a souvent cotoyé Fela), a voulu vocalement présente. Une chanson en francarabe, «Oh Chérie», à la manière des Cheikhs du raï des années 40, où les mots tout simples («Je t’aime tu es ma vie, en français, c’est joli») se lovent sur de poignants violons en boucles. Des chocs climatiques de sentiments contraires, où «Foqt Goqt», coup de gueule contre mensonge et duperie, précède «Aï Aï Aï», ode à l’insouciance. Et en clôture, une incitation à la transe avec orbite en spirale bienheureusement oublieuse des formats,

Tout ça et bien autre chose, c’est Rachid Taha. Le désabusé, le candide, celui qui finalement aime se fondre dans sa propre medina : «En ville, je m’égare, je perds mon âme, je suis un étranger, je suis groggy». Suivez-le jusqu’à la dernière note. Et tapez «replay». Vous y découvrirez d’autres fioritures… essentielles.

Ensuite, à propos du disque “Tékitoi” (2004, Wrasse, Barclay Records) : ▼

La question claque, impérieuse, dès l’attaque du disque. Quasi tout en francaoui dans le texte. Chez Rachid, ça n’est pas si courant. Dans le genre on se rappelle l’entêtant “Voilà voilà, qu’ça r’commence”, réplique uppercut aux sirènes de Le Pen. Et, pour le clin d’oeil, il y a des lunes (et des législatures) le “Douce France” patrimonial relooké. Sinon, depuis Carte de Séjour, groupe de ses (plutôt) jeunes années, Rachid Taha n’en démord pas, il reste un rocker d’ici (français) né là-bas (à Oran) qui chante en arabe. Ce qui demeure pour l’essentiel vrai avec cet album, Une bonne occasion pour tenter de répondre à cette question existentielle, Tékitoi ?, pour une fois, à travers ses textes… en arabe.

UN SON DRU

Auparavant, petite escapade sur “Tékitoi”, le CD, le cinquième de Rachid sous son nom en quinze ans. Le gaillard n’a jamais affiché une production pléthorique, il n’est pas adepte des cadences infernales. Il est plutôt du genre parcimonieux, C’est qu’il prend son temps pour accoucher d’un disque, deux ans cette fois. D’abord, il cogite, il rumine, chez lui, au petit matin il remplit des cahiers. Et de temps à autre, il file une semaine ou un mois à Londres retrouver son inoxydable complice, Steve Hillage.

L’ancien pilier de Gong est bien plus que son styliste musical : ils en sont à vingt ans en quasi-continu (moins l’album “Barbès”) de ping pong créatif, sans turbulences mais avec patience, c’est une conception à quatre mains et deux têtes. Pour la phase active, toujours à Londres, ils mettent en musique, souvent ensemble, une bonne quarantaine de textes, les chansons sont toutes mises grosso modo en boite. Là, on élague, on tranche dans le vif, toujours en tandem et… à l’unanimité ! Cette fois, il en reste douze, qu’on bricole et fignole entre Londres, toujours (guest surprise, un autre English cador du son, l’éminent Brian Eno), Paris (la mandole de son compagnon Hakim Hamadouche) et l’Égypte (ah ! les arabesques des violons cairotes !).

Au final, un son tranchant, houleux, voire effilé qui se balade entre, disons, Led Zepp et Radiohead, où les riffs de guitares tranchent leur chemin, à la limite du sauvage, entre les volutes orientales. C’est net, Rachid reste dans le camp du rock. La preuve, cette reprise couillue du “Rockin’ The Casbah” de The Clash. Trop évident, pense d’abord Rachid, réticent, il se dit qu’on l’attendra au tournant. Et puis… A force de triturer les mots, en s’extrayant du littéral sans pour autant perdre le mordant de l’original, il incarne vraiment la bombe pimentée du gang à Strummer. Merci Rabah Mezouane, l’ami-traducteur, merci Brian Eno pour les retouches.

DES MOTS CRUS

Bon, alors, et Tékitoi ? Plus tard, attendez. Parce que les autres, les dix autres… Rachid Taha est parti d’une remarque, persistante, de certains de ses proches : on ne comprend pas toujours ce qu’il veut dire. Trop métaphorique et pas assez rigoureux ? Il a, cette fois, travaillé avec un dictionnaire… et une linguiste. Un casse-tête d’une extrême minutie mais délibérément ludique (ce n’est pas contradictoire). Après tout, plus on pèse ses mots, mieux on est armé pour… parler juste. En canardant ou en suggérant l’espoir, et parfois les deux dans la même chanson. Des mots répétés, des images martelées comme si elles ne devaient plus sortir des têtes.

Il y a les chansons qui tirent à vue :

► Demandez-leur des comptes, les menteurs, les voleurs, les humiliateurs, les assassins, les oppresseurs, les traîtres, les envieux, les pourris (”H’asbu-hum”, Demandez leur des comptes). Rachid : « Là, j’éructe plus que je ne chante, j’ai capté les mots dans les manifs en Algérie. C’est ma façon à moi de secouer cette léthargie, j’ai la haine de ces haineux ».

► Si tu allais où je vais, tu deviendrais boiteux, si tu aimais qui j’ai aimé, ils te haïraient, si tu lisais ce que j’ai lu, ils te persécuteraient, si tu écrivais ce que j’ai écrit, ils te brûleraient (…) Toujours, je me pose des questions sur moi-même (”Dima”, Toujours). Rachid : « Quoi que tu fasses, tu es muselé. Mais ce n’est pas seulement une dénonciation, c’est un questionnement sur soi, comme une auto-médication, presque une thérapie ».

► Ils en ont eu assez, ils n’ont pas trouvé, aujourd’hui mes yeux se sont ouverts. Pourquoi avez-vous fait des choses honteuses, comment avez-vous oublié la loi ? (…) Moi, mon cœur est pur, j’aime l’amour festif (”Safi”, Pur). Rachid : « C’est comme un édito bazooka. Il faut dire leur fait aux gouvernants, c’est trop facile de mettre tout sur le dos de l’occident… et des barbus. Je suis prêt à chanter ça en Algérie… si on m’y invite. C’est une autre histoire ! ».

Il y a d’autres thèmes moins noirs, plus porteurs d’espoir, mais tout aussi travaillés.

► Ne faire aucune peine, ne jalouser personne, écouter les sages et être modeste, tourner les pages , partager la tendresse (…) rester soi même et de la vie faire un poème (Lli fat mat, Ce qui est passé est passé). Rachid : « Il faut se tourner délibérément vers le futur, ignorer la condescendance et ne pas cultiver le passé, sinon, ça devient politiquement correct… ».

► J’ai appris à prendre des raccourcis sans perdre mon chemin, j’ai appris aussi le sens de la vie au hasard des rencontres, de l’illusion je suis guéri (”Mamachi”). Rachid : « C’est cette sérénité plutôt philosophique qui vient essentiellement d’Afrique et en même temps quasi chamanique. Finalement, entre colère noire et harmonie, c’est une sorte de sagesse qui m’a appris à avancer ».

► Patiente, le paradis va s’ouvrir, tu as rencontré l’amour mais ça n’a pas suffi, tu bois des verres, tu as cru que c’était un lit (”Stenna”, Attends). Rachid : « C’est le résumé de tout, la patience. Ce n’est pas toujours en s’obstinant qu’on arrive à ses fins. Presque un happy end du disque ».

Il y a encore deux enivrantes chansons d’amour, “Shuf” (Regarde) et “Meftuh’” (Ouvert). Une rencontre avec un énigmatique Géorgien, le temps de “Winta”. Et, bien sûr, “Tékitoi ?”, Un truc qui vous rentre dans… la tête (pas raide !), fruit d’un trafic sonore de mots en duo bilingue avec le vieux pote de Rachid, Christian Olivier . Celui-ci vous en cause par ailleurs.

Voilà, maintenant que vous êtes mieux armé pour savoir, à propos de Rachid…. C’est qui, lui ? (Paris, le 27/08/04)

#RKK #remykolpakopoul #rkkklikklak #rachidtaha

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cailliehughes · 6 years

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Last song you couldn't stop listening to?

Hmm, there’s a few songs recently I’ve been listening to on repeat.

1) Sober by Demi Lovato, I think this song has so much emotion vocally, you can just feel the pain behind it. My motto when writing a song is in order to make art you have to use heart and this song is full of raw/ real life experiences and that to me is the best kind of song. A great beat/ groove is nice, but I love a song with passion and meaning behind it as well. ❤️💛💚💙💜🖤💔

2) Delicate by Taylor Swift, This song both the original recording and the acoustic rendition are beautiful. The melody, the beat, the lyrics it's just an overall hit. 🐍

3) Last Love Song by ZZ Ward, this song I tend to play at random a lot, it has always held a place in my heart. This song helped me through a heartache that broke me at one point. So I listen to it at random times. 💔 + 🎶= (❤️)

4) Solo by Demi Lovato & Clean Bandit, This song is just FIRE 🔥

5) Want You Back by HAIM, This is one of those relatable songs with the words that describe what you feel at times, plus its catchy *BONUS POINTS: They are great performers also*

and lastly, All of DRAKES new album. (Especially Emotionless) the vocals at the beginning are heavenly. 😇

❤️🎤✌🏼

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segenassefa · 3 years

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10: Musical Discourse: Slime Language 2

Young Thug’s new project, Slime Language 2, is almost reminiscent of Pi’erre Bourne’s TLOP4, except more features (Thug got all these niggas in the studio and told them “We’re doing this now or never”), including ex-girlfriend and entrepreneur Karlae, Jim Jones, Drake, Travis Scott, and Coi Leray. There is a heavy YSL l influence (obviously) as well as some OVO features (hey Drake, hey Nav!), Coi Leray (no comment), and even a Rowdy Rebel feature, fresh from the pen. This project does a good job at touching different extremes of the rap music spectrum – Thug manages to get some songs for the ladies (“I Like”, which, to me, is very reminiscent of the City Girls, “On the Low”, and “Trance”), typical athlete walk-out music, and some songs that follow that “no one ever believed in me/everyone leaves me” kinda vibe.

If we’re gonna keep it 100, the album in itself is not necessarily a stand-out – very few songs have that “wow” factor - and to be honest - it’s mid, as the kids would call it. BUT, in the spirit of neutrality, I’ll be breaking down my favourites, as a self-proclaimed know most and trap music enthusiast, especially since today marks the one-month anniversary of its release - and if you disagree, suck ya mum (JK….kinda.)

“Take It to Trial” – Young Thug, YSL, Gunna, Yak Gotti

This track is probably one of the best on the album, and not just because the Yak Gotti feature ties it all together, but for the overall cohesiveness of everyone on the track, which almost makes it sound like one person entirely throughout. Take It to Trial was one of the tracks on the album that was released before the drop of SL2, giving it some time to marinate before the drop of the project in its entirety. While the beat is nothing too crazy, it’s still a standout due to the lyricism of the track and the abnormally high pitch Thug manages to hit on the chorus, as he adamantly requests to take this shit to mf’in trial.

I don’t know if the herpes bar making me think of NBA YoungBoy makes me a bad person, but I guess only time will tell.

“I Like” – YSL, Karlae, Coi Leray

Now, listen. I am not going to lie and say that I support all women. Somewhere in my heart, I know Coi Leray got to where she is due to a combination of light skin privilege (insert noises of disgust), some form of nepotism, her marketability, and her longstanding time in the industry (she was, in fact, one of the Mindless Behaviour video girls, so that in itself should tell you how long she’s secretly been in the game. She’s almost like a slightly darker Alexa Demie, except she isn’t lying about her age).

But this song???

THIS MF SONG?

There has to be crack in it. Because it’s not that good - the beat is not one which you run back for its complexity, nor its lyricism, but DAMN, it’s a good ass song.

Both she and Karlae captured the effortless sexy feeling certain songs are supposed to give you (fellas, not sure if you’ve ever felt it, but I feel like the laydeez know what I mean). It’s giving very much Uber Black on the freeway in an amazing outfit, drunk out of your mind - and I’m here for it! While I do feel like Karlae can rap circles around Coi, if given the opportunity, I think one thing I can say is that Coi does have the unabashed confidence of a man in her same position and that in itself makes this song *that* much more powerful.

“Mil in Vegas” – YSL, Young Thug, NAV

When I’m old and in my nursing home of choice (Astagfurallah, but you never know), I hope Young Thug drops a purely R&B album; something like Hndrxx but a lil’ less suicidal.

Or that the nursing home has enough money to hire him for a mid-afternoon senior citizen concert, but let’s tackle one problem at a time.

This track is almost like the niggas’ version of “I Like” but instead of boo boo Mizz Leray, we get a melodic NAV feature. In addition to my appreciation of him realizing he needs to stop using the fucking n-word (he shouldn’t have been using it in the first place, but progress is better than perfection), I think there’s something to be said with rap songs that are done outside of the major key; it def adds a little pinash, and some depth that wouldn’t have been there before – and NAV’s voice is suited perfectly for these otherwise challenging scales.

The only other thing going for this song is the way Thug looks in that yellow turtleneck on the Spotify visualizer – and with that being said, I hope niggas will be rocking more bright colors in the seasons to come.

(Also, what the fuck is NAV’s obsession with Los Angeles? I swear there’s at least one bar in every song).

“Slatty” – YSL, Young Thug, Gunna, Lil Duke, Yak Gotti

Mark my motherfucking words - when we have in-person sporting events, I will bet my Large Telfar bag that at least one draftee has this song as their walk-out music.

This track incorporates the one word that every nigga in YSL records (and current rap culture) has heat-stamped in their vocabulary, and while the word “slat” has been massacred by hordes of white teenage boys on TikTok, I will say that this chorus is catchy as fuck.

The real star of this song (shockingly) is the juxtaposition of Yak Gotti’s gritty, emory-board vocal cords, the raspy voice of Lil Duke, and the familiar buttery sound of Thug’s vocals.

Why the visualizer has P. Diddy in it, God only knows. But our adeer is doing his thing in those big ass Versace shades, so who am I to say anything.

“Diamonds Dancing” – YSL, Young Thug, Travis Scott, Gunna

I have no commentary other than asking rappers to please stop using Dr. King for any of their metaphors – he cheated on Correta with a white woman (and only one that we KNOW of, for that matter).

So, I stand here humbly before you, petitioning for the alternative bars including:

“Dripped in Dolce & Gabanna / Black diamonds like Thomas Sankara”

“New girl like Lori Harvey / chain Black like Africa, Marcus Garvey”

or something along those lines. Even a Sojourner Truth bar, at this fucking point.

“Solid” – YSL, Young Thug, Gunna, Drake

Of course, OF FUCKING COURSE, this track was saved by none other than the culture vulture himself - the man, the myth, and apparently now, the fucking candlemaker, Mr. Aubrey Drake Graham.

(Sidenote: Why is graham such a hard word to spell?).

I know y’all niggas heard - and felt - him very clearly when he said he needed some head and some moral support right away (not like y’all are gonna get any, but understandable if you felt it).

Something about the subtle use of steel pan, and mafioso type beat that the OVO clan has such an affinity for, really brings this hoe all the way together.

Another interesting point to note – and why I think Thug and Gunna make such an incomparable duo - is the fact that Thug and Gunna could almost pass for one another on the second verse, and even in the chorus. The only distinctive giveaway in this is the fact that Gunna does not make use of the whimsical bars in the same way that Thug does (because who the fuck is putting macaroni and cheese in their pockets besides the man who made a whole Instagram live about having a dirty dick? Exactly.)

Surprisingly though, this is one of the only songs on the album that hasn’t drilled holes in my eardrums, even after listening to it for an entire month, so bravo on them for that.

“Proud of You” – YSL, Young Thug, Lil Uzi Vert, Yung Kayo

I’m going to use this song to expose my corniness in saying I’ve definitely thought of using this song for some Instagram captions.

I think the combined genius of Thug and Uzi is often overlooked due to everyone wanting to worship Uzi with the androgynous Vampire Ma- I mean, Carti (who also makes a great duo with Uzi in his own right, but Uzi and Thug just remind me of two eccentric uncles, minus a few decades).

It was also rumored in 2018 that these niggas had over fifteen hundred songs together and I honestly wouldn’t it put it past them for that to be true.

Will they all be hits? Probably not, but it’s nice to be a dreamer – plus, their previous tracks (What’s the Move, It’s A Slime and Strawberry Peels) can’t be disregarded either.

“Really Be Slime” – YSL, Young Thug, FN DaDealer, YNW Melly, Bslime

In my honest opinion, I think YNW Melly (and TayK!) should have been pardoned from jail way before Reptar (Kodak) or the other gremlin, Mr. Weezy F Baby – not doubting this artistry, but I do think this man requires a serious rest; musically, emotionally, and physically).

This nigga Melly bodies every feature and brings such mischievous energy to every single track. Also, the minute the rhymed “butter pecan” and “Puerto Rican”, he was fr a genius in my high school eyes.

You can’t deny that the other niggas on the track, even Young Thug himself, fall a little short and that FN DaDealer is trying a bit hard to give us Lil Baby teas, but for what it is, it’s not a bad song. The beat, again, nothing too impressive, but I’m honestly just so glad to hear a YNW Melly feature after what feels like forever.

And that about wraps it up – overall, I’d give this project a solid 5/10. It could have done a bit more; and for the number of features (as well as their duality), honestly could have been more experimental. I get that this was highly anticipated, but in that case, I’m sure niggas wouldn’t have minded waiting a bit longer for it to go the extra mile.

If you feel like I missed any important tracks, that’s too damn bad; but feel free to argue with me in the comments of Instagram.

Until then…*turns on “I Like”*.

#cashmoneysegs #slime #language #2 #young #thug #rap #hiphop #blog post 10 #cm$

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on-the-shelves · 6 years

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on my shelf: soundtrack to my second year of uni - winter

In the winter of my second year of uni, I didn’t build such a strong emotional relationship with any music as I did in my first year, probably because I’m more used to the whole situation now. Nevertheless, there were some albums that I felt a strong need to listen to a lot, and here they are.

Winter

Walk The Moon: what if nothing (2017)

This album has a different feel than their other albums - it’s more tragic or at least sad in a way but they have a way of not bringing you down with the heaviness. They experimented with different styles, more than ever before, and it works really well. “Headphones” gives me neck pain for days because I have to headbang so hard, “Tiger Teeth” is fragile yet dance-able, “Sound of Awakening” is very unusual but amazing (gives me Phil Collins vibes for some reason?), “All I Want” has some background vocals that remind me of Shania Twain. This album is a journey and also great to listen to on journeys. How fitting.

Taylor Swift: reputation (2017)

Look, I know the world has a problem with Taylor Swift. And on the surface, looking at this album’s concept and some of the lyrics, I kind of get it. But on the other hand, you cannot deny (someone probably can, but I can’t) that this album has some really. good. melodies. Just so good. Plus, I’ve been a fan of hers for about 7 years. And this album is a pretty good next step for her, looking at how she’s developed sonically.

Arctic Monkeys: literally their entire discography

At least once a year, since 2013, I randomly feel the need to listen to all of Arctic Monkeys’ albums. They’re just too good to listen to just one. My favourites are “Whatever People Say I Am, That’s What I’m Not” and “Suck It And See” (as you might be able to tell from my list of bass songs).

Dua Lipa: Dua Lipa (2017)

Her voice is just so nice to listen to and the melodies are catchy and give me a good feeling. That’s all you really need, that’s the basic foundation of “good music”.

Demi Lovato: Tell Me You Love Me (2017)

And another female pop singer I’ve been listening to for at least 7 years (more like 9 or 10 though) (wow). This is Demi’s best album in so many years, you can hear she’s finally going for music that she likes and not just what she or her label/manager(s?)/producers think will sell. She’s finally singing a style of songs that suit her voice well, so a more soulful, sometimes ballad-y style. I do think there’s a little too much vibrato in her voice in some parts (especially on title track “Tell Me You Love Me”) but that’s okay, because it still works.

Waterparks: Entertainment (2018)

Does what it says on the tin. But not in a sitcom, comedic way. Just with good songwriting in both lyrics and music. This is definitely a great step forward from their previous album “Double Dare”. It has some moments that sound relatively similar to the last album but a lot of new sounds that you wouldn’t expect from them but that work amazingly well, like “Crybaby”. This album is also very emotion-filled, especially knowing about the breakup that happened between the album being finished and its release, which makes it an even more interesting listen. It’s the perfect length for driving from my uni back home, too.

Paolo Nutini: These Streets (2006)

George Ezra: Wanted On Voyage (2014)

Both of these albums have a similar relaxing effect on me. They’re both kind of in the singer-songwriter corner but aren’t as boring as a lot of music in that genre (?) tend to become, especially in album form. The singers have interestingly textured voices, there are some very good melodies, and a lot of the songs tell lovely stories. I only really got into these albums while I was on break from classes, but I still think they should be considered a part of the winter semester’s soundtrack.

___________

Winter semester 2017/2018 was filled with more pop-leaning music from both males and females. A lot of it was full of emotion but not emo or depressing, at least not music-wise. I want to mention that I also listened to a lot of podcasts in this time, especially “Not Too Deep with Grace Helbig”, “Popcorn with Mitchell Davis & Jack Ferry”, “Awsten + Travis’ Slumber Party”, “The Twenty One Pilots Podcast” and “The Anthropocene Reviewed”.

__________

edit note from 2019: listened to a lot of Vampire Weekend’s entire discography during the winter break, too.

#winter sounds #soundtrack to university #walk the moon #taylor swift #arctic monkeys #dua lipa #demi lovato #waterparks #paolo nutini #george ezra #text #music #on my shelf

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exposingsmgask · 7 years

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So I usually like Selena's music but lately I was listening back at Revival and I was like "this lowkey sucks..." lmao I don't get why people think it's one of the best albums by an ex act. It's catchy and cute but that's it. Tbh if a male singer sang "hands to myself", it would have been controversial. Plus she legit has zero vocal talent lmfao

Lmao I agree that Selena has zero lack of vocal ability and that her songs are pretty mediocre if you compare to demi or Miley-Selena likes to sing about sex a lot but I do enjoy Revival.

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geeyani · 7 years

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TELL ME YOU LOVE ME, Demi Lovato

Overall: 9/10 🌟🌟🌟🌟🌟🌟🌟🌟🌟

Demi did not fall short of her promise that the album will have more RnB vibe in it compared to her past albums. This is her best work so far. Unlike past albums, there are no filler songs. Overall, the album's tone is pleasant to the ears. It's more upbeat and I really love the sax in almost all of the songs. Ranking all of her albums:

1 - Tell Me You Love Me

2 - Unbroken (8/10)

3 - Confident (7.75/10)

4 - Don't Forget (6.5/10)

5 - Demi (5.75/10)

6 - Here We Go Again (4.5/10)

Top 5 Picks from the Album

1. Ruin The Friendship (10/10)

An important lesson: either you stay as friends or go for a relationship and risk ruining everything. Hits you right in the gut especially if you've been there (and done that). Loved the beat and the sax!!! Such a refreshing sound in this album. It's so sexy and smooth yet so urgent. The vocals are just almighty plus the HV run past the last verse. And the laugh after the bridge, yaaaas! Also, the song is about Nick Jonas.

Fave lines:

"You're only brave in the moonlight

So why don't you stay till sunrise?"

"Your body's looking good tonight

I'm thinking we should cross the line

Let's ruin the friendship, let's ruin the friendship" (Fuck! The entire chorus is swell!)

2. Daddy Issues (9.75/10)

I love the sudden stops in the first part of the chorus. Lyric-wise, it's relateable for people who are hung up on their exes (and even current relationships). I think this song is about Wilmer Valderrama. She showcased her higher registers in the chorus which sounds heavenly. The head voice in the end is also noteworthy. The lyrics and the way they were sang is alsoooo so sexy.

Fave lines:

"I call you too much

You never pick up

Except when you wanna fuck

And I can't get enough"

"Don't know how to commit

But I might want your kid

And after our first kiss

Got your name on my wrist"

"Never enough

Addicted to love with the wrong one" (You just spoke to me on a spiritual level!!!)

3. Only Forever (9.5/10)

One of those lovely ballads I'll never get tired of listening to. Her voice is soooo smooth. Matches the chills I get whenever I hear Lionheart (from Confident) and Two Pieces (from Demi) [my faves from bothh era.] Another song about Nick Jonas (I mean, it's Nick fucking Jonas, who would get tired of singing about him, anyway?) This song speaks about hopelessly waiting for someone whom they are not sure if is ready to take that risk.

Fave lines:

"You know when we get close

Can't deny the tension between us both

And I don't wanna pressure you, but I think you need to make a move" (Thanks for telling us how to assert ourselves! Queen!)

"Should I wait up for you day and night

Just let me know how long."

4, You Don't Do It For Me Anymore (9.5/10)

Her best song yet tackling her drug addiction. She speaks about herself leaving that "old self" and waking up to sobriety. It's about getting on your feet together and fighting for yourself. I love the beat plus the G#5s in the chorus. I also love how the bridge actually slowed things up instead of building it up. It's anticlimactic but it was done so good, I am actually addicted to the bridge. Yes for self-awareness. Yes for fighting addiction!

Fave lines:

"Money won't pay for your problems

You gotta fix them yourselfVices and pity won't solve 'em

Stop feeling bad for yourself" (Preach, girl. Preach!)

"I'm sorry for honesty, I could not bear

To lie to you, to lie with you

I'm sorry for honesty, I'm well aware

I lie to you when I lie with you"

5. Cry Baby (9.5/10)

There are actually four songs with a 9.5/10 rating (this one, You Don't Do It For Me Anymore, Concentrate, and Only Forever). I chose this over Concentrate to complete the Top 5 because it felt closer to me. The emotions are so raw. Lyric-wise, I was able to relate to it more compared to Concentrate. I love the Congratulations part of the song. It is such a very good irony--I'm strong but you make me cry. That is such a strong message! I also love the guitar riffs. I am soooo shookt, reminds me of the Two Pieces riffs. Vocally, it is stronger too, compared to Concentrate.

Fave lines:

"All I ever really wanted was someone to love me this good

You love me so good

Everybody knows I'm capable of breaking hearts like I've done

I've scarred more than one" (The irony of love.)

"Congratulations, celebration

'Cause my heart is the hardest to break

Break up to make up

Just to wake up with mascara all over my face

And I'm no cry baby, but you make me cry lately"

#DemiLovato #ddlovato #Demetria #Devonne #Lovato #TellMeYouLoveMe #TMYLM #D6 #Sept29

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yeskraim · 4 years

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Billie Eilish shouts out Ariana Grande at Grammys, but Grande’s fans say she was snubbed

Rasha Ali, USA TODAY Published 9:55 a.m. ET Jan. 27, 2020 | Updated 12:14 p.m. ET Jan. 27, 2020

From Alicia Keys and Boyz II Men to Demi Lovato, performances at the 62nd Grammy Awards tugged at our heartstrings.

USA TODAY

After a hauntingly A-plus-worthy performance of her ballad “When the Party’s Over,” Billie Eilish took home the award for album of the year at the Grammys Sunday and gave a shout-out to Ariana Grande.

The “7 Rings” artist also was nominated for album of the year, and Eilish, who swept all four major categories, all but handed over the award to Grande.

“Please sit down. Can I just say that I think Ariana deserves this? … I think (the album) deserves (it) more than anything in the world,” the “When We All Fall Asleep, Where Do We Go?” artist said in her acceptance speech.

But Grande was having none of that. The “Thank U, Next” artist waved off Eilish and blew her kisses.

Grande was nominated in four other categories: best pop solo performance (“7 rings”), best pop duo/group performance (“Boyfriend”), record of the year (“7 rings”) and best pop vocal album (“Thank U, Next”). Spoiler: she didn’t win any of them, and Eilish bested her in the latter two.

The former Nickelodeon actress did have her moment to shine when she gave it her all in a three-song medley performance. She blew the roof off during “Imagine” in a black ball gown before serving up amazing choreography during hits “7 Rings” and “Thank U, Next.”

.@BillieEilish accepts her award for Album of the Year, but says @ArianaGrande deserved to win: “Can I just say that I think Ariana deserves this? ‘thank u, next’… deserves more than anything in the whole world. I love you so much.” ❤️ #GRAMMYspic.twitter.com/oPA4e7OW8Q

— Ariana Grande Today (@ArianaToday) January 27, 2020

Though Eilish recognized Grande’s talents, fans were upset with the Grammys for snubbing the artist who made headlines and USA TODAY’s best-dressed list in her giant Giambattista Valli gown and made sure to air out their feelings on Twitter.

“Ariana Grande had the biggest era of her career yet, outdid herself, literally owned 2019 .. #GRAMMYs just used her name for attention and let the woman sit there nervous the whole night. No words, she deserves better,” wrote @popcreave.

One fan listed Grande’s album as one of the most snubbed in the past 10 years alongside Rihanna’s “Anti” and Beyoncé’s “Lemonade.”

The Most Snubbed Album At The Grammys In The Past 10 Years:

Anti – Rihanna Teenage Dream – Katy Perry Lemonade- Beyonce Melodrama- Lorde Thank U,Next- Ariana Grande Red- Taylor Swift Norman F Rockwell- Lana Del Rey reputation- Taylor Swift pic.twitter.com/byoMJhtQzn

— Taylor Swift Facts (@teaandfacts123) January 27, 2020

Another fan pointed out that Grande has been through a lot in her career and that it didn’t matter whether she won.

“Grammy or not, ariana won. she really went through the lowest (expletive) point of her life, and came out on top this era. it’s not about that little trophy for me, it’s the message she sends to all of us. no one i love or respect more than Ariana Grande,” wrote @icanbeneeeddy.

In the past year and a half, the pop star has weathered a called-off engagement to “Saturday Night Live” star Pete Davidson and the death of her ex-boyfriend, rapper Mac Miller – all while processing trauma from a terrorist attack in 2017 that killed 22 people after her concert in Manchester, England.

A few began referring to the Grammys as the “scammys” because of Grande’s snubs.

“If they send ariana home with nothing that’s pure disrespect. they should just call it the scammys,” wrote @rihsbey.

if they send ariana home with nothing that’s pure disrespect. they should just call it the scammys pic.twitter.com/LSgv5SSZ9z

— sam (@rihsbey) January 27, 2020

“I still can’t believe ariana got robbed,” wrote @FAKESMILEE before hashtagging #scammys.

Contributing: Patrick Ryan

More: Grammys 2020: What you didn’t see on TV, from Kobe Bryant mourning to an awkward Nipsey Hussle moment

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mrwilliamcharley · 6 years

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The Best Remixes Of The Week 021

This week was stacked with remix packs from Louis The Child, Illenium, and ODESZA, each drawing a diverse lineup of hot shot producers, plus even more remixes from Dillon Francis, Vincent, Manila Killa, KRNAE, Kill Paris, Hotel Garuda, and more.

Also check out our spicy new Run The Remixes playlist on Spotify with all our all-time favorite remixes, updated weekly.

Cardi B – I Like It (Dillon Francis Remix) | Stream

Dillon Francis has had a massive week between releasing his new single “Look At That Butt” and producing Panic At The Disco’s new track “Hey Look Ma, I Made It”. To top it all off, the iconic producer has unleashed a crazy official remix of Cardi B‘s “I Like It”. Dillon Francis gives the track this latin inspired trap vibe that perfectly amps the song into a fiery club hit. This is definitely one you’ll hear all festival season long.

Kiiara – Messy (R3HAB Remix) | Stream

Multitalented producer R3HAB has pumped out some of the hottest remixes this year and his latest is perfection. R3HAB has given Kiiara‘s new single “Messy” a brilliant rework to add to his collection alongside recent remixes of Lauv, Marshmello, Calvin Harris, and Halsey. Bright, bouncy synths dance around the deep, thumping bassline and snappy percussion, wrapping a lush tropical vibe around Kiiara’s sultry pop vocals. R3HAB’s “Messy” remix absolutely screams summer.

Khalid & Normani – Love Lies (Medasin Remix) | Stream

Medasin shares his latest work of art. Giving Khalid and Normani‘s “Love Lies” a facelift, check out why this remix is quickly spreading around. This sensual Future Bass rendition possesses all that you need to melt your heart. The elements align to create the recipe to perfection. Sound design, Atmosphere, and killer vocal prowess shine brightly in this production. Fair warning that once you hit play you may become addicted. Prepare to drop this tasteful remix into your daily playlist. – Omar Serrano

Gryffin – Winnebago (feat. Quinn XCII & Daniel Wilson) [Vincent Remix] | Stream

Trap lord Vincent has been dropping off goodies all year, knocking us off our feet with his banging official remixes of KRANE and Grandtheft. He’s now been drafted to flip Gryffin‘s summer single “Winnebago” feature Quinn XCII and Daniel Wilson. Grungy guitars rumble under the rising synth melody and building percussion before exploding into a thunderous future trap drop. Vincent has definitely turned the heat up on “Winnebago”.

ODESZA – Across The Room (feat. Leon Bridges) [Tycho Remix] | Stream

The legend Tycho is back with an absolutely stunning rendition of ODESZA and Leon Bridges‘ “Across The Room” as part of their official remix pack. He swirls the track into an atmospheric wonderland with breezy percussion and soulful guitar melodies playing off Bridges’ lush vocals. This masterpiece of a remix is so beautiful that it’s almost better than the original. Tycho’s “Across The Room” remix is simply unforgettable.

Clean Bandit – Solo (feat. Demi Lovato) [Sofi Tukker Remix] | Stream

Electro pop duo Sofi Tukker have stormed the charts with their cheeky singles and quirky remixes of Billie Eilish, TOKiMONSTA, and Big Wild. Back with yet another gooey remix, Sofi Tukker have unleashed their signature style on Clean Bandit and Demi Lovato‘s “Solo”. Ringing synths bounce around shaking percussion and deep bass to give the track this eclectic tribal pop. This is one remix you won’t be forgetting any time soon.

Louis The Child – Better Not feat. Wafia (KRANE Remix) | Stream

Louis The Child and Wafia‘s “Better Not” was everything we could’ve hoped for and it’s just gotten a ridiculously gooey remix pack. First up, trap legend KRANE has put his dark and twisty signature on the pop ballad, amping it up with booming bass stabs and sharp percussion. KRANE’s “Better Not” remix seriously slaps. Check out the full remix pack here.

Mija – Falling ApART (again) [Kill Paris Remix] | Free Download

Kill Paris has just unleashed one of the hottest remixes of the year with his take on Mija‘s “Falling ApART (again)”. Turning the already gorgeous track into an absolute banger, Kill Paris perfectly balances Mija’s catchy vocals with an electrifying burst of dance pop. You’re definitely going to want to put this one on repeat.

Illenium – Needed You ft. Dia Frampton (StayLoose Remix) | Stream

StayLoose is back with one hell of a remix. Just two weeks after releasing his new single “Hey Mama“, StayLoose has now been tapped to be a part of Illenium‘s Awake remix album by remixing his Dia Frampton featured single “Needed You”. Dreamy synths create a euphoric atmosphere around Frampton’s sultry vocals before exploding into one of his signature future bass drops. StayLoose’s “Needed You” is absolutely phenomenal. Check out the full Awake remix pack here.

Logan Henderson – Bite My Tongue (TELYKast Remix) | Stream

TELYKast consistently step up their game with every new remix. Their latest spins Logan Henderson‘s “Bit My Tongue” into a vibrant dance pop remix perfect for any day at the beach. The LA trio wrap Henderson’s pop infested vocals in luscious synths and wavy percussion that bring a shimmering sun-kissed vibe to the track. TELYKast have seriously amazed with this remix.

CHVRCHES – Miracle (Manila Killa Remix) | Stream

Manila Killa never fails to impress when it comes to remixes and his latest is extra saucy. Taking on CHVRCHES, Manila Killa has drummed up their single “Miracle” into a spacey future bass creation. Twinkling percussion and effervescent, fluttering synths create an atmospheric soundscape before dropping into vibrant, rhythmic dance break. You’ll definitely be hearing this one on his upcoming tour supporting Petit Biscuit this fall.

Kygo & Miguel – Remind Me To Forget (Young Bombs Remix) | Stream

Young Bombs never fail to deliver dreamy dance pop remixes. The Vancouver duo have now been drafted to remix Kygo and Miguel‘s “Remind Me To Forget You” and it’s definitely a contender for best remix of the year. Snappy percussion and fluttering synths drape Miguel’s vocals with a glittery, sensual atmosphere, showering the Kygo original in luscious vibrant melodies. Get ready to fall in love with Young Bombs’ “Remind Me To Forget You” remix.

ABOVE & BEYOND – ALWAYS (SLANDER REMIX) | Stream

Having garnered over 4 million streams on their latest Post Malone remix, SLANDER‘s new Above & Beyond remix was bound to be a banger. The LA duo’s flip of “Always” is masterful, instantly drawing you in with its ominous melodies and atmospheric soundscapes. SLANDER seriously impresses with this Above & Beyond remix.

Louis Futon – Kevin’s Heart Ft. Bellah, BXRBER & Armani White | Stream

There’s nothing smoother than a Louis Futon cover to perk up your Friday. Taking on J. Cole’s “Kevin Heart,” Louis Futon follows his recent single “Fall On Me” with a deliciously smooth cover featuring Armani White, BXRBER, and Bellah. Riding on majestic waves of electronic goodness, Futon expertly rebuilds the original production with layers of lush melodies creating an incredible groove to sink into. Soulful features from Armani, BXRBER, and Bellah completely change the dynamic of the original, elevating it into an even more addictive summer anthem that you’ll want to leave on repeat. – Peach Gallagher

Illenium – Taking Me Higher (Felix Cartal Remix) | Stream

Felix Cartal never fails to shake things up. Having been tapped by greats like Wafia, TOKiMONSTA, Alma, and more, it was only fitting that Felix Cartal pop up on Illenium‘s new Awake remix album. Giving a bubbly infusion of house pop, Felix Cartal drops the beat, kicking the drums up a notch on Illenium’s “Taking Me Higher” to insert that feel good upbeat rhythm. Check out the full Awake remix pack here.

Louis The Child – Better Not (feat. Wafia) [Hotel Garuda Remix] | Stream

Louis The Child and Wafia‘s “Better Not” already screamed summer but Hotel Garuda‘s remix just took it up a couple notches. Their shiny, sun-kissed remix glistens with their signature bright, tropical sounds and upbeat, groove infested rhythms. Shimmering synths bounce around playful percussion, forcing you to move and shake instantly. This is definitely one you’ll have on repeat all summer long. Check out the full remix pack here.

Preme ft. Post Malone – Jackie Chan (tarro remix) | Free Download

We’ve heard dozens of Post Malone remixes but one of the finest has just arrived from none other than beartrap producer Tarro. For his latest remix, Tarro swerves his dark, ominous bass lines, trap infested snares, and twisting, echoing synths around Posty’s “Jackie Chan”, building it up into an classic Tarro banger. This is definitely one of our favorite Tarro remixes to date.

Brian Fresco – Higher (feat. Chance The Rapper & Blue Hawaii) [Just A Gent Remix] | Stream

Remix giant Just A Gent, know for his massive remixes of NGHTMRE, Illenium, Kill Paris, and more, has just unveiled yet another banging flip. Taking on Brian Fresco‘s “Higher”, which features Chance The Rapper and Blue Hawaii, Just A Gent unleashes an earthy future trap remix that is even better than the original. Chilling, dark synths drape Chance’s iconic vocals while rumbling, crisp percussion gives the track this R&B sultriness. This is one of Just A Gent’s finest remixes yet.

Robotaki – Satisfied ft. City Fidelia (Madnap Remix) | Free Download

Madnap has been blasting this summer with glittery, golden remixes of Kill Paris’ “Red Lights” and Win and Woo’s “Chasing Tail” and now he’s back as part of Robotaki‘s Science remix EP. Twinkling synths sparkle around the bubbly pitched vocals and witty percussion, bringing a lush pop vibe to Robotaki’s “Satisfied”. Yet another stellar remix from young Madnap.

Illenium & Said The Sky – Where’d U Go (Thoreau Rework) | Stream

Thoreau is one of our favorite new artists so it was amazing to find him tapped to remix Illenium and Said The Sky‘s “Where’d U Go”. Colorful synth stabs instantly bring an upbeat, melodic nature to the track before dropping into a wild, eccentric future bass break. This is one of those remixes that would so easily slide into any DJ set. Check out the full Awake remix pack here.

Billie Eilish – Ocean Eyes (Naderi Remix) | Stream

Following his fire hot mix with Annie Nightingale on BBC Radio 1, Naderi is back and ready to give you an eargasm with his latest remix of Billie Eilish’s “Ocean Eyes.” Offering a fresh take on one of Billie Eilish’s early originals, Naderi adds his Midas touch to original, elevating it with airy synths and lush piano chords. Eilish’s ethereal voice soars as the track builds into an explosion of future bass goodness at the drop. – Peach Gallagher

Anne-Marie – 2002 (BKAYE Remix) | Stream

From The Chainsmokers to Post Malone, BKAYE always knocks it out of the park when it comes to remixes. For his latest, BKAYE has put his spin on Snakehips and Marshmello collaborator Anne-Marie‘s “2002”, turning it into a breezy dance pop hit. Bright percussion rock against the summery guitar strums before bursting into a dance pop haven filled with bubbly vocal chops and colorful synth stabs. BKAYE’s “2002” remix is a vibrant pop-infested jam absolutely perfect for summertime.

William Black X Rico & Miella – Here At Last (neutral. Remix) | Stream

Making his debut on Lowly Palace, rising remixer neutral. has returned with one of his finest remixes to date. He’s stepped up to remix William Black and Rico & Miella‘s “Here At Last”, flawlessly spinning his EDM pop soundscape around the track. Bursting synths dance around the sultry vocals and deep, electrifying bass stabs, creating a drop that would explode on any dance floor. This one is a banger for sure.

Sweater Beats – Faded Away (feat. Icona Pop) [Kuur Remix] | Stream

New favorites Kuur have certainly caught our eye with their remixes of The Chainsmokers’s “Sick Boy” and Robotaki and Manila Killa’s “I Want You”. Now they’re back with one of our favorite remixes to date, flawlessly spinning Sweater Beats‘ “Faded Away” into a glorious dance pop heaven. They darken Sweater Beats‘ bubbly Icona Pop feature single with grungy bass lines and booming percussion, while skillfully maintaining its original fun and flirty energy. Kuur have definitely ones to keep an eye on this year.

Alison Wonderland – Easy (Kaivon Remix) | Stream

Kaivon is easily become a new favorite especially after this remix. The rising producer has been enlisted as part of Alison Wonderland‘s latest remix pack for “Easy” and Kaivon definitely shines. The LA producer wraps the opening in this anthemic, ethereal trap before diving into a dance-crazed future bass drop. It’s no surprise that AW chose to add this one to her official pack.

Bronze Whale – Warm (LMBO Remix) | Free Download

Bronze Whale‘s original melted our hearts whole with its bittersweet atmosphere and up and coming duo LMBO have certainly caught our eye with their remix. With a great track comes even greater responsibility and LMBO takes the challenge head-on. Their rendition expands on the origins pace in an attempt to connect with the listener. The lighthearted sound design allows you to get lost in the production and let every second of it transcend you to a happier state of mind. Following the release of “Dysphoria“, it looks like the potential is settling for this Michigan based duo. – Omar Serrano

Louis The Child – Better Not Ft. Wafia (INZO Remix) | Free Download

Though not a part of Louis The Child‘s official “Better Not” remix pack, INZO‘s remix is definitely one of our favorites. The Chicago producer brings this atmospheric, uplifting vibe to the track with spiraling tracks zooming around deep bass stabs and snappy percussion. INZO has certainly stepped up with his “Better Not” remix.

Flume – Insane (Divinite Remix) | Free Download

Newcomer Divinite has certainly impressed with his debut remix. Its a heavy task taking on Flume and Divinite does it majestically, draping “Insane” dark, sinister bass and echoing vocal chops before going into a full throttle, energy packed drop. Divinite is definitely one to keep an eye on.

–

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'The Best Remixes Of The Week 021

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tontoncause · 6 years

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Droppin’ Science - Un tonton te cause #04 by Tar One

5 albums de 2017 que vous êtes trop peu à avoir calculé.

Bon d’accord, peut-être que tu les as calculés, peut-être qu’on ne te la fait pas à toi. N’empêche, tu reconnaîtras que peu sont ceux - même dans les blogs-website-médias spécialisés – qui ont daigné mettre la lumière méritée sur ces beaux projets. Dans mon entourage, mon fil d’actu, les gens que je croise, ils ne sont que très rarement dans le radar. Qui de mieux placé que le « Best Kept Secret » du HH belge pour parler de ces pépites trop méconnues ? Personne cher ami, personne.

Your Old Droog – Packs

Droog (« pote » en russe), jeune MC américano-ukrainien de Coney Island est sorti de l’anonymat en 2014 avec un premier petit projet soundcloud avec DJ Skizz aux manettes. Son buzz a grossi de façon impressionnante durant les semaines qui ont précédé sa sortie et pour son premier concert il a rempli le prestigieux Webster Hall de NYC. La raison ? Le petit filou est le presque jumeau vocal de Nas et la rumeur disait même qu’il s’agissait d’un projet secret du géant de QB sous une autre identité. Malin petit filou qu’il est, il a intelligemment laissé la rumeur se répandre en ne démentant pas et en cachant son apparence physique le plus longtemps possible, heureux de bénéficier d’un magnifique plan promo gratos.

Cette belle voix rauque, rocailleuse et joliment abimée (avec une articulation pleine de salive avec des mots qui lui fondent dans la bouche comme Monsieur Jones) n’est pas son seul atout. Le bougre écrit bien et a de la personnalité. Marrant, souvent ironique et sarcastique, pratiquant l’autodérision, la punchline aux références variées et le storytelling avec brio. Il est de ces new-yorkais qui suintent cette identité unique par tous les pores et honorent la tradition de lyricisme sur des vieux samples et breaks mais sans tomber dans le passéisme. Comme un Action Bronson, un Roc Marciano ou la clique Griselda, il offre un travail résolument ancré dans notre époque tout en se réclamant de la Tradition.

Le gars n’est pas un Thug mais il est clairement Hood. Un univers de Delis qui vendent les clopes à la pièces (les loosies), des petites combines, des Timbs, des petits boulots et 1001 observations de Seinfeld du ghetto sur la vie parmi ses concitoyens souvent crevards et individualistes. Il dispense ces cartes postales anti-touristiques sur des prods crades et de bonnes factures de gens tels que 88-keys, The Alchemist ou Edan entre autres. Ni trop ambitieuses ni trop simplistes, homogènes et variées à la fois, pas de fautes de goût, pas de nuque immobilisée, quelques influences Rock discrètes et que du bon même si rien d’incroyable ou de révolutionnaire. En résumé, un MC marrant et plein de skillz qui rappe des textes créatifs et fun sur des bons beats avec la voix de Nas. De quoi personnellement me combler !

Wiki – No Mountains In Manhattan

Wiki est justement un très bon copinou de Your Old Droog. Ce dernier l’a invité sur son propre album pour un épique Help (avec Edan en troisième larron). Ils ont fait un super petit EP ensemble et enfin, il est présent sur l’album de Wiki sur le seul track que je trouve absolument inaudible à cause d’une prod sur-chelou que des hypeux doivent vénérer. Wiki est également un pur produit new-yorkais, issu des derniers coins populos de Manhattan. Sale gosse malicieux à qui il manque quelques ganaches et qui s’en branle, une espèce de baraki shlag du Lower East Side. Son disque est un magnifique foutoir. L’album est audacieux, bordélique, généreux.

Wiki y explore chaque coin et recoin de son île sans montagne fusse-t-il glauque et sombre. Il y explore les tréfonds de son âme et de son existence chaotique avec le même sens du détail. On y parle addictions, galères, rupture qui laisse des séquelles avec son ex Princess Nokia(le superbe Pandora’s Box), analyses sociologiques de playrounds, corners et bodegas. Une espèce de suite de Kids de Larry Clark avec des post-ados d’aujourd’hui. C’est parfois rough, ça secoue parfois les tripes mais c’est globalement plutôt joyeux (mention pour Nutcrackers, le tube qui n’en sera jamais un) et lumineux malgré les coups. Un peu comme la vie.

Les sonorités sont super variées et surprenantes. Les prods sont signées par lui-même mais aussi Kaytranada, Earl Sweatshirt ou Sporting Life. Parfois déconcertantes, souvent addictives et réjouissantes au fil des écoutes, riches et originales, des effluves boom bap croisent des infrabasses, des influences UK (comme on le voit bien avec sa précédente collab avec Spekta ou ses lives Boiler Room), du synthétique comme des samples puisés dans toutes sortes de sources. Wiki les chevauche avec un flow tous terrains souvent chantonné mélodieux mais absolument pas délicat pour la cause et je crois y déceler un lien de parenté avec Cage, Can Ox et autres qu’il a peut-être bien dans ses gênes en plus de ses origines portoricaine et irlandaise. Souvent seul au long des 16 plages, il croise le fer à l’occasion avec ses homies (dont un type qui a osé le blaze « ACAB ») ou mon très cher Ghostface Killah pour le superbe Made For This étonnamment taillé sur mesure pour les 2.

Un univers singulier et une nouvelle preuve qu’on peut être new-yorkais jusqu’au bout des ongles sans pour autant reservir éternellement la même soupe. Enfin, la pochette tue.

2 Chainz – Pretty Girls Like Trap Music

Dans mon morceau Jamais Une Star je dis dans une rime que « aucun MC n’a percé à passées 30 piges, tant pis (...) ». Récemment, Isha s’est activé pour me faire mentir et ça fait plaiz’, je lui souhaite de tout péter. Depuis 2012 un autre MC me fait mentir : 2 Chainz. Jusque-là, c’était juste un rappeur du Sud de plus (au ridicule blaze Tity Boy) dans un groupe du Sud de plus (Playaz Circle). Quelques bons voir grands moments parmi lesquels le tube Duffle Bag Boy avec P’tit Wayne mais point de Stardom. Jusqu’à ce qu’il se réinvente et revienne sous un nouveau nom. Grâce à sa rarissime capacité à rester cool et jeune sans forcer, à son charisme de grand type fun et bizarre, son soin à se différencier des autres jusqu’à son port de bandana, sa plume lui permettant punchlines, humour, fulgurances et double sens, son amitié avec Kanye West notamment et sa sélection de Beats. La dernière demi-décennie fut émaillée de bangers et de featurings marquants, ainsi que de bons albums cependant un peu inconsistants et dispersés. On attendait toujours son album référence et peut-être bien qu’il est arrivé en 2017.

Contrairement à ce que certains pensent, j’ai toujours été un auditeur ouvert aimant goûter à des plaisirs variés. Point de snobisme, d’élitisme ou de conformisme, si ça me parle ça me parle et ça me parle d’abord physiquement. Il se passe un truc dans le bide ou pas. Dans les trucs Trap-Autotune-Turn Up-TR 808- machin, j’aime beaucoup de morceaux (que je préfère à mes classiques Boom Bap lorsqu’il s’agit de festoyer) mais assez peu de projets. Mais il y en a et cet album fait partie des quelque blockbusters de l’année que j’ai vraiment aimé. Straight Outta ATL, c’est de la Trap au sens littéral du terme avec sa Trap House rose en cover et ses références à ce lifestyle, cet univers étant son véritable milieu naturel. Au micro, quelques rappels par rapport aux background et expériences bien moins roses que le taudis de ladite pochette. Des placements imprévisibles, de la frime et de l’humour. Une personnalité, une présence dont on ne se lasse pas. À ses côtés, du gros nom à la mode à la pelle : Quavo et Migos, Pharell, Nicki Minaj, Travis Scott, Swae Lee, Ty Dolla Sign, Gucci Mane ou Drake ! Les prods sont d’excellente facture avec des plus-values dans les arrangements et les mélodies. Bravo à Mike Will Made It (l’architecte sonore derrière les excellentes sorties de Rae Sremmurd ou Humble et DNA sur le dernier Kendrick), Mike Dean (légende depuis Rap-A-Lot et bras droit musical de Kanye) ou Buddah Bless. Grandiloquent et efficace à la fois. 2 Chainz permet à tous de briller comme il se doit, fait de ce matos du Banger de compet’, réussit là où French Montana ou DJ Khaled ont échoué avec les mêmes ingrédients. L’album mainstream de maintenant qu’il te faut si tu es de cette humeur. Comme le dit mon track chouchou (avec Trey Songz, Jhene Aiko et Ty Dolla Sign dont je vais vous parler juste après) : It’s A Vibe !

Ty Dolla Sign – Beach House 3

On reste dans le monde du blockbuster grosses ficelles avec les usual suspects du Rap/RnB mainstream au casting (Future, Swae Lee, Wayne, Pharell, Jeremih, Tory Lanez, Wiz et même Damian Marley, Skrillex et YG afin de ne pas faire trop dans le téléphoné). J’avais découvert le gars avec ses imparables singles Paranoid, Or Nah puis ses feats avec Stalley ou Kanye West sur les fabuleux Always Into Something, Fade et surtout Real Friends. Puis il y a eu le single Blasé et son incroyable pouvoir d’attraction sur dancefloor. Puis l’album de 2015 dont il est issu, Free TC (dédié à son frangin emprisonné) sur lequel on trouvait un sacré paquet de tracks addictifs.

Ses textes souvent graveleux n’ont pas trop d’intérêt pour moi. Par contre, je suis accro à sa voix graveleuse. Le genre de chose qui ne s’explique pas. J’ai toujours kiffé ce genre de voix, la sienne est un peu la quintessence de ce que j’aime dans le genre. Pas besoin de technique de ouf et de performances puissantes et maîtrisées pour faire mouche. Si parfois je suis écœuré par une overdose de sucre, quand ça marche, ça marche fameusement. Qu’il la joue épure avec un petit guitare-voix, banger vénère ou gentiment bondissant, qu’il réadapte un 112 avec YG à la place de Mase et Biggie ou touche aux sonorités caribéennes à ma mode, il a un don pour l’efficacité pop, les mélodies, la replay value, la concision. Pour ceux pas arrêtés par le côté too much, c’est assez idéal pour jouer à se donner des bisous. Il a vraiment la formule à tube et je ne comprends pourquoi il squatte depuis si longtemps dans le sous-bois à l’orée du statut de superstar. Peut-être un manque de charisme, un côté pas assez aisément marketable. Le fait est qu’il n’y a pas réellement de filler et pratiquement que des hits potentiels sur une mixtape de 20 tracks. J’aimerais que son prochain « vrai » album explose et que les rappeurs en fassent une espèce de Nate Dogg contemporain.

Blu and Exile – In The Beginning Before The Heavens

En 2007, le rappeur Blu et le beatmaker Exile ont sorti un classique de l’undeground, Below The Heavens. Dans ma superbe rétrospective de 2007 que tu peux retrouver sur ce blog même, je qualifiais le disque de « magnifique révélation Boom Bap poétique, introspective et ensoleillée où ça excelle sublimement aux machines ET au micro ». Ça vient du LA de Insecure plutôt que du LA de Colors. De la galère, l’expérience black US avec tout ce qu’elle peut avoir de douloureux ou de compliqué mais point de gangstérisme ou de misère extrême pour Blu. Plutôt un niveau d’éducation plus élevé, de l’honnêteté et de la sensibilité assumée sans faire non plus dans le cucul trop gentillet. Exile met de la créativité, de l’âme et du soleil dans son Boom Bap avec ses découpes de samples caractéristiques, ses boucles mélodieuses et ses breaks bancals pour en optimiser le groove.

Le disque ici présent est constitué de chutes de l’époque, inédits restés dans l’ombre à cause d’un leak, parfois sous forme brute proche de la maquette. Le duo y délivre du bijou avec tous les mêmes ingrédients qui ont enchanté en 2007. Certainement un ton en-dessous mais c’est la même bonne soupe provenant de la même bonne vieille casserole. Comment ce qui était jadis considéré génial peut-il entraîner tant d’indifférence aujourd’hui ? Probablement un problème de promo, de timing, de saturation du marché. Car ce disque semble être passé complètement inaperçu malgré sa grande qualité.

Bonus : Milo – Who Told You To Think ? et J.I.D. – The Never Story

Je n’ai rien à en dire parce que je viens seulement de découvrir mais ça tue méchamment aux premières écoutes !

Retrouve mes trucs passés et présents ici :

tar-one.tumblr.com/ (NEW shit)

dopeadn.tumblr.com/tagged/tar-one (Archives)

losermagnifique.tumblr.com/ (Mixtape gratuite 27 tracks, dope shit only)

taroneledopeemcee.tumblr.com/ (HH/musique US-Fr-B-UK et autres trucs divers que je kiffe)

www.instagram.com/thomastarone/ (selfies de pute, matérialisme-fétichisme de geek et pics de wannabe photographe)

tontoncause.tumblr.com/ (articles, billets d'humeur, saintes paroles etc)

et www.facebook.com/taronedope (réseau social aussi relou qu'incontournable)

Sélection de 10 tracks au hasard (clickez sur le titre) :

- Capone-N-Noreaga – Blood Money Pt.III

- G Dep – Child Of The Ghetto

- Pac Div – Anti-Freeze

- Lil Wayne – Fireman

- Eric B and Rakim – Microphone Fiend

- Ice Cube – Ghetto Bird

- Action Bronson ft Riff Raff – Bird On A Wire

- Young Thug – Best Friend

- Slum Village ft Dilla – Reunion

- AZ featuring Raekwon - Doe Or Die (RZA's Rumble Remix)

Sélection de 5 disques au hasard :

- Show & AG – Full Scale LP

- Parliament – Mothership Connection

- El Michels Affair – Return To The 37th Chamber

- Prodigy & The Alchemist – Albert Einstein

- Gorillaz – Humanz

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busstophustle-blog · 6 years

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Favorites: Songs & Albums of 2017

FAVORITE SONGS

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Jorja Smith and Preditah – On My Mind

It should be somewhat established that I love UK garage and tend to celebrate any quality tune that carries the style’s polyrhythms, driving tempo and yearning R&B vocal sensibility. Great garage tunes have an anthemic quality to them, and “On My Mind” is no different. When Jorja hits the chorus, this song just jumps to a higher gear: “I finally found what went wrong,” she belts, leaving listeners longing for closure until she finishes the thought with a bittersweet tang: “I finally found the wrong in you.” It’s a break-up anthem that urges you to move to the beat of independence and dance away the pain.

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Big K.R.I.T. – Get Away

I was hooked from the hook: “I gotta get away from that bullshit that they on.” Maybe this song resonated with me instantly because I operate best when I have a chip on my shoulder, and it seems that KRIT does too.

Up until 4eva is a Mighty Long Time, I found it hard trying to make a case for KRIT as one of the greats of this era because I struggled to point to a project that shined from start to finish. Thankfully, with his latest album, he’s cemented the best work yet to justify why he deserves far more recognition alongside contemporaries like Kendrick Lamar and J. Cole for what he’s accomplished over the years.

KRIT approaches hip-hop with a soulful touch often missing from today’s sonic landscape. In the case of “Get Away,” KRIT builds around Bettye Crutcher’s “Sleepy People,” building a mood around her lyric “we’re forced to ride around on a merry go round.” Just like with “Country Shit” or “Sookie Now” before it, “Get Away” immediately drops you into his booming thinking man’s music. This is KRIT’s victory lap at the end of a stellar disc one, placing material braggadocio alongside spiritual closeness – verse two boasts “pull up, woofers still quaking, let it be known that I made it” along with “Boobie Miles under lights hater, this God given.”

This is the other song that never feels like it’s long enough. There have been a few times this year where I’ve ridden home listening to this song on repeat all the way to the gate. For me, there’s something undeniably touching in this song.

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Reva DeVito – After Tonight (B. Bravo Rework)

Hands down, this is the song on this list most likely to get me on the dance floor. This re-work is actually a remix of sorts from B. Bravo, the other half of DeVito’s group Umii, which updates “Rose Gold” from her The Move EP by swapping bright keys in place of a heavy break beat. Reva’s output can often work from a place of soft, lightly illuminated seduction; however, B. Bravo’s re-work adds a breezy quality that made this a summer tune I continued to revisit through the warmer months of 2017.

It has all the things I love about Reva DeVito: a singalong quality to the melodies, a laid-back delivery with stacked harmonies, a joyful instrumental. She’s not the type of artist that blows you away on first listen, but there’s a je ne said quoi that makes her songs worth repeat listens.

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Goldlink – Crew (feat. Brent Faiyaz & Shy Glizzy)

It’s the mood. Goldlink has a distinctive delivery ever since he first hit the scene rapping over house beats and I gained recognition of his name by way of Soulection. Everything comes together on this song. Think of how well this beat pairs three completely different lyrical approaches – Brent Faiyaz’s star-making hook, Goldlink’s signature freneticism tailored to seductive double-time sultriness, and Shy Glizzy’s gangster closing, complete with “ain’t nothing wrong with fake asses.”

“Don’t act like I’m your man, you just a fan,” counters Faiyaz in a compellingly effective, completely dismissive tone. Every time I watch this clip, I wish I were as cool as those two.

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Mahalia – Sober

I ran across this song thanks to a Berlin-based YouTube music channel COLORS. Part live performance and part fashion show, each clip typically presents a musician or band performing in front of a colored green screen, often providing a hue complementing their stylish wardrobe.

In Mahalia’s case, her performance of “Sober” paired her red head-to-toe – bandana, one-piece romper with pleated pants, puffer jacket, Puma suedes – with a soft blue background.

“What ever happened to the time that we spent sober?” she asks before jumping into the second chorus. An extended take on the reasons love came to an end, Mahalia delivers a clearly enunciated performance that perfectly sits in the pocket of the beat.

Demi Lovato – Sorry Not Sorry

I’ll come clean – I was a Demi Lovato hater before this song. But my roommates can also tell you that I made them sit through the entirety of her YouTube documentary when I was under the spell of this song.

For a singer worth as much potential money to management and labels as Demi Lovato, there’s no fucking way “Sorry Not Sorry” was some midnight miracle, an instance of catching lightning in a bottle. I’d bet this was written by committee, demoed by a highly competent vocalist then methodically taught to Demi. But even with those mechanisms in mind, I still can appreciate a really well crafted song from time to time. Plus I’m always a sucker for gospel keys, which is probably why Logic’s “Black Spiderman” floored me too.

Jessie Ware – Midnight (Goldie Epic Remix)

Let me start by saying I love the original version of “Midnight.” I’d say it’s arguably the best written pop single Jessie Ware has ever released. Yes, “Say You Love Me” is best known, but I’ve always felt that was a song that was chasing a hit more than something that truly captured Ware’s artistic sensibility.

With that point in mind, here’s why I prefer Goldie’s glorious remix: “Midnight” plays by pop convention then finishes; Goldie’s remix builds and builds and builds, elevating Ware’s chorus to something more driving and immediate.

Electronic music doesn’t tend to make tracks that are seven and a half minutes long any more, yet Goldie created a song deserving of every second of its run time. He revisits his original theme for five minutes before turning the song on its head and taking a dark turn. Listening to her talk about the remix with Mista Jam, she mentioned the collaboration like it was a dream come true.

“I basically wanted to be a dance vocalist – that’s how I started,” she shares. “My husband and I fell in love over jungle, so why not get Goldie to make you feel like you’re on a jungle track, and feel like Jenna G? Why not?”

David Dallas – R U (feat. Lukan Raisey, KidSeb, and Trey Bond)

I’m a lifetime David Dallas fan. I crossed over after listening to his Rose Tint album a few too many times, and have eagerly anticipated subsequent releases ever since. He remains one of my favorite rappers, because he’s clearly a student of the game and has no problem putting his life on wax rather than chasing lyrical trends.

Hood Country Club, his first album in four years, is darker and more politically charged than his previous output, but “R U” is a posse cut of sorts that slows things down. Posing a basic question -- are you down? -- Dallas and his guests revisit a topic known well in hip-hop thanks to anthems like 50 Cent’s “21 Questions” -- will fans and family still ride with them through thick and thin?

Unlike some of his contemporaries, David Dallas has never struggled to seem genuine when getting introspective -- how many other rappers could pull off a musical accomplishment as tender as “Spend a Lifetime”?

DKVPZ – Bonde de Neo Soul

DKVPZ’s Soulection White Label EP is one of the strongest in the LA collective’s freEP series, which now covers over 20 sets.

The playful plinks of keys serve as stabilizers, maintaining harmonic focus against the incessant momentum of the track’s drums. Sango’s distinct production output helped introduce me to baile funk’s sound. This duo comes straight from Brazil, showcasing just how universal the “sound of tomorrow” has come to be.

Joyce Wrice – Good Morning (Swarvy Redeux)

I think it’s those lazy keys that do it for me. They float from one chord to the next, yet they never get too out of pace thanks to the simple, grounded bassline.

The original version plays directly into that throwback nostalgia younger millennials are eating up right now. The Swarvy Redeux helps strip things back a bit, which brings forth the lyrics more.

A friend of mine says I have an alter ego, who I’ve named baeisha. Baeisha likes music like this, those R&B tales of longing. I guess it fits a part of my persona. I love that idea of being swept off my feet.

FAVORITE ALBUMS

Big K.R.I.T. – 4eva is a Mighty Long Time

This one was a long time coming from Meridian, Mississippi’s young Krizzle.

To get you caught up: Big KRIT first made waves in 2011 with his acclaimed mixtape KRIT Wuz Here. Ever since, critics and fans alike have claimed he’s this generation’s torchbearer for the countrified, Third Coast sound of southern rap often best personified by the output of Outkast and UGK. Following a series of acclaimed mixtapes, he was signed to Def Jam, releasing Live from the Underground (2012) and Cadillactica (2014). Both albums received some critical praise, but the numbers never quite followed. It seemed KRIT was destined to be an also-ran, a major label cautionary tale. He left Def Jam mid 2016, and 4eva is a Mighty Long Time is his first full-length since that departure.

It’s a gargantuan return, and the most consistent release of his career thus far. 4eva’s 22 songs can seem like a lot to take in, but thankfully he’s split his material across two 11 song sets, labeled “Big KRIT” and “Justin Scott.” Side one is that candy paint riding music, full of charisma and trunk-rattling beats. Disc 2 is intended to drop the KRIT artifice, and features some incredibly vulnerable bars.

Still hungry. Still striving. Still Krizzle. My favorite album of the year.

Jaimie Branch – Fly or Die

“I’ve never been very good at playing what I’m supposed to play. I’ve never been very good at doing what I’m supposed ot do or saying what I’m supposed to say. I can only do what I’feel at that moment”

Thanks to JazzTimes for this one. Their profile mentioned a new free jazz trumpeter making waves out in Brooklyn, and as I read on I came across a photo of a trumpeter on the bandstand rocking a cocked fitted and a White Sox jersey. From there, I found Fly or Die’s EPK on YouTube. I’d ordered the album on vinyl before bed that night.

Fly or Die does mark Branch’s recorded debut as a leader, but that fact can be a bit of a misnomer. She’s been gigging for a decade, and recently moved from her native Chicago out to New York. Despite her new scenery, this album is Chicago through and through, featuring players she met in the city’s avant jazz scene. Her quartet shakes up traditional instrumentation, with her group calling for trumpet, cello, bass and drums. Special appearances include a guitarist and two cornet players.

There’s a raw feeling to this album that had me listening on repeat for close to a week. Maybe it’s the fact that jazz carries this academic sheen nowadays, but I’ve never been much of a fan of how clean much of today’s jazz sounds. Yes – great engineers and recording techniques will want a clean, separated experience – it showcases the depth of compassion for the material – luscious recordings show mastery of the craft and techniques to capture it – yadda yadda. For instance, the drums on here carry a rugged quality I wish I heard more often on jazz recordings.

I’ve been drawn not only to the musicianship of jazz but the brazen attitude inherent in its practice. There’s something quite bold about studying a tradition for years to throw that all away and create in the moment. I was reminded of jazz being a transgressive act as I listened through to Fly or Die, and it made me hope this record was a signal of things to come for the scene.

Nicole Atkins – Goodnight Rhonda Lee

Like Lila Downes’ Make America America Again before it, I was drawn to this album because I spend way too much time on the Allmusic site. This cover caught my attention when it was highlighted as editor’s pick, so I took a listen and was intrigued enough to tab the album for a few months until I finally picked it up on CD.

Nicole Atkins’ voice has a vocal power that often lies dormant, but in songs like “Listen Up” and “Sleepwalking,” that force pops out with surprising emotion. I’d say her voice at times is akin to Carole King, and this album certainly honors the warm AM radio / singer-songwriter tunes that dominated the 70s.

Mac Ayres – Drive Slow

Have you ever been absolutely entranced by an album, found something you can’t quite explain but it kept you hitting replay when you got to the end of the album because it just felt too soon to say goodbye? Maybe it was me feeling a need to get away from the Bay for a bit, and relishing the chance to be trapped on a bus with strangers in close proximity, that made me so open to something new. Maybe it was how easily digestible this whole project is, blue-eyed soul melded with that Dilla-esque woozy boom bap.

When I stopped into the Last Bookstore in LA, I was at a loss for what to pick up until I took a look at the staff picks on my way out, and saw a book with a cover that was drawn to look like a mixtape. It was Stuff I’ve Been Feeling Lately, a poetry book by Alicia Cook. I read the dedication, which was for anyone who’s ever loved someone struggling with addiction, closed the book, and headed for the counter. I’d found what I was looking for.

As we headed back up I-5 on the Megabus, I bought an overpriced pen at a truck stop along with some unhealthy snacks I so adore on road trips. With my chore coat on, I had space for everything in those numerous, deep pockets – beef jerky, soda, chips, sour candy, pen, notebook, MP3 player, poetry book. I’d read some, then write a bit, then read more.

Something about Cook’s words and Ayres’ songs touched me in a way I’ll never forget. She sparked the inspiration to tell of it all – to speak on the pain, the indecision, the awkwardness, the great joy and inspiration, and the subsequent loneliness of what it meant to be me at that moment in time. Drive Slow provided a warm pool to float in those thoughts void of judgment. I played the album sequentially, then shuffled it, repeating the process until we got back to the Bay.

I guess in that sense, this pick has more to do with what this album meant to me this year than the supposed “merits” of its songcraft, etc. But I’ve been over that line of thinking. Often, our taste defies logic -- as it should -- and that’s precisely why music is so beautiful.

Yussef Kamaal – Black Focus

I really enjoy what’s been happening with jazz overseas, particularly the brand of jazz that’s often co-signed by Jazz Re:freshed and EZH Magazine (formerly Jazz Standard). Out of that new crop flew Yussef Kamaal, who, after only one album, may already be done, at least in their original formation.

Like with Fly or Die, Black Focus sported a jazz outline but felt like a fresh take on an idiom that sometimes loves to idolize its greats a bit too much. Jazz isn’t a time capsule, though some fans treat it like nothing that existed past the inception of jazz fusion is worth any merit; it’s an ever-evolving art form that often incorporates elements of other musical traditions into its framework to play with a different set of building blocks. The interplay of these two is seamless, which is one way jazz can really shine. It’s a pleasure to hear musicians locked in, whether it’s live or on record.

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geekade · 7 years

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Turn It Up: New Music Releases for September 2017

Um, excuse me, but where did summer go? Where is this (albeit gorgeous) colder weather coming from? A sure sign it’s fall: new music is abound, as everyone gets those fall releases in. I could venture to guess it’s because Grammy nominations are coming (the most wonderful time of the year, in my opinion), or maybe to promote for some great Christmas presents. Maybe it’s because we’re all heading back inside on these colder-to-come days and will be streaming so much more. Whatever the reason – I’m not complaining. You guys know me by now – there can never be enough music. Let’s check out who’s serving up new albums this month.

Thomas Rhett – Life Changes

Release date: 9/8 I remember being so confused when Sam Hunt said he was only going to do singles, not full-length albums anymore. This, coming from a country artist (in a genre where consumers are still buying physical product – despite the three concerts I went to this summer where there were no CDs for sale…), was surprising. I had hopes that this wasn’t going to start a trend, considering what a top guy Sam is in the industry.

Thankfully, Thomas Rhett has calmed my fears. As one of probably the biggest names in country music today with, easily, one of the most hectic schedules and lives (congrats on the new baby!), he still made a full-length album for our enjoyment. He could have rode on “Craving You” (featuring my girl-crush, Maren Morris) for a little longer, then hopped onto another song. Instead, we’ve gotten a taste of the new songs through steady unofficial single releases via Spotify, and are amped up for the whole thing to drop.

Thomas is “new country” – borderline Bro, incorporates a little rap, but generally is there for the good, sweet backroad times that we honestly look for in this genre. “Unforgettable” (the official second single) is closer to pop, but there’s no denying that little country bump in the backing. I still don’t understand why so many people mention Coldplay these days in their lyrics, but whatever. I want a campfire stat for this one.

The other songs? Well, “Sixteen” will have you all kinds of nostalgic and wishful at once (who knew Thomas was old enough to have this kind of nostalgia, by the way?). We get a surprising love song in the one called “Grave” to melt a bit, and you have to believe that between an adoption and new baby, that one’s for his wife (think the “Die A Happy Man” feels all over again). “Life Changes” is personal and sums up that smile this man carries around.

Oh, and he duets with his poppa, Rhett Akins. Yeah, this is going to be a good ol’ boys record and I can’t wait to hear it from start to finish.

Other 9/8 releases:

Jack Johnson – All The Light Above It Too

Tori Almos – Native Invaders

Ringo Starr – Give More Love

Release date: 9/15

Don’t worry – the backstory I’m about to share with y’all isn’t meant to make you feel bad. I promise I can look back on these memories with some kind of wistful smile.

My mom was the Beatles fan. I mean, I assumed they were the end-all-be-all of music until I discovered Hanson when I was 8 (literally – I assumed every song was written by them, and performed by either them, Frank Sinatra, Elvis, or Celine Dion). We had every album (except the elusive Fan Club Christmas one… someday). We listed to Anthology until even I knew every word and the tapes about wore out.

Ringo was my favorite. Even from an early age, I had to go against the norm and love the drummer (I believe that’s what led me to an odd attraction to good arms, but that’s another article for another time). I also thought he looked to be having the most fun, and the Ringo-written tracks obviously appealed to my only-child colorful imagination. Plus, the man later showed an affinity for Country Music – clearly, the best Beatle.

So when I was… gosh, 10 or so, and the Internet was at my fingertips and we found out he would be touring through Atlantic City with the All Starr Band, it was a no-brainer. We were there. And we were there every other year, when he’d tour again, for 10+ years. I got older and appreciated all of the other songs so much more, and my mom was…. Well, she was 16 again during each show. This made for a weird argument about who he was singing about during “You’re Sixteen” that makes me giggle a little to this day.

I haven’t seen Ringo live since I lost my mother over two years ago (despite his shows in Brooklyn and birthday celebrations in Central Park), but regardless, seeing him continue to release music surrounding all I’ve ever hoped for through music – Peace and Love – never fails to make me smile. If you’re reading this to get an idea of the sounds to come – know that it’s gentle, wonderful, and every bit as Beatles-esque as you could ever want from this living legend (plus the many, many living legends that accompany him on it – seriously, Google it – I’ll give you one name… Paul).

It took me a year to listen to Beatles music again, and even hearing this new music is tough, but worth it. Thank you – both Mom and Ringo – for this musical gift.

Other 9/15 releases:

Foo Fighters – Concrete & Gold

Wyclef Jean – Carnival III: The Rise And Fall Of A Refugee

The Killers – Wonderful Wonderful

Release date: 9/22

The Killers have always mildly fascinated me for some reason, and this fifth album just keeps that interest going. Maybe it’s Brandon Boyd’s drive to make so many projects work and the fact that, in a unique way, he does it. I mean, have you ever heard someone say they don’t like The Killers?

“The Man” takes things to a disco area that takes some time to appreciate – in that, you remember it’s not disco, just the sound of this band bringing those elements into our odd-ball new millennium culture. And on further investigation, perhaps the Kool & The Gang sample in the song may have something to do with it. I dare you not to literally strut down the street to this one.

We mellow out on that sound with “Run For Cover” (which is not really more mellow, but I feel justified by the Bob Marley sample that’s included). It’s quick paced, but more rock based, and there seems to be a general toss-up out there on which of the first two singles were better. This one’s my pick, but I never was a fan of the 70’s sound.

By the way, Ryan Tedder helped produce some of this album. My concept of Indie Pop has completely been shattered, and that’s 100% okay.

The title track is the latest song we’ve gotten to sample, and to be honest the thing that’s starting to interest me most about this album is how all the songs will fit together. These three don’t tie out aside from Boyd’s familiar voice and vocal effects on it. “Wonderful Wonderful” is set to be the opening track, and it does seem to march in and create the same anticipation as I’m starting to have for this late-September release.

Other 9/22 releases:

Circa Survive – The Amulet

Haley Reinhart – What’s That Sound?

Miley Cyrus – Younger Now

Release date: 9/29

I know, I’m as surprised as y’all probably are that I’m choosing this one to write about, especially with Demi dropping an album on the same day (which, um, timing is weird). But Miley has been intriguing me lately. Obviously, girl lost her dang mind for a few years there, at least by “normal” standards. She did things that were in no way socially acceptable, but definitely owned it.

There’s something about her attitude in recent months though, that seems to show a maturity. Granted, I’m basing this entirely on her music, since I really haven’t kept up with the latest gossip. “Malibu” just has such a, well, nice sound to it. It’s relaxing but there’s something really honest in there about life, so I have to believe Miley is coming around to making adult decisions and, maybe more importantly, realizations.

“Inspired” wasn’t an official single, but it is available to stream in promotion of the new album. It’s sweet and light, and I’ll go ahead and say this – I feel Tennessee in here (there are even moments that you can tell her Godmother, Dolly Parton, really did play a huge role in this girl’s life). Her voice is even slightly crisper (her laziness in enunciation is one of my few vocal complaints about Miley), and the title and feel just all fit together.

The second single is the title track, “Younger Now,” and I guess of the three this is the closest to her persona over the past few years. Even in saying that, the opening line plays: feels like I just woke up, and I have to believe this is Miley finding her way back all while looking ahead. Did anyone expect her to go legitimately deep on us? Did you expect to care this much and want this album in its entirety? Me either. But I do.

Other 9/29 releases:

Demi Lovato – Tell Me You Love Me

Echosmith – Inside A Dream

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