#their discography is full of bangers it does not disappoint at all | Explore Tumblr Posts and Blogs

flowerboycaleb · 1 month

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there were some really exciting new singles that came out this month, but also a few that left a bad taste in my mouth! 2024 is still shaping up to be an amazing year for music tho. some great projects coming over the next few months and i can't wait to dive into them. anyway, here are my thoughts on some of the notable singles & songs from this month!! to check out my thoughts on some of the albums, EPs, and mixtapes that came out this month click here!!! also feel free to follow me on rate your music and twitter <3

"Prologue" - Kamasi Washington

◇ featured on Fearless Movement - Kamasi Washington (not yet released) ◇ genres: spiritual jazz, jazz fusion

Saxophonist Kamasi Washington, undoubtedly one of the most prominent figures in modern jazz, has a new album coming out in a few months. This isn't technically the lead single as "The Garden Path" is on the record and that track was released years ago, but "Prologue" is the single released alongside the announcement of the new record. This is an immersive and frenetic jazz fusion cut that just goes crazy. Washington's saxophone is obviously a highlight, but THOSE DRUMS! Really great stuff all around. Super excited for the new album after hearing this, even more so after looking at some of the guests on the record. George Clinton, André 3000, and Thundercat? I'm all in.

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"Wild God" - Nick Cave & The Bad Seeds

◇ featured on Wild God - Nick Cave & The Bad Seeds (not yet released) ◇ genres: art rock, chamber pop

A few weeks after I finished The Bad Seeds discography, they went and released the lead single to their first album of the 2020s. Their last three records have been some of their strongest. From Push the Sky Away to Ghosteen, they've just been on a great run. From the sounds of "Wild God," Wild God could probably continue that hot streak. It leans into the chamber music-y aspects of their last few albums, but a lot more rock oriented rather than the heavy electronic elements of Ghosteen. It has Nick Cave's trademarks, but it's always a treat to hear them. I was sort of on the fence about this track until the "Bring your spirit down" part towards the middle. Kicked right into the next gear that I needed it to go. Can't wait for this one.

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"One Night Stand" - Adeem the Artist

◇ featured on Anniversary - Adeem the Artist (not yet released) ◇ genres: americana, progressive country

I've been on the Adeem the Artist train ever since I heard Cast-Iron Pansexual back in 2021. Ever since then, I've always kept them on my radar so I can hear whatever they do next. This new single, and the lead to their upcoming album Anniversary, is just great. I love how they never shy away from embracing the country music sound. This sounds like a country music radio hit from years gone by, but with a queer spin to it. Finally a bittersweet country anthem that I don't feel ashamed to sing along to! Really loving this track and I hope the album is just as good!

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"symptom of life" - WILLOW

◇ genres: indie rock, art rock

WILLOW has made so many really good songs. "symptom of life" is definitely one of them, but I've been burned so many times. She'll make a banger song and then the next thing she releases is a collab with like Yungblud or MGK. Then the full album those good singles lead up to is pretty disappointing. Maybe "symptom of life" will break that cycle! I'm all in on her art rock era and she really fits this sound well. The skittering piano throughout the verses juxtaposes her vocals in a really cool way. The chorus is good, but I wish it hit a bit harder than it does. All in all, this is really good and I hope her next project can tap into her full potential.

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"Alley Rose" - Conan Gray

◇ featured on Found Heaven - Conan Gray (not yet released) ◇ genres: post-britpop, piano rock

I haven't been crazy about Conan Gray's music over the years and while "Alley Rose" isn't terrible by any means, I just find it ... off-putting, for lack of a better word. Everything is just so overproduced and hardly any genuine emotion can emerge through that barrier. It also makes it difficult for me as a listener to connect with the song. Like I can hear Gray singing his damn heart out, but it just feels so plastic to me. It sort of sounds like an Elton John song, but not classic Elton, like ... recent Elton. That kind of grand music that just fails to portray anything earnest.

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"This Is Nowhere" - The Black Keys

◇ featured on Ohio Players - The Black Keys (not yet released) ◇ genres: pop rock

I was a pretty big fan of The Black Keys when I was in middle school and I have a lot of nostalgia for their early 2010s stuff, but they've been coasting for so long now. That sort of boring, too clean blues/garage rock that just gets so exhausting after a while. "This is Nowhere" has them shaking up the formula a bit, but it's very much an "in one ear and out the other" type song. It'll probably get some airplay on your local alternative station and then it'll be phased out in favor of their hits from a decade ago. I do like the subtle psychedelic flavor to this song though, I just wish it was more memorable on the whole.

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"Incognito" | "Saturnine" - Justice

◇ featured on Hyperdrama - Justice (not yet released) ◇ genres: french electro, synth funk

Justice have released two more singles in anticipation for their new record. They're both pretty good. "Incognito" is a pretty solid electro track and "Saturnine" adds some funk to the mix which shakes things up a bit in a cool way even if it can veer into computer commercial territory. For some reason though, I find myself not returning to these new singles of theirs all that often. Like they're good in the moment, but nothing really compels me to revisit them. These two singles are a bit weaker than the previous two overall as well. I'm still gonna give the record a shot though, I have a feeling it'll be a pretty fun listen. Hopefully these tracks stick with me more when that time comes.

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"sir princess bad bitch" - Yaya Bey

◇ featured on Ten Fold - Yaya Bey (not yet released) ◇ genres: dance-pop, alternative r&b

I don't really know much about Yaya Bey. I was just looking through some new releases and this single looked intriguing. "sir princess bad bitch" is a nice lowkey R&B cut delivered with a ton of confidence. She sounds so cool here. I do wish the song was a bit longer and shook things up a bit more, but I still had a good time with it. I'll keep her upcoming album on my radar for sure!

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"Looping" - RiTchie

🥇 BEST SONG OF THE MONTH

◇ featured on Triple Digits (112) - RiTchie (not yet released) ◇ genres: experimental hip hop, neo-soul, nu jazz

RiTchie is three-for-three with these new singles. The former Injury Reserve MC is gearing up for his debut solo record and it's shaping up to be an exciting one. "Looping" is quite different from the previous two singles. The playfulness is traded out in favor of something more meditative both lyrically and production wise. This atmospheric jazzy beat pairs with his passionate delivery wonderfully. I'm even more excited for the new album now. Excited to hear just how dynamic he can get. Could be one of the best records of the year for sure.

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"Classical" | "Mary Boone" - Vampire Weekend

◇ featured on Only God Was Above Us - Vampire Weekend (not yet released) ◇ genres: indie rock, chamber pop, baroque pop

Vampire Weekend have released two new singles leading up to their new album coming next week and they have all been pretty great. "Classical" has this off-putting lushness to it. It sounds like a deconstructed version of something from their earlier albums. "Mary Boone" is a fuzzy, sparse ballad that eventually blooms into an almost baggy direction. Sort of reminded me a bit of something from George Clanton's last album, except a bit less immersive. I'm really loving these new singles and I'm super excited to hear the new record.

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"Cinderella" - Remi Wolf

◇ featured on Big Ideas - Remi Wolf (not yet released) ◇ genres: synth-funk, contemporary r&b

Remi Wolf has sort of passed me by over the last few years. I've been meaning to listen to her last record for a while now, but I just haven't gotten around to it. After hearing this new single, "Cinderella," I definitely need to go back and check it out before this new record drops. This is such a jam. If this is what she's been cooking up all this time, I've really missed out.

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"Like That" - Future, Metro Boomin & Kendrick Lamar

◇ featured on WE DON'T TRUST YOU - Future & Metro Boomin ◇ genres: indie rock, chamber pop

I decided not to write a full review of this new Future and Metro Boomin' record because I don't have too much to say about it. It's got some good stuff, but it's a little bloated. This song definitely stood out though. The beat is pretty basic, but effective. Future holds his own in his verses, but the real highlight is Kendrick Lamar's guest verse. He's just so good, everyone knows that by this point, but it's still so true.

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"The von dutch remix with addison rae and a.g. cook" - Charli XCX

◇ genres: electropop, bubblegum bass

A few weeks after Charli XCX released her middling house cut "Von dutch," the remix featuring Addison Rae and A.G. Cook is here. Call me crazy, but I think this might be the superior version. A.G. Cook's production here really kicks it into that wild next gear that I wished the original did. Charli's performance stands out a lot more here too, as does Rae's. This still isn't one of my favorite Charli tracks, but this is a definite improvement.

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"How We See the Light" - John Cale

◇ featured on POPtical Illusion - John Cale (not yet released) ◇ genre: art pop

I'm still kinda new to the world of John Cale's solo music. I only just listened to Paris 1919 and Fear for the first time, but I loved them both. He has a new record out this June and this lead single is pretty decent. Cale still has an ear for interesting melodies and sounds. The more I revisit this one the more I enjoy it. It's nice to hear an artist of like Cale still experimenting and playing around. Definitely gonna check out this record when it drops.

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"World on a String" - Jessica Pratt

◇ featured on Here in the Pitch - Jessica Pratt (not yet released) ◇ genres: singer-songwriter, folk pop

Another really good single from Jessica Pratt leading up to her next album. This one sounds a bit more like what you would expect from her, but the formula is far from broken. Few are making folk music as dreamy as Pratt. Many of Pratt's songs sound like what ripples in a small pond look like, "World on a String" is one of them. Looking forward to Here in the Pitch for sure. It could very well be one of her strongest albums to date!

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"The Seasons Reverse (Live)" - Gastr Del Sol

◇ featured on We Have Dozens of Titles - Gastr Del Sol (not yet released) ◇ genres: post-rock, ambient pop

Jim O'Rourke and David Grubbs long dormant post rock group Gastr Del Sol are returning with a new compilation of unearthed material soon. Admittedly, I haven't listened to much of their work, but I'm a huge fan of Jim's so I decided to check this out. This is a nice instrumental piece with an interesting arrangement. O'Rourke's guitar is accompanied by these sometimes harsh, sometimes gentle synths. Hard to recommend this for everyone, but if you're a fan, this is probably really cool.

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"I LUV IT" - Camila Cabello

◇ genres: jersey drill, baltimore club, electropop

This is a mess. It’s a mish-mash of sounds that Camila Cabello just doesn’t have the sauce to pull off well at all. Also the lyrics are trying way too hard to be tongue-in-cheek and it falls so flat. When that snippet of the track was getting some attention on Twitter, I assumed it had to be a bit. No, that annoying “i love it, i love it, i love it, i love it” is the chorus. Carti’s guest verse isn’t good either. Just an impressively bad song! Like all of the pieces of the puzzle are there, but they're jammed together in such a way that the entire thing is a jumbled-up mess.

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"Take Me to the River" - Lorde

◇ featured on Everyone’s Getting Involved: A Tribute to Talking Heads’ Stop Making Sense (not yet released) ◇ genres: new wave, pop rock

The singles leading up to the A24 Talking Heads tribute album have been underwhelming for the most part, but I was really looking forward to this one. Lorde’s take on the Talking Heads cover of the Al Green song “Take Me to the River” is alright. This kind of production is new territory for her, but she holds her own pretty well. There’s nothing remarkable about the track and it pales in comparison to both the original and the cover it’s covering, but not bad at all.

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"Next Semester" - twenty one pilots

◇ featured on Clancy - twenty one pilots (not yet released) ◇ genres: post-punk revival, indie rock, pop rock

I wasn't crazy about the last single twenty one pilots dropped, but this is definitely a step-up. Does that make this song amazing? Not really. I feel like I'm grading on a curve. This is one of the best twenty one pilots songs for sure! I don't know if it stands out beyond that distinction though. Some of the verses are a bit awkward and not in the good, nervous energy kind of way. However, the instrumentation has some good moments, namely Josh Dun's drumming. This song is alright. I see a lot of people hyping up this new record and I'm hoping I can hop on that bandwagon, but I'm just not fully clicking with these songs.

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"Flea" - St. Vincent

◇ featured on All Born Screaming - St. Vincent (not yet released) ◇ genres: alternative rock

Another really good single from St. Vincent! A lot less industrial than the last cut, but it's still dark and noisy. There's some really cool production moments here. I love the multi-layered vocals on the "Once I'm in, you can't get rid of me" part. The chorus is explosive too. The rhythm section, consisting of Dave Grohl on drums and Justin Meldal-Johnsen on bass, are also killing it. Giving this song this sort of prickly groove. Definitely looking forward to hearing whatever she has in store next, these singles rock.

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taste-in-music · 3 years

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taste-in-music’s Year End Wrap-Up

Hello everybody! We’ve finally reached the end of 2020. While I’m glad to leave this miserable year behind, one of things that undeniably got me through it was the vast amount of awesome music we got. In past years I’ve made favorite album and EP lists, but this time around I’m going to tackle them all in one go, giving reviews on the projects that had some significances to me over the course of the year. I’m going to make a post for my favorite songs too, so keep an eye out for that in coming days. Now, without further ado, let’s get started, shall we?

folklore by Taylor Swift: This was an incredible year of growth for Taylor Swift. As much as I’ve enjoyed her past music, the way she constantly felt the need to address what people thought of her always irked me, (though after watching her documentary, I do understand why she did it.) It wasn’t Taylor Swift the public persona that was most interesting, I thought. It was Taylor Swift the artist, the songwriter, the storyteller. What I wanted was an album focused on that. This year, I got one, (well... more on that later,) and it’s my favorite project she’s ever done. The tales Swift spins on folklore span across love triangles, heiresses, and battlefields, and she nails each and every one. While the chilly indie-folk influence from the likes of Aaron Dessner and Justin Vernon is prominent, Swift’s warmth and charisma always cuts through the fog like a beam of sunlight. So yeah, this is my undeniable album of the year.

Fetch The Bolt Cutters by Fiona Apple: I only started listening to Fiona Apple last year and had thoroughly enjoyed her music, but this album cemented her as one of my favorite songwriters and performers of all time. Everything about Fetch The Bolt Cutters is so idiosyncratic yet fits together in just the right way, like watching an entire house being dropped from the sky and falling perfectly into place. It is a testament to the creative process, emotional honesty, and breaking free from all the cages you may find yourself in, whether they be societal, personal, or those of your own making. And in a year that was so isolating, it felt like Apple was whispering everything I needed to hear right into my ear, just when I needed it. In short, my boltcutters have been motherfucking fetched.

Punisher by Phoebe Bridgers: When Punisher was announced, I had no clue how Phoebe Bridgers would match the quality of Stranger In The Alps. Upon first listen, I wasn’t sure she had. By the fifteenth time I was listening to this album and every lyric was hitting like Cupid’s arrow to the jugular, I knew she’d surpassed it. Punisher presents a sonic scope that both comforts and crushes all at once, like with the upbeat yet mournful horns on “Kyoto” or the cathartic swell on standout “I Know The End.” In my opinion, Bridgers is one of the greatest songwriters of our generation in the making, and I can’t wait to see what the future brings for her. She may know the end, but she’s far from it.

SAWAYAMA by Rina Sawayama: This is the album I see becoming a new shorthand for the true potential of pop excellence, a cult hit that never got its time to shine but is beloved by pop music geeks to the ends of the earth, like EMOTION by Carly Rae Jepsen. SAWAYAMA so effortlessly blends diverse genres and influences like disco, nu metal, and arena rock, and it yet it remains cohesive due to Rina Sawayama’s sheer strength as a performer. She deserves a spot on the pop girlie hierarchy, and one near the top.

Future Nostalgia by Dua Lipa: I really enjoyed Dua Lipa’s debut album, but even I didn’t expect her to come through with such a fully realized, consistent, downright fantastic follow up. Future Nostalgia is a pop album that feels studied, like Lipa did her research of pop’s past as she made it. The result is an album that synthesizes several different sounds under her vision, one that is always trained ahead, and it simply slaps. In a perfect world, nearly every song on this album got spun off into a hit single.

evermore by Taylor Swift: 2020 was already my year of listening to Taylor Swift, (I went through her whole discography, cultivated a favorites playlist, and at the end of the year I was in the top 2% of her yearly Spotify listeners.) evermore was a lovely cherry to top it all off. While folklore enchanted me with its stories, evermore captivated me with its melodies. I haven’t been able to get snippets of this album out. of. my. head. for weeks now. It’s a bit less consistent than it’s older sister, (and likely to live in its shadow,) but there is still so much to love.

I’m Allergic to Dogs! by Remi Wolf: This EP is so much goddamn fun. It’s a blend of many different sounds, indie pop, electronic, maybe hip hop, I think reggae at points? It’s such a colorful, textured, quirky listen bristling with energy and undeniable hooks. “Woo!” conquered my Summer, and months later the bridge of “Photo ID” conquered TikTok. Keep your eye out for Remi Wolf in the coming year, she’s going to make a big splash.

Good At Being Young by Charli Adams: Good At Being Young was the first EP this year that I could not get enough of. It drifts through dreamy indie-pop sounds, with melancholic guitars and cloudy synths, and Adams has a deep vocal timbre that delivers tales of adolescent tribulations with just the right amount of wistfulness. Overall, it builds the perfect soundscape for a late-night drive.

Cape God by Allie X: Allie X has been keeping us FED with content. It seems like only yesterday that Super Sunset came out, and yet her output remains impressively consistent. This album has impressive highs, some lower moments, but the danceability, duets, and enticing darkness under its shiny pop veneer make it a record you won’t want to skip.

La vita nuova by Christine and The Queens: Perhaps the biggest flex of 2020 was Christine and The Queens dropping a fantastic EP and accompanying short film right out of the gate. The grooves on this are infectious, wiry, and air-tight, (the Caroline Polachek feature was another added bonus,) but that doesn’t mean there isn’t plenty of emotional weight too.

Lighter by Donna Missal: This was one of my most anticipated albums of the year, and it’s hard to determine whether it disappointed or not. I think the only thing holding Lighter back is that This Time was such a formative album for me, (my favorite of 2018, to the uninitiated.) In fact, this album flows way better than This Time, more cohesive with its storytelling and more consistent in folk-rock sound. And, of course, Donna Missal’s vocals stun on both the bangers and the ballads.

SURF by BLACKSTARKIDS: There was no record this year that was more instantly likeable than this one. The blend of low-fi indie pop and hip hop makes for a whirlwind of sunny fun and youthful malaise that would make the perfect soundtrack for a road trip to the beach. Standouts include the opening track “SOUNDS LIKE FUN,” the chill “WIGS,” and blissful title track “MUSIC TO SURF TO.”

The Baby by Samia: I’ve had my eye on Samia since “Milk” dropped years ago. Seeing her live sparked my belief that she was an indie darling in the making, and The Baby confirmed that she definitely was. The lyrics on this album mix quiet contemplation with just enough sardonic wit and raw emotion throughout a varied selection of sunny rock bops and gut wrenching ballads. If you enjoyed Punisher, then I can’t recommend this enough.

Season 2 by Nasty Cherry: Nasty Cherry is a group that I will not stop rooting for. Their EP from last year showed their potential for nailing monster hooks, but this sophomore effort shows just how versatile they can be. This EP covers everything from Dylan Brady produced hyperpop to early-2000s reminiscent pop rock to emotional balladry, and they pull it all off flawlessly.

A Little Rhythm and a Wicked Feeling by Magdalena Bay: This album became a fast favorite way late in the year, there is such a sweetness to Magdalena Bay’s music that makes it stick in your brain like a piece of blue raspberry bubblegum. This EP is spacey, catchy, and filled with electronic synthpop mastery, with countless catchy hooks that’ll make you feel like drifting and dancing all at once.

Miss Anthropocene by Grimes: The bubblegum bombast of Art Angels fully redefined my taste in pop years ago, so I was fascinated to see how Grimes would follow it up. On Miss Anthropocene, she leans into darker, more industrial textures, but also anchors it back to Earth with acoustic touches and some of her most introspective lyrics to date. Grimes painted a version of a world on the brink of disaster on this album, a picture that was hypnotically beautiful. And in a year where the word was a certified disaster, that was strangely comforting.

Plastic Hearts by Miley Cyrus: I’ve been wanting Miley to go rock for so goddamn long, Plastic Hearts was bound to make this list by pure validation alone. But what can I say? This breed of glossy 80s rock suits Cyrus’s rougher voice so well! I hope she stays in this lane a bit longer, but as we know, she’s one of pop’s most chameleonic figures. Only time will tell.

Where Does The Devil Hide by Zella Day: I have been patiently awaiting new Zella Day music ever since getting hooked on Kicker back in 2017, so this was one of my most anticipated releases of the year. This EP sounds nothing like Kicker, and I couldn’t be happier. It shows Day leaning even more into her influences from the past, (the 60s/70s vibes are intense with this one,) but also breathing a refreshing new life into them.

SOUL LADY by Yukika: When I imagine the ideal of pop music, what it would sound like in a perfect world, this is what it sounds like. SOUL LADY is full of pristine, glossy production and catchy hooks that feel like they’ve come down from the clouds. I’ll admit that I can have trouble forming a connection with music when I don’t understand the lyrics, (it’s something I’m working on,) but this album cleared that hurdle with ease. If you’re curious about city pop or K-pop this is a great place to start.

Heaven Is Without You by Love You Later: Give me lush pop production and heartbroken lyrics finished off with a heaping helping of nostalgia and I’ll eat it up with a spoon. Love You Later has been feeding my addiction to this genre for years, and this latest helping is particularly sweet.

IN A DREAM by Troye Sivan: Troye Sivan has always supplied the bops, but it was about time that he started experimenting with his sound a little bit more. This EP offers some harder-hitting electronic textures, but also the addictive hooks that’ll keep you coming back for more.

Ungodly Hour by Chloe X Halle: These women are so TALENTED! If there is any word I’d use to describe this album it would be “effortless,” the harmonies, grooves, and chemistry between Chloe and Halle feels so natural and free-flowing. Charisma just rolls off of them in droves, I see full-blown stardom and several Grammys in their future.

Watching You by Robinson: This EP was one of the first on this list to arrive this year, and it still hits months later. Robinson’s confessional lyrics work wonders over the buoyant pop grooves, and “Don’t Say” remains one of the best pop songs of recent years.

Manic by Halsey: I respect Halsey for dipping her toes into a myriad of different genres, (synth pop, rock, hip hop, and acoustic balladry,) but it does make for a jumbled listening experience. Still, I appreciate that this album features some of Halsey’s strongest tracks and writing to date, offering greater experimentation and emotional imtimacy than album’s past.

We Don’t Stop by Aly & AJ: Should this count? It’s more a compilation of their past EP and singles... I don’t care, I’m counting it because there’s some new stuff too. This is an excellent display of Aly & AJ’s pop prowess in recent years, the hooks, vocal chemistry, and shimmery production are undeniable.

Under My Influence by The Aces: The Aces returned in 2020 with a more laid-back, groovier record than their debut, exploring a wider variety of sounds. They’re as magnetic and likeable a group as ever, each member giving it their all, but I think I’ll return to the debut more often.

Strangers/Lovers by Dagny: I’ve been anticipating a longer Dagny project, as she’s been drip-feeding us singles for a while now. This was a lot of fun, with Dagny pairing her upbeat earnestness with stories of romantic tribulation. While the hooks aren’t as memorable as her past offerings, there is still so much to enjoy. Lead single “Come Over” and “Let Me Cry” are my favorites.

DUALITY by Tatiana Hazel: I came across this via recommendation on Tik Tok and it’s a solid pop record! The music is swooning, synthy, and tinged with disco and Latin influence. The record doesn’t waste a second of its runtime, clocking in at less than half an hour and grooving the whole time.

After Hours by The Weeknd: The sonic palette of After Hours is so engaging, a neon-drenched blend of synthwave, electropop, and R&B. I’ve always felt lukewarm on The Weeknd’s musical persona of brooding, villainous party monster, so the strongest moments on this album tend to be when he subverts that in some way. Still, in full, this album is an undeniable force of smash hits, stadium-shaking ballads, and cinematic flair. I can’t wait for his Super Bowl performance.

Petrol Bloom by LAUREL: It’s no secret that this year was chock-full of 80s revival albums (there’s what, five others on this list?) LAUREL wasn’t an artist I was expecting to go in that direction after the brooding folk pop of her debut album, but her deeper timbre works great alongside the synthy soundscapes.

positions by Ariana Grande: I’ve just come to expect that nearly all of Ariana Grande’s albums are going to be growers to me. My first listen to positions was underwhelming, but the songs have grown on me more and more. This album feels like being let in on a giggly, fun slumber party with Grande and her friends. I wouldn’t call this her strongest album by far, and while I tend to prefer when she favors the more powerful parts of her range, (and her enunciations could still use some work,) there is a lot of good material here.

THE ALBUM by BLACKPINK: We may just have to stan. I checked this out after watching their Netflix documentary, and while this breed of cacophonous, in-your-face electropop isn’t something I can listen to all the time, the hooks and charisma are undeniable. It certainly makes me feel like a bad bitch whenever I’m working out.

Kid Krow by Conan Gray: Conan Gray burst onto my radar offering dreamy tracks rich with teen malaise and suburban restlessness, and a good amount of that initial appeal carries over onto this album. Kid Krow has both a larger instrumental scope and more stripped-back moments. In the end, it still feels like Gray is finding his voice as an artist, but he's giving up great bops to jam out to as he does.

Petals For Armor by Hayley Williams: Hayley Williams is one of my favorite vocalists, so seeing her venture out for a solo project was exciting. This album offers a mixed bag of danceable jams, emotive moments that showcase Williams’s powerful voice, and a few skips. But overall it showcases Williams’s strength as a performer as she tackles her past with vulnerability and versatility.

Apart by LÉON: Oh, man. This one was kind of disappointing. For context, LÉON’s self-titled debut was my favorite album of last year. This follow-up is by no means bad, but every song on her first album was instantly memorable. This one, not so much. LÉON’s vocals are beautiful, and there are some stand-out tracks, but I don’t see myself returning to this nearly as much.

Blush by Maya Hawke: Maya Hawke’s Blush was to my 2020 what Tōth’s Practice Magic and Seek Professional Help When Necessary was to my 2019, (and that makes sense, as they’ve collaborated in the past.) This album is so blissful and nonchalant, and Maya Hawke has a gentle, soothing voice that feels wise beyond her years. While the writing isn’t as hard-hitting as, say, the Phoebe Bridgers album, sometimes I just want to listen to something that could rock me off into a dream world. If you like folksy, down-to-earth ballads, you’ve got a solid collection of them right here.

Dedicated Side B by Carly Rae Jepsen: Of course Queen Carly would pull through with B-sides for Dedicated, did we expect anything less? Jepsen’s brand of controlled yet carefree shimmery poptimism drenched in 80s nostalgia that never fails to put me in a good mood. This album has some lusher, more tropical instrumentation than Dedicated proper, but works great alongside it.

Missing Person by Kelsy Karter: To the Plastic Hearts fans out there, your homework now is to give this record a listen. This rock album presents pop hooks, but a lot of reckless rock fun too. Kelsy Karter has so much irresistible swagger and carefree spirit as a performer, speeding through the emotional highs and lows like she’s burning rubber in a cherry red Cadillac.

how i’m feeling now by Charli XCX: I’ll admit, this album was a bit abrasive to me on first listen. But tracks like “anthems” and “forever” made me return, and it’s a huge grower. If you listen closely, you’ll find the sugary-sweet hooks and relatable sentiments nestled deep in the crunchy hyperpop textures, begging to be discovered and eventually loved.

Jaguar by Victoria Monét: If you enjoyed positions, then check out the debut from one of that album’s most prominent co-writers. Jaguar’s concise collection of silky R&B slow-burners show that Victoria Monet’s is a superstar in her own right.

Some great albums I listened to that didn’t come out this year: Blue by Joni Mitchell, BLACKPINK IN YOUR AREA by BLACKPINK, I Need to Start a Garden by Haley Heynderickx, Plastic Beach by Gorillaz, Out in the Storm by Waxahatchee, 7 by Beach House, Dummy by Portishead, Lovers Fevers by Babygirl, and Red by Taylor Swift.

Whether you liked, reblogged, or commented on a post, sent me an ask, or interacted with this blog in any way, thank you so much for all the support throughout the year! I can’t express how much I appreciate it.

What were your favorite albums from this year? Did I miss anything? Send me an ask and let me know. I’ll tell you my thoughts, or put it on my to-listen-to list if I haven’t heard it.

Here’s to 2021! May it clear the extremely low bar set by this year.

#album #EP #album of the year #album recommendation #taste in music 2020 faves #taste in music

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bormst · 4 years

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cape god - allie x

album review

being young has its ups and downs. on one hand, the real pressures of life have not presented themselves quite yet. you are expected to be simply enjoy living and being a kid before true the hardship (ironically put considering the subject matter of this album) and horrors of being a human step into the light, as they inevitably do. On the other, they are the most confusing years we navigate. Identity, emotions, puberty, what it takes to find and hold onto one’s own sense of self. This often easier said than done. We experiment, sex, drugs, rock and roll (fuck yea) and do what it takes for not only others to like who we present ourselves to be, but for us to like ourselves as well. speaking from experience, as well as the shared experiences of many, the ages of 16-25 are an entirely much too confusing whirl. the soul searching cuts deep, whether we are aware of it or not, for better or for worse. this is incredibly evident in the mystery-shrouded land of cape god.

the second, full length studio album, cape god, from canadian songstress allie x (alexandra hughes) is a wildly original and both beautiful and terrifyingly all too real account of a mix of self-preservation AND self-exploration, that takes place within liminal space (named by allie as cape god). Released under twin music, hughes’ label that she holds most of her career under, this record is a 12 track account of the young human and fairly self-reflective experience(s). according to allie x, this is her most personal and proud body of work yet, and boy does it show. NOT to say this record is superior to her other releases (her debut ep collxtion I from 2015 is a pop masterpiece, sorry i am letting my stan show), but this is a standout work among hughes’ discography not only in the sense that she embraces a slightly new (for her, which is still debatable) and highly conceptualized sound of alternative dark-pop, but her ability to tell a story that doesn’t feel superficial or simply trying to appease the commercial world of top 40 radio, cookie cutter pop. it shows now her ability to come and go from cape god as necessary, being more comfortable with who she ism enough to release an entire work based on this confusing time-chunk in her life.

i’ve got to say, one of my favorite cuts from this record is the opening track, fresh laundry. produced by oscar görres and james ghaleb, allie sings of nostalgia and a sense of longing for a time that no longer exists via the scent of freshly cleaned laundry, over rhythmic and crow-calling synths. when this initially was released as the first promotional single for cape god, it took me a while to accept the sudden change in sound and aesthetic choice by allie towards a grungier and more alternative vision. but one day, it clicked. and i was hooked. it makes so much sense for her, looking back at her previous works, her post-ceding (not a word, now it is) ep titled super sunset is unrecognizable in a sense (still very good, check that one out too), and almost feels as though something was holding allie x back from who she wanted to be. and damn i am so happy shes finding her niche. some other great cuts from this record are the (probably pop-iest cut) sarah come home, love me wrong (queer kids unite), featuring my boy troye sivan, and the AMAZING susie save your love, featuring the very talented mitski. also super duper party people is a banger (that bass line are you kidding me??). the tail end of this record really flaunts the emotion of miss x, and she does not hold back, as is hard to do in cape god i could only imagine. In life of the party, almost as a compliment to super duper party people, allie recounts of using substances to be herself around people who unfortunately are not her real friends, and use and abuse the f out of her, but she cannot bring herself to mind, because this attention gives her a purpose and sense of life, regardless of whether she knows it is truly wrong to accept the way she is being treated. while this track isn’t my favorite sonically, it is important. the repetition of the chorus meant to burn into the listeners ear, emphasizing the important to allie of feeling accepted by these equally hurt people projecting their insecurities on this girl who is still finding herself. (allie, i hope you don’t vibe with those people anymore :/ ). In madame x, i am taking a shot in the dark when i say i ~believe~ it is about drugs, and the comfort they bring, NOT the madonna album of the same title (hehe, a gorgeous track nonetheless).

i think we all have our own cape god, somewhere in our brains, and this record is an interesting look into how one individual (miss allie x) is still dealing with and tweaking the psyche we control a meat suit with, in the dreamscape liminal world we all possess (at least, I know i do). This record is very smart. is it commercial? not in the slightest. but it is beautiful and raw and for me, does exactly what music is suppose to do, be that vessel. allie once said in a promotional video for this album that these this is the music she could never quite find the words for, AND IM SO HAPPY SHE DID. personal biases aside as an admitted allie x fan of a hot ass second, this is a crazy original work that scares, delights, and intrigues me. she also released some SICK visuals for this era, check it the fuck out, you will not be disappointed.

cape god - allie x 4/5 stars

-bormst

#allie x #cape god #music #music review #bormst #stan #pop music #pop music review #4/5 stars

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sailor-freak · 4 years

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Halestorm: The Strange Case Of... - Album Review

(image source)

As I have uploaded a ranking of this album to my YouTube channel I think it’s finally time for me to review it! This is my first time reviewing an album that’s not new haha also btw for anyone expecting poetic brilliance that’s not here it’s legit just me giving my opinions of the songs 😂. But this is my favourite Halestorm album (so far) and the only one I own (again, so far, I ordered self-titled with a gift card my uncle got me for my birthday haha) so why not review it 😂.

Love Bites (So Do I) - BOP. That’s it 😂. My full post on this song is linked in the song titles (as will all songs on here I’ve already posted about) but for an opener to the record man it’s SOLID. I love how it was inspired by their Slave to the Grind cover, and the tempo is so similar but it’s also really different sounding? Like, they didn’t just copy that song they took the tempo and made something of their own. Love it 😂.

Mz. Hyde - Ahh this song is so dark and creepy and HEAVY I love it 😂. The way it starts off so dark, then the verses are lighter as she sings about the nice side of herself, then the chorus gets dark again, ICONIC. I think I’ve also said this before but the “it’s me Lzzy I swear” is the most iconic line in Halestorm history and you can fight me on that. I also love the way it transitions SO neatly into the next banger...

I Miss The Misery - THIS TRANSITION KILLED ME ON FIRST LISTEN a lot of albums do neat transitions like this but I don’t think I’ve heard one more beautiful than this 😂. I think you should know by now this is not only my favourite Halestorm song but my favourite song just... ever? Like my post gives a proper discussion of the song (although it was one of my earlier posts so maybe I need to amend that lol) but this was the first Halestorm song I listened to, and I was HOOKED immediately. It’s so rock and roll but it has its own elements that just make it stand out, and no Halestorm song since has topped that. AND I’VE LISTENED TO A LOT OF HALESTORM 😂. So yeah, best song on the album, there you go.

Freak Like Me - Ahh my first post on here 😂. So I didn’t talk about the song like at all in this post so I best do that oops 😂. What I love about the song is the anthem quality it has, not just in the lyrics but musically the chorus really makes it stand out just among the freak community, possibly due to the guys’ backing vocals on the “freak like me” line itself, it just makes it a group effort and celebrates the unity of Halestorm and their fans. Another thing I LOVED was Lzzy’s scream before the riff, you know, the one that goes on for longer than the last note of So Much Better? The first time I heard that I was SHOOK, it just demonstrates Lzzy’s vocals so well 😂.

Beautiful With You - Oo, the start of the “ballad section” of the album. I think it’s pretty solid 😂. I’ll admit, when I first listened to this album I came looking for bops, so this section was kinda disappointing on first listen. Not because they were bad at all, I just was looking for songs similar to I Miss The Misery and Love Bites, so they sort of didn’t sit well with my brain? Too many ballads 😂. But having listened to the album and these songs more, and sort of understanding that this section is important to the record, I’ve grown to love them? And this one I did like on first listen, maybe it was the guitar but there was parts of the lyrics that really stood out to me, maybe not on a personal level but they were just nice, so I thought why not and I added it to my playlist 😂. I definitely prefer the heavier songs both on this album and in general usually, but this one has some really strong parts.

In Your Room - I think this was the first song I was really disappointed with on first listen? And it’s still not one of my favourites. The meaning behind this is really great, and I don’t think there’s anything wrong musically. I actually like the subtlety of the first chorus, it blends in nicely with the verses, then when the second one comes round it’s like a pleasant surprise 😂. I think it was the lyrics that bugged me, however, I don’t know if this is just my sadistic mind but I thought an interesting take on it would be a sort of creepy turn? Saying stuff like “I’m right outside your door” and stuff, if you take away the sentiment of the song it has the potential to be like a stalker song 😂. Maybe if it was on their first album it would have taken that direction? I just think that would have been interesting 😂.

Break In - (let’s just ignore the fact I’m buzzing about the studio version with Amy Lee that’s coming out this summer) This one I really have grown to love, again with stepping away from my need for heavy bangers I really appreciate this for what it is. There’s nothing complicated about it, it’s a simple piano ballad with some harmonies thrown in. I don’t think there’s been a song like this since? I mean, Dear Daughter was piano till the band came in, and Heart of Novocaine was acoustic guitar, but this being purely piano really makes it stand out, not just in this record but out of their discography. Idk, it’s simple, it’s heartfelt, I love it 😂.

Rock Show - Oooo... surprisingly this is my least favourite song off the album. I thought I’d love it, the concept and meaning behind it is amazing. I think it’s just something with me personally? Lyrically there’s not a lot to dislike, I love the descriptions of the experience at a rock gig as an audience member, it taps into that deeper feeling than just going to enjoy music, it is an experience on a higher level. However, because of the inspiration behind this song it uses “little girl” to address it... I don’t like that shit 😂. Idk if you know me but I hate being patronised, don’t call me little I’ll step on you 😂. So, I think this is a great song for that girl it was written for, but as an older person listening to this song it just doesn’t get to me.

Daughters of Darkness - Okay, this is where I feel addressed 😂. While Rock Show was dedicated to one young girl who enjoys rock gigs, this one is for ALL the ladies who love them. Similar to Freak Like Me it has an anthem feel to it, with the “na na na na na” bit (felt like I was quoting MCR there lol), but it’s like... specifically for the girls 😂. I think I mentioned this but I love the symphonic / orchestral additions to it? Reminds me of Nightwish (who are actually the only band I’ve seen live so far in my 19 years of existence), so that really adds a whole element of enjoyment for me personally. It’s one of the darker and heavier songs on the record (I mean the title does suggest that), and is one of my absolute favourites, was from the start. When I came to this album looking for bangers THIS ONE REALLY PROVIDED 😂.

You Call Me A Bitch Like It’s A Bad Thing - I relate to this one too much omg 😂. Lyrically, this is absolutely SCANDALOUS, but we love that and that’s the point of the song 😂. Little thing, I love the little chord progression in the intro and instrumentals of the song, just really cool idk what it adds I just love how it sounds 😂. Although I love that I think the lyrics is what makes me love this song, “see you next Tuesday” absolutely iconic 😂. I also love when she says “you call me a freak” and I’m like... WE ARE 😂. Just a little bit I noticed haha, but the concept of let’s sing the most outrageous shit and revel in being called a bitch is absolute class we love 😂.

American Boys - This one is also lower down on my list but it’s not bad at all 😂. It has a real classic rock and roll feel to it, and it is very American sounding which links nicely with the lyrics 😂. I think for most people this song wouldn’t really have a deeper meaning (idk if it does for you then let me know haha), but it’s more of just a casual celebration of the male species in the United States 😂. As I said in that post it does stand out in this album, as it’s not a strong anthem song, a deep personal ballad or embracing being sadistic and scandalous, but that sort of makes it stand out 😂.

Here’s To Us - Oh this song is so wholesome I love it 😂. Aside from this song probably being the only reason I can get through life at the moment (I legit listen to it whenever I get anxiety about anything, my parents, work, general shit I can’t deal with lol), the meaning behind this song is so simple yet so powerful? Just... celebrating Halestorm for who they are, what they’ve achieved, and embracing the bad times and recognising what they are capable of... you really have to know Halestorm to fully appreciate this song. When I first listened to it I had NO IDEA what it was about, I think I legit knew Lzzy’s name and that was it... so hearing this for the first time had no power behind it and I feel so bad, cos your first experience with this song should be the absolute power behind the meaning. Anyway when all the guys sing with Lzzy at the end my weave was snatched and it’s so adorable I love it this song just displays the absolute unit they are, and it really shows how unique of a band they are. Stan 😂.

Don’t Know How To Stop - Bonus tracks time! Honestly... this song is too perfect for the start of the bonus tracks I like... it’s iconic 😂. Since The Pretty Reckless’ Death by Rock and Roll came out today I’ve been listening to a lot of them and I see similarities lyrically between their stuff and this song, like the whole embracing going full force and going too far, like enjoying the rush of it? This song uses a lot of car and road imagery actually (imagery, oo, haven’t used that word since my exams), with “red lights” and “brakes are shot” (I should probably look in my booklet to see if that’s the correct lyric but I can’t be arsed so if it’s wrong soz), as if she’s saying living this extreme crazy rock and roll life is like a car speeding carelessly, and not having the brakes comes into not being able to stop this lifestyle? Idk there’s probably something else there but I’m not getting marked for this am I 😂.

Private Parts (ft. James Michael of Sixx:A.M.) - Okay... can I just start by saying this is a good song. It’s great 😂. Musically there’s nothing wrong with it, the chorus actually bops quite hard considering it’s a deeper song, so there’s nothing wrong there. Lyrically it’s good, I love how the verses are like the argument between these two people, but the first verse is almost like their thoughts aloud? Cos they’re not responding directly to each other, it’s like their own thoughts and feelings coming out, it works really well. But... I cannot listen to this song... I just laugh 😂. I’M SORRY I KNOW IT’S A BOP BUT WHEN SHE KEEPS GOING “SHOW ME YOUR PRIVATE PARTS” I FUCKING PISS MYSELF OKAY IT’S HILARIOUS I’M SORRY I'M SO IMMATURE BUT ALL SENTIMENT IS LOST IN IT 😂.

Hate It When You See Me Cry - Oof I feel this one too much, ngl I’m a little pissed it’s only a bonus track cos it’s the best deep ballad sort of song on the whole album just saying 😂. When they said Lzzy gave into the cheese for this record PRIME EXAMPLE RIGHT HERE PEOPLE fuck I love it 😂. I love how it starts soft, then the band just KICKS IN and while it remains soulful and softer it still SHREDS 😂. But man it was the lyrics that got me, and you know me, I’m not cheesy. I hate cheese both the food and the concept 😂. But for some reason here it doesn’t bother me at all?? Like in fact I LOVE it, the chorus is where it’s most cheesy but I think it fucking works 😂. I’ll inevitably do an individual post on this so I won’t analyse loads but fuck I feel this one 😂.

Overall man this album is a journey 😂. It starts off with the solid bangers, whiplashes into the deep ballads, then brings itself back up before slowing down a little and bringing it to a neat end 😂. I find it weird though that although on first listen I was disappointed with the amount of ballads and how not many songs slapped as hard as Love Bites and I Miss The Misery (fuck those two are the best 😂), but it was still what got me obsessed with Halestorm? Like how could I be “so disappointed” with it yet constantly listen to it and actually fucking BUY the album 😂. I think I was salty cos I came looking for bangers but now I just embrace it all 😂.

#halestorm #halestorm the strange case of #review

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duskadawn · 5 years

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My pre-show top 41

hello clowns! as an indecisive bottom, ranking all 41 entries of this year’s esc into a definitive top was a challenge but I think I’m finally decided on my ranking! read below the cut for clown certified bad takes

the stan list:

1. Greece / Katerine Duska - Better Love

yall already been knew but its Athens 2020 babey! her voice...the lyrics...the chorus....the visuals...the production.........talented, brilliant, incredible, amazing, showstopping, spectacular, never the same.......the power it has......the international implications.............god we stan

2. Italy / Mahmood - Soldi

the clapping in soldi is mahmood applauding himself for being That Bitch because god soldi Slaps. probably my favourite italian entry of this decade if not ever. its just gay rights

3. Netherlands / Duncan Laurene - Arcade

if amsterdam 2020 does actually happen it would be so fucking deserved becuase duncan really snapped on this one......he really did that you know what i mean

# Ukraine / Maruv - Siren Song

really wish UA weren’t such clowns because siren song is scientifically proven to smack...it just bangs!

4. Iceland / Hatari - Hatari - Hatrið mun sigra

ok so at first i couldn’t really get behind this because i didnae feel the verses at all but they’ve really grown on me and i appreciate them as part of the package a Lot more now. however if the entire song was as good as the chorus it would undoubtedly be reykjavik 2020 but it be like that sometimes

5. Romania / Ester Peony - On A Sunday

i know the nf was shady but i’m so fucking glad this won over little miss i hate gay people. its just so unqiue and mysterious and moody god i’m so emo x. really hope this is a dark horse this year but i’m Worried

6. Portugal / Conan Osiris - Telemoveis

i don’t entirely get what hes serving but bitch i’ll take it. really appreciate conan’s artistry and the musical diversity hes bringing to the semi and europe better fucking treat him right or there Will be consequences

7. Norway / Keiino - Spirit in the Sky

this is the fun eurovision bop we all deserve this year and i would die for all three of them. also really love the sámi representation!!! take notes sweden

8. Spain / Miki Núñez - La Venda

while I preferred the original to the revamp, i’m also don’t really care because its still the best song spain’s sent since pastora, its just so fun and warm and full of energy and god miki is a lad!! main reason its so high in my top tho is because i want miki to choke m-

9. Albania / Jonida Maliqi - Ktheju tokës

time to put on my clown suit but i preferred the original cut. that bein said jonida maliqi is a queen and ktheju tokës is still the masterful ethnic banger it always was. my crops are really watered well this year. also if this dies because of its running order position i will Snap

10. Armenia / Srbuk - Walking Out

before i even get into the actual tune the piano intro to this song that lasts for a maximum of 5 seconds is better than half of all eurovision songs to date so that’s that. but also the song itself is real powerful and modern and god the last chorus sent my wigs to yerevan immediately. srbuk could step on me and i’d give her the esc trophy

11. Azerbaijan / Chingiz - Truth

im so glad azerbaijan let go of their sweden of the caucuses look because it wasnt a good one but this one really is!! shes serving

12. Malta / Michela - Chameleon

does malta finally deserve rights? maybe so! to me this is the best, most original of this years fuegos i just love that drop. really smacks. hope it looks as good on stage as it does in the mv tho

13. Hungary / Pápai Joci - Az én apám

its not as good as origo but can you really beat perfection? joci may be back but my depression is nowhere to be found

14. Poland / Tulia - Fire Of Love (Pali Się)

best polish entry in a while if not ever. i get why its polarising but to me it just fucking Slaps. feel like storming down the street and robbing a pierogi store. queens. also the bilingualism really works some revamps should really take some notes

15. Belgium / Eliot - Wake Up

this feels like the sequel to city lights and while it may not be as good its still a great installment. the chorus could be more impactful but i still love it we stan the belgian renaissance

16. Slovenia / Zala Kralj & Gašper Šantl - Sebi

at first listen i thought this was one of the flattest, most monotone entries in a while and was completely puzzled as to how it had stans but turns out that was just the live oof. in studio its a really magical tune but im not sure they’re gonna be able to make it work on stage but here’s hoping! also gasper and zala seem really sweet so we stan

17. Latvia / Carousel - That Night

not to be romantic on main, but this song is just one of those that makes you feel like you’re sitting around a campfire staring at stars playing tunes in the wild west you know what i mean? while it may be repetitive as fuck i just really love its chill atmosphere

18. North Macedonia / Tamara Todevska - Proud

i’ve stanned macedonia since 2017 but they always fucking let me down with the staging However this is the dramatic ass female ballad i’m stanning this year and i just feel at home in a clown suit

19. San Marino / Serhat - Say Na Na Na

never in my life did i expect san marino to actually snap this hard. this is genuinely good while still maintaining that san marinese campy charm and i want nothing more than for serhat to be my kind caring uncle. if europe lets him down it will know nothing but Pain

20. Serbia / Nevena Božović - Kruna

we always stan a good balkan ballad. best one in a while and i hope europe treats her right she deserves it after the tragedy that was moje 3

21. France / Bilal Hassani - Roi

at first i was not feeling this song at all but its really grown on me! bilal loaned me his best clown wig and i feel really pretty

22. Cyprus / Tamta - Replay

this one the other hand has very much grown off me. while it slapped at first when most of the songs out were disappointing nf songs, coming straight after fuego it just feels a little stale. kinda wish cyprus had changed it up more rather than go for more of the same. but ill probably be stanning once may 14th comes around because im a clown

these are also good:

23. Ireland / Sarah McTernan - 22

this isnt quite good enough to stan but its still a lovely lil pop song. its gonna get absolutely murdered at esc but its cute

24. Sweden / John Lundvik - Too Late For Love

swedens best entry since 2014 and i guess this is sort of a break from the trend However i still have some issues. it does bop but as always it feels like i’ve heard it all before you know what i mean. It slaps in a completely safe way which is fine but I just want sweden to change it up just Once it’s not asking much

25. Czechia / Lake Malawi - Friend Of A Friend

unstoppable force: friend of a friend slaps and is one of czechias best entries. immovable object: making loOooHrve

26. Australia / Kate Miller Heidke - Zero Gravity

at first the terrible over the top nf staging made me dislike this song a Lot but after I took the time to detach the song from the performance it grew on me a lot. However i still find it a little bit underwhelming but its a nice break from the complete jury bait snores they’ve been sending every year after guy sebastian invented music

27. Russia / Sergey Lazarev - Scream

this is clearly a song made for a live performance and there’s no doubt its gonna do really well with whatever they’re planning for the staging but that’s kind of my problem with it. while good, it feels incomplete. like a lot of it feels like its leaving room for a live performance moment so as a standalone song it feels lacking you know what i mean

28. Belarus / Zena - Like it

this songs fun and catchy you guys are just mean!! yes its basic but that doesn’t mean it can’t bop. I’m not gonna stan but i’m gonna enjoy it. billie eilish is shaking in her boots

29. Switzerland / Luca Hänni - She Got Me

sorry to be heterophobic but i’m not in love with this song. I was never a fan of his discography and while this song is a massive upgrade from his other songs imo, and extremely catchy, it also feels like hes trying so damn hard to convince everyone hes straight you know what i mean. no song with the lyrics ‘getting rowdy rowdy’ deserves 3rd in the betting sorry sisters. i just cant take it seriously but it still bops and when it does well its not gonna be undeserving, i just like a lot of songs more

30. Denmark / Leonora - Love Is Forever

this song is sweet and i appreciate the multilingualism but its also a little too sweet. Its perfectly fine but i just prefer other songs

31. Austria / Paenda - Limits

i don’t actually dislike this but it really is missing something. hopefully that something is in the staging because as it stands its got the elements of a good atmospheric ballad and shes a great singer but it just never reaches any sort of memorable climax

the whelmed list:

32. Lithuania / Jurijus - Run With The Lions

ok so when i first heard this i really was slapping but with every listen it just gets more and more average to me. when i listen to it i feel like i’m underrating it but then immediately i’ve forgotten lithuania’s competing. but honestly this years too strong we in my bottom 10 and i’m still bopping

33. Estonia / Victor Crone - Storm

this isn’t terrible but it really is just an avicii throwaway from 2013. nevermind that there were much better songs in the nf, its just way too safe. I don’t hate it and i can bop to it if i try but at the same time-wait why can i hear a plane oh god oh fu

34. United Kingdom / Michael Rice - Bigger Than Us

why are we always such a disappointment? michael is a legend but when we’re sending a song that sweden outright told it’s entrant to not use, There’s a problem. when we send a song in welsh it’s over for you hoes

35. Finland / Darude ft. Sebastian Rejman - Look Away

like storm this is just a very average piece of edm. it’s not terrible but it’s not great either. eh

36. Germany / S!sters - Sister

this is a song called sister by a group called S!sters, who aren’t even remotely related. that’s all i’ve got to say

these aren’t great:

37. Israel / Kobi Marimi - Home

look i will forever stan kobi for calling out wiwi but i can’t deny that his song is absolute paint by the numbers toilet break. pass

38. Montenegro / D-mol - Heaven

it does sound like a bad throwback to the 90′s but i guess its at least catchy. which is more than i can say about some songs. its kind of ok if im feeling nice

39. Croatia / Roko Blažević

forget about greece. there is no doubt in my mind that croatia’s gonna win for the second time following jacques houdek’s momentous win in kiyv. and no i am not being held at gunpoint

40. Moldova / Anna Odobescu - Stay

this just sounds like a nq from 2010. anna deserves a better song. next

41. Georgia / Oto Nemsadze - Keep On Going

a day or so i decided to listen to this for once and found myself going ‘this ain’t that bad’. just as i was applying my clown makeup, the song finished and I realised that I could not remember a single second.

___

so there it is! that means my qualifiers from each semi are:

Semi 1: Greece, Iceland, Portugal, Hungary, Poland, Belgium, Slovenia, San Marino, Serbia, and Cyprus

Semi 2: Netherlands, Romania, Norway, Albania, Armenia, Azerbaijan, Malta, Latvia, North Macedonia, Ireland

im in danger

#esc 2019 #my top #roast me

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anyways-wonderwall · 2 years

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Album of the Week #27

So Polite

(2017)

by Summer Salt

Overall Rating: 9/10

TL;DR: Spacey electric guitars and that high male indie voice so atmospheric you can almost taste the ocean

( I don't really like the font in this one, and it leaves me with a lot of questions, 4/10)

I didn’t realize this one was an EP when I added it to the “to review” list so here’s a short and sweet review. (Also a few weeks ago Summer Salt released an album that has new versions of two of the songs mentioned here and you should totally go listen to it!!)

Overall Thoughts

I don’t know if there is any band with a more fitting name than Summer Salt. Each of their songs carries a calming vibe, of spending the full day at the beach and now you are around the campfire as the sun is setting. You can smell the summer salt (ha see what I did there) in the air and you can feel yourself drifting into dreamland. This whole EP (and really their entire discography) embodies this spirit with spacey electric guitars and that high male indie voice.

This only has four songs on it so I’m gonna talk about each one, starting from the single “Candy Wrappers.” It starts with that distant electric guitar sound that sounds like the Pacific Islands and boy does this song build! There is yelling in the pre chorus that opens into one of the most catchy choruses ever that I have had stuck in my head all week. Such a fantastic song that screams bedroom pop (and urges you to pick up the candy wrappers strewn about that bedroom).

The next song is the title song, which is good? I mean it has the plucky acoustic guitar I love and a “woooo” chorus but it just feels like it’s missing that certain je ne sais quoi. With such a banger before it you can’t help but be a little disappointed even if it is a good song. And the song after it absolutely blows it out of the water.

Where do I even start this love letter to “Revvin’ My Cj7.” This was my most played song of 2020 and what I had on repeat during quarantine. It perfectly captured my want for summer and freedom, with an addictive chord progression and chorus that begs you to sing-a-long. Under the electric guitar there is a beautiful hidden bass part that ties it all together, making this song one of my favorites of all time.

Following it is "Prickly Pear", a little minute and a half long jam session that is in the same genre of the rest of the songs on the EP. It’s a fitting ending of friends just messing around and while its nothing special it's some nice atmospheric music.

Final Verdict

Usually an EP has one great song and the rest are kinda filler but this one is great through and through. I mean half of the songs on this are hits and masterpieces, which is a great rate. I beg you to listen to at least one of the songs I gushed about, or honestly any of their songs because the vibes are immaculate.

#album 27 #album of the week #album review #album recommendation #music review #indie rock #summer salt

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idontneednofuckinhug · 4 years

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Most anticipated albums for 2020

New year - new me, right? Honestly I don't believe in all of that, as New Years is literally just a night like any other, but if there's people out there who really do believe that a change of year can motivate them, all the power to them! The great thing about a new year though is new music, lots of new music. Ahead of us are 12 straight months of new releases, with some artists who release on a 2 or 3 year cycle being "it". Last year was an amazing year for good records - lots of the top musicians didn't actually release, but we got a lot of amazing projects from some new names and some old dogs proving why they're legends (looking at you Freddie and Danny). With that said, there's a lot of artists that should be releasing projects this year and I really can't wait for them to drop the new guwap.

Starting off with the main man, Kendrick should be dropping a new album this year, as it's going to be 3 years since DAMN.'s release in April. I'm quite interested to see what Lamar will be releasing, as there was a mixed reception by fans for DAMN. and it was definitely quite a step down from To Pimp a Buttefly and good kid, m.A.A.d city. Staying on the topic of TDE, it has been over 3 years since Ab-Soul dropped Do As Thou Wilt and I really want to hear what's been going on with one of the kings of witty rhymes and punchlines in contemporary hip-hop, especially as ScHoolboy recently said that Soul doesn't care about him no mo'.

Another person I've been quite patient with, waiting for his next release, has been my favourite rapper Isaiah Rashad, who's been playin' for the whole of 2019. Originally leaking snippets in late 2017 and early 2018, he skipped the rumoured release date of 2018 and claimed he'd release by summer 2019. In 2019 we did find out the album will be called "The House is Burning" and he claimed he'll release it in December. It's now January 2020 and we're still yet to hear from Zaywop. It's been quite annoying waiting for an album from him as it really does seem that as a typical Taurus, the dude won't drop it until he satisfies his perfectionism.

Next up in my most anticipated is A$AP Rocky. I didn't really like Testing, there were a few good tracks, but in general it felt like Rocky wasn't putting in the effort he had put in his previous work. I'm hoping the recent experience he had in Sweden to have affected him and for him to release another emotionally charged album, such as ALLA and LLA.

Noname has confirmed she'll be releasing an album in 2020, which is something I'd love to hear, as I quite liked Room 25. The record had a very different style of rapping, more akin to reciting poetry on a jazzy beat, Noname has a very personal, rambly style, which is adorable in its own way and she gives a very introspective window to being a sensitive woman in the rap game.

I'm also quite excited about a new Joey Bada$$ solo album, as his Beast Coast record was quite disappointing for me personally. I quite liked All-Amerikkkan Bada$$ and 1999 is one of my favourite mixtapes of all time, additionally to that Joey seems to have really grown in his spiritual journey the past couple of years, so we might get a very emotional and personal project.

Except Joey, I'm also quite excited about Vince Staples's project, which will likely be released sooner, rather than later, as we've already had 3 singles. Judging by the tracks it seems this might be a more commercially focused release for Vince and although I didn't enjoy the latest one he released, the first two were bangers. Vince has a knack for experimental and eccentric beats and I honestly would love it for him to jump on more commercial production and show what he's about.

J.Cole has confirmed he'll be releasing an album in 2020, which will be called "The Fall Off". Cole has had a very mixed discography for me, with his albums ranging from average to very good, with the songs in the albums themselves ranging from corny to bangers. I enjoyed 2014 Forest Hills Drive and KOD quite a bit and I'm quite interested to see what Cole's next album will hold, as he's been working very closely with quite a few young talented rappers and singers in Dreamville, who have pushed him to improve and change up his views. Additionally to that, Cole was one of the feature assassins in both 2018 and 2019, so I believe this might be the first project we get from him with features in it, even if only from the Dreamville cast.

In the trap focused community, Lil Uzi Vert and Playboi Carti have been grinding our gears all through 2019, as they've both been hinting at albums, but we've been left empty handed, whilst waiting for Whole Lotta Red and Eternal Atake. I'm also expecting a surprise project from Freddie Gibbs or Denzel Curry, as they've both proven to release a mixtape or album basically every year, although Zel did just drop 13OOD 1N + 13OOD OUT.

Going in the softer genres, 6lack tweeted "New year, new album" a couple of days back, all but confirming he's dropping this year. I'm very interested to hear from him and his love life disappointments, as he and PARTYNEXTDOOR offer a very emotional take on male experiences. Speaking of PND, I'm also expecting him to release this year, as he himself confirmed earlier on in 2019. I loved his first and third projects, so I'm hopeful he'll bring that vibe in the new album.

Frank Ocean - it's been 4 years since Blond. Can we get a new album, please? Frank did drop quite a few singles towards the end of 2019, which have pointed to him potentially releasing a new album soon, although the singles were mostly with him rapping, so we might be getting a completely new Frank Ocean. Regardless of that, I just want something from the contemporary king of R&B and break-up music.

R&B sweetheart SZA has also been quiet for nearly 3 years now, as Ctrl was released in 2017. She recently did drop a single with DJ Khaled, which I'd rather not talk about, but realistically she does work on a 3-year cycle, as Z was released in 2014 and she has claimed that she's dropping a new album "Soon as fuck". I'd also love to hear from the sexy Kali Uchis, as it's been a year and a half since Isolation, which was a fantastic pop/neo-soul/spanish album, full of raw emotion and energy.

Going into jazzier production, Thundercat hasn't released anything since 2017's Drunk, which was an amazing contemporary jazz record, which left me hungry for more. I'm quite hopeful the saxophone virtuoso decides to bless us with another modern take on jazz during this year.

Last but not least, Tame Impala will be releasing an album on Valentine's day - Kevin Parker's been quiet for quite a long while, as Currents was released nearly 5 years ago. It's quite intriguing to see what kind of direction Parker will take this album, as the two released singles were quite good so far.

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theotherboywhonevergrewup · 5 years

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MY TOP 10 SONGS OF 2018

Disclaimer: These are certainly not the “best” in terms of musical quality, nor are they what I think are the “best.” They’re not even my favorite songs of 2018. They are simply the 10 songs I find to be most defined the year 2018 for me.

I think the first thing I should mention is that Rihanna had released absolutely zero songs this year. She did not even feature on one, which is the first year that this has happened ever since she started her career. This also means this is the very first time she has not made this list. Hope to hear new music in 2019! I would also like to give an honorable mention to “Lost in Japan” by Shawn Mendes which was on this list before I arranged it.

10. “Give Yourself a Try” by The 1975

And I was 25 and afraid to go outside A millennial that baby-boomers like Won't you give yourself a try?

I had the honor of seeing The 1975 live in 2017, and it was an incredible show. The band’s lights perfectly matched the mood of each of the songs, taking the crowd through an emotional rollercoaster. Most notably their hit “Somebody Else” took everyone to a different place. Their 2018 release, A Brief Inquiry into Online Relationships, is another definitive 1975 album, with songs like “Be My Mistake,” “Sincerity is Scary,” “It’s Not Living (If It’s Not With You),” “Surrounded by Heads and Bodies,” “Mine,” and “I Couldn’t Be More In Love” being my favorites. “Give Yourself a Try” gets the 10th place on this list because it was the most prominent single that made the biggest impact on me. In true 1975 manner, it lyrically dives into a dark place with mentions of fear of growing old, STDs, suicide, depression, and drug addiction, but all oddly over Joy Division’s “Disorder” bright guitar riff and bouncy drums. This song is the epitome of singer and writer Matt Healy’s open honesty about such subjects but in a positive way, moreso as advice given to their younger selves but more importantly their fans. Ironically, I also struggled with anxiety and depression when I was 25, so this song speaks to me in that you’re never alone and you live and you learn. He’s encouraging us to let go of all those fears and things that don’t matter and really give ourselves a try.

9. “Get It” by Busta Rhymes featuring Missy Elliott and Kelly Rowland

Every time we step up in the spot Homie, I'ma take yo shine from you Homie, you ain't got the slightest clue Diamonds'll shine with the brightest blue

I’m not the biggest Busta Rhymes fan, but he has been such a constant presence ever since I was little, so his songs have always gotten me hyped up. Even moreso, Missy Elliott was always playing in the house when I was little. “Get Ur Freak On” was one of the most memorable tracks of my childhood. Last but certainly not least, Kelly Rowland is absolutely one of my favorite singers ever. Her new single “Kelly” was her first main artist release in five years and it does not disappoint. It’s such a banger, and I love how she continues to grow in her confidence. Something about having all three of these people on one track really got me going. It felt like bringing back my childhood but also felt so fresh. Busta and Missy do not hold back, and their raps were a stark contrast to the ever-popular mumble rap of 2018. Not saying that there’s anything wrong with mumble rap necessarily; it’s just not my cup of tea. My only gripe with this song is I wish that Kelly was on it more than just the sample. Even then, I can’t be that mad because it goes so hard!

8. “Love Lies” by Khalid and Normani

If you're down, don't hide it Feelin' me, you don't gotta deny it Baby you gon' make me overnight it Tell me, are you down?

Last year, Khalid’s “Location” made my 2017 list. I had mentioned that none of his other tracks really stood out to me, but I was hopeful for his future releases. Well, “Love Lies” certainly does not disappoint. Again, the slower, bumping R&B beat really supported Khalid’s smooth, deeper vocals sliding on top. I am a sucker for duets, and who better to add to this track than the smoothest Fifth Harmony member Normani. While she vocally may be on the weaker end of her former group, her voice perfectly fits this type of song as it flows over the deeper sounds. Normani just oozes sexiness too as she adds a little bit of flair to both the video and live performances of this song with some choreography. She really made 2018 her own, and I look forward to her future releases as well! The only thing that is holding this track back for me is that it is for a film, Love, Simon. I’m always wary of made-for-film songs because I’m not sure how true the artists of the song are being to the piece itself or if has been molded to fit the film’s narrative or theme.

7. “All the Stars” by Kendrick Lamar and SZA

I hate people that feel entitled Look at me crazy 'cause I ain't invite you Oh, you important? You the moral to the story, you endorsing? ..., I don't even like you

I’ve been following SZA for a few years now, and I have to say that she is really making a name for herself and changing the R&B game. Of all the megahits this year, this is easily my favorite. It’s received one Oscar nomination and four Grammy nominations, and it deserves every ounce of the respect it’s been given. The simple rocking beat serves as a metronome for some more complicated percussion as Kendrick expertly serves his flow, slowly introducing the synths and strings that allow SZA to take the song to an otherworldly place. The music video is absolutely stunning too. Like “Love Lies,” however, this song is held back for me in that it was also made for a film, Black Panther. I am not saying either of these films are bad necessarily, in fact, they were both fun movies. I’m just saying I wonder where these artists could have taken these songs if they were completely untied from any other projects.

6. “We Don’t Care” by Sigala featuring The Vamps

Try to keep my composure Would be easy if I was sober But you keep getting closer And I'm feeling alright

Another artist that was on my top 2017 songs, The Vamps had several bops this year, including singles “Too Good to Be True,” “Hair Too Long,” and “Just My Type” and non-singles “What Your Father Says” and “Cheap Wine.” I had the opportunity to not only see these guys perform live but also finally meet them! They were the nicest dudes, and it was definitely a highlight of the year. My favorite 2018 release by them though was their feature on Sigala’s “We Don’t Care.” Even though it’s not their track, it harkens back to many Vamps songs just about having a good time, and that stress-free nature is why I love them. Sigala certainly knew how to make the best of this collaboration, and I feel like I’ll be dancing to this for years to come.

5. “Tempo” by EXO

I can’t believe 기다렸던 이런 느낌 (oh) 나만 듣고 싶은 그녀는 나의 멜로디

For reasons I will explain later in this post (see entry #3), I have officially fallen in love with K-pop, and in my search to find more K-pop artists to love, I have oddly landed back to one that I saw live a few years ago, EXO. In 2015 or 2016, my friend Brit became “ill” to K-pop fever and fell in love with EXO. As someone who claims to love all genres (with a few exceptions), she asked me to go with her to their concert in 2016. I did not hesitate at the opportunity, and while I saw that they were truly talented, something held me back from loving them at the time. While I had never really been a K-pop fan in the past, I was aware of what they could deliver. When it came to boybands in particular, I was aware of Big Bang, Super Junior, and SHINee and how different their songs were from American and European music beyond the language they are sung or rapped in. However, I found EXO’s repertoire to be quite lackluster at the time. This was before the release of Ex’Act, so their biggest hits at the time were “Growl,” “Overdose,” “Call Me Baby,” and “Love Me Right.” With the exception of “Overdose,” these songs as well as a lot of their other songs sounded too familiar. They were safe R&B vibes, and as someone who grew up with R&B, these songs did not stand out to me. “Overdose” was somewhat of a highlight, but it was still just a bit lacking to me. My favorite song of theirs at the time became “Wolf” (and Brit aptly made fun of me for it lol). Sure, “Wolf” gets made fun of because it’s kind of a mess of a song, but that’s why I love it. It’s so out there and experimental. It was EXO trying to find their voice. It wasn’t safe; every aspect of it goes hard (maybe too hard). The icing on the cake that “Overdose” was missing? Chen! Let me quickly explain my love for Chen. This man (who I’m exactly only 10 days older than!) has the voice of an angel. Even back then when I went to their concert and couldn’t remember any of their names for the life of me, I remember telling Brit, “The one with the cheekbones has the best voice!” And while “best” is debatable with Baekhyun and D.O. in the group (and even compared to other vocal powerhouses like Super Junior-K.R.Y., and y’all, don’t you dare sleep on Suho), Chen still stands out to me because his vocal quality is 100% the kind of voice that I wish I had. He has this vibrant, clear tenor timbre to his voice that I find so pleasing. Chen is apparently the least favorite EXO member for whatever reason (maybe he’s the ugliest? idk, I’m not a girl/don’t like men), and some people say his voice is less emotional than the others. I disagree, as I think the lightness in his voice just puts the emotion in a different place where people aren’t used to hearing it. Regardless, since “Overdose” was made when they had the EXO-K and EXO-M split before, it largely lacked Chen vocals, and he goes hard in “Wolf.” All this to say, when I revisited EXO’s discography this year, it was chock-full of hit after hit that finally filled that sweet-tooth K-pop craving. They were no longer standard R&B hits. They were each creative directions, starting with “Monster” which built off of many of the same vibes as “Wolf” and “Overdose” but with more expertise and a healthy dose of Chen (“Don’t be afraid / Love is the way / Shawty I got it / You can call me monster” what an english-god! lol), to “Ko Ko Bop” which is a reggae fusion smash (if you know that I love Rihanna, then you gotta know that I love me some reggae fusion and who knew that it would fuse so well with K-pop), to the infectiously fun and upbeat “Power” that they performed at the Olymics closing ceremony.

Now let me finally get to why I am obsessed with “Tempo.” Chen opens the song with “I can’t believe” and then silence. I am a Chen fan, so you know I’m already hooked. Then the synths come back in and there are some a capella elements. Baekhyun dares to sing over Chen (just kidding, he sounds good too obviously). Once Chen is done singing, the drums come in leading into the chorus, with the bed squeak which is a R&B/hip hop sample staple. To be clear, I never wanted EXO to leave their R&B roots; I just wanted that and more from them, and this song is it. After the second verse, instead of going back to the chorus, they hit this alternate “slowed down” version of the chorus which again hits different R&B vibes, and this beautiful piano brings us to the a capella portion and oh my. Then Chen’s scream signals the piano, drums, synth, squeaky bed, and everything to go into the last chorus. And let’s not forget his Michael Jackson-esque ad-lib. The line distribution was mostly fair too. I mean, obviously I’m biased, but Sehun got a whole rap section. If anyone, Xiumin and D.O. (and Sehun) probably could have used more lines somehow. Lay was even in the Chinese version (though I’m not sure how many songs he was gone for?) But honestly, zero complaints here. GET IT GUYS.

4. “Remind Me to Forget” by Kygo featuring Miguel

I need you to let go I got these mementos And I'll be alright

Shortly after my breakup this year, I still had tickets to see Miguel and no one to go with. So I asked my ex if she still wanted to go, and she did. He performed all my favorite songs by him, including “Adorn,” “Sure Thing,” and “Pineapple Skies.” It was kind of an ethereal experience in a way. A huge amount of his repertoire is baby-making music, and boy did that make a mood that night. I’m not sure if she realized it, but Miguel was actually what I put on during our second date (I also just remembered that his song was on when we had our first kiss during our first date). But this song (which he did not perform but played afterwards as everyone was leaving the venue) is lyrically actually so significant to that relationship. Kygo’s echoey instrumentals was a match made in heaven for Miguel’s soaring vocals, and while the song doesn’t exactly convey pain, it beautifully encapsulates letting go of a relationship. I still like my ex as a friend, but from experience we know that’s all it should be.

3. “Ddu-Du Ddu-Du” by BLACKPINK

두 번 생각해 흔한 남들처럼 착한 척은 못 하니까 착각하지 마 쉽게 웃어주는 건 날 위한 거야

All right, here’s how I became ill with K-pop fever. As I’ve mentioned in entry #5, I try to be a lover of all genres of music. I’m not perfect; I have a few dislikes: parodies (because I want the originals to stand out), covers and remixes (for the same reason), anything I find lyrically too heavy or too opposed to my values, and anything that includes too much screaming. When it comes to falling in love with a genre, I’ve noticed I have a trend: I fall in love with a girl. Sometimes it’s an actual girl that I meet, but most of the time it’s one of the singers. R&B, hip hop, and pop is what I naturally grew up with, but Paramore got me into rock, Kelly Rowland’s collaboration with David Guetta got me into EDM, Whitney Houston got me into 80′s music, Carrie Underwood got me into country, etc. As I’ve also mentioned, K-pop has been on my radar for several years now. I’ve never been opposed to it (with one-ish exception, which I will get to), but I’ve just never fallen in love with it myself. My first real exposure was about 10 years ago from my friend Kalvin. I specifically remember hearing Girls’ Generation/SNSD’s “Gee” non-stop, and I couldn’t blame him. It was catchy! At the time, though I honestly was having trouble loving my identity as an Asian. My younger self wanted to be white or black or latino. Why? Because if you looked at America’s standard of who was famous and attractive, there were barely any Asians, and the Asians who were there were women (Lucy Liu). Anyways, Kalvin and a few other friends such as my prom date Esther introduced me to a few more K-pop artists over the years: Super Junior, Kara, Big Bang (and G-Dragon and Taeyang’s solo music), T-ara, 2NE1, and f(x). I liked them, but again, I never fell in love with them. Then, Psy’s “Gangnam Style” came into the picture. I hated it so much because I knew this song would be many people’s first impressions of K-pop. Psy’s talent aside, it was a song and video that was intended to be funny, almost like a parody. This perpetuated the Western thought of Asian men being only smart and funny, not sexy. Years later, BTS came into the picture. While I didn’t fall in love with them either, I supported them because they are a K-pop artist that America is actually taking seriously. Around the time I heard about BTS was also the time I first heard about BLACKPINK. When it comes to pop music, the girls I like the most are in my opinion not too girly (i.e. SNSD) but also not too unconventional (i.e. 2NE1). I think Rihanna is a good example of that balance. She’ll sometimes wear all pink and sometimes go with a completely baggy hip hop vibe, but most of the time she stays somewhere in between. When I heard “Boombayah” a few years ago, this song was so close to being my K-pop drug, but the “oppa!” and the chanting at the end of the song killed it for me. Stars did not align back then.

This year, as I continued to grow up, I learned to love my Asian identity more than ever. 2017 was a hear of depression and anxiety and just overall hating myself, so I made a conscious decision to love myself more in all ways. It just so happened that 2018 was the year of films like Crazy Rich Asians and To All The Boys I’ve Loved Before. The former took a man who I find to be an average or slightly above average looking man (like the Ryan Seacrest of Asia) Henry Golding and made him into a superstar. He even got to star alongside one of my favorites Blake Lively in A Simple Favor as her husband. This amongst other things did wonders for me in viewing myself and Asians as attractive and equally viable partners. To All the Boys I’ve Loved Before did something else for me. With that movie, I realized I wanted more young Asian celebrities to fill this void of “there are no sexy Asians” because if I have a child, that child will undoubtedly be at least half Asian. I want that child to grow up to be confident in who they are and find themselves to be absolutely beautiful or handsome. All this to say, yes, I finally started seeing Asian girls as sexy. Then, “Ddu-Du Ddu-Du” dropped and my life was changed lol. Here were four sexy women (Jisoo is my bias!!) singing and rapping a song that was perfectly in between girly and unconventional. It wasn’t the usual bubblegum pop girly K-pop, and I loved it. After listening to it two billion times, I needed something similar, so I went back to “Boombayah.” I found “Whistle” and then the gateways flooded. I now listen to pretty much every K-pop artist I previously listed and more. I am so proud of these girls charting higher on the Hot 100 than any other K-pop artist other than BTS and Psy. I sincerely hope either BLACKPINK or BTS (or anyone really) beat Psy’s record (thank God for Maroon 5 for preventing Psy to ever hitting #1). Here’s to hopefully a full BLACKPINK album next year and more Asian sexiness!

2. “Dangerous Night” by Thirty Seconds to Mars

I, I am a man on fire You, a violent desire

From the get-go, you can tell that this is not your ordinary Thirty Seconds to Mars track, and that’s because Zedd’s producer mark on it is undeniable. I absolutely love the America album, especially “Rescue Me,” “Great Wide Open,” “Hail to the Victor,” and “Live Like a Dream.” However, Zedd’s spin with “Dangerous Night” makes it hopelessly catchy. It takes the recklessness of entry #6 and combines it with the tumultuous relationship of entry #4. Above all, I had the opportunity to see Thirty Seconds to Mars live and to meet them in person. What a wild night! It was one of the best experiences of 2018. The Leto brothers are so kind and rocked the night away. They fought with security a couple times to let fans do what they wanted (in still a safe way). And the absolute best part was that they invited a random select few in the crowd to go up... including me! It was insane being on stage with my favorite band singing one of my favorite songs “Closer to the Edge” in front of thousands of people. INSANE! Truly a night I will never forget.

1. “Never Be the Same” by Camila Cabello

And I could try to run, but it would be useless You're to blame Just one hit of you, I knew I'll never be the same

Someone who is just looking at this list and my list from last year (where Camila also made #1) might think I’m obsessed with her haha. I swear I’m not. Rihanna will always be my true number one. I honestly don’t even like that many more Camila songs than this and “I Have Questions” (last year’s number one). I mean, I like her songs, but those two are the stand outs for me. Anyways, Camila’s unique voice and creative runs take the cake here on this track over the equally addictive synths and drum beats. Lyrically, the song is about being forever changed by a relationship that she doesn’t outright say is bad but heavily hints at it with the imagery she uses. It’s kind of a love song but has the feeling of a breakup or near breakup song. After my first date with my ex, we sat in my car for a long time just listening to the radio and while there were several cute moments like singing Ed Sheeran and Beyoncé’s “Perfect” together, one thing I remember is staring into her eyes while this song was playing. Throughout our relationship, it became apparent that we were bad for each other in a way. And in many ways, I will never be the same. I don’t regret it. I’ve learned so many things. But yeah, even though this is not my favorite song of 2018, it is definitely the most 2018 song to describe my year.

#me

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thechrisgonzo-blog · 7 years

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My 5 Favorite Hip-Hop Albums in 2017 So Far...

As we are approaching the end of June (holy f*ck this year has gone by fast), I wanted give out my mid-year list for my five favorite hip-hop albums in 2017. Now since music is very subjective, this list is just my opinion. I based this list on replayability, overall cohesiveness of the project, subject matter, and production. This year has been a great year for the genre as many of the top artists dropped projects, so it was very difficult to round out my top five but let’s get started with #5...

#5 Rather You Than Me by Rick Ross

Released: 03/17/2017

Label: Maybach Music Group/Epic Records

I’d never thought I would have a Rick Ross’ project on a best-of list of any kind but with his ninth studio album, Rather You Than Me, I was pleasantly surprised on how much I enjoyed this project and why it is one of the best projects I’ve heard in 2017. Now Ross isn’t doing anything new with his latest outing, but the ‘larger than life’ lifestyle that he has been personifying since he came into the rap game has never sounded as focused and grandiose as it has since the release of Telfon Don in my opinion. There is something for every Rick Ross fan to enjoy from the lavish Bink-produced “Santorini Greece” to the trap-infused banger “Trap Trap Trap.” The highlight record definitely has to be “Idols Become Rivals” where Rozay calls out Birdman for infamously not paying his Cash Money artists/producers like Lil Wayne and DJ Khaled. The MMG boss doesn’t reinvent himself or gets too experimental, but his ear for lavish production continues to be one of his main strengths, and he delivered a solid album.

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#4 Big Fish Theory by Vince Staples

Released: 06/23/2017

Label: ARTium/Blacksmith/Def Jam Recordings

I have to admit that I have been sleeping heavily on the Long Beach MC. Of course, I heard of him being affiliated with Odd Future and collaborating extensively with Earl Sweatshirt and Mac Miller, but I never really dove into and listened to his projects like I did with his sophomore album. His debut, Summertime ‘06, was critically acclaimed and he’s dropped two EPs that were also well received by critics. My affinity with Vince Staples’ music starts with the beats he decides to rap over. During the course of his career, he has chose to rap over these dark, unconventional instrumentals that I would never imagine any of his contemporaries would rap over. When it comes to lyrical content, Vince is definitely no slouch and he is just rapping about personal experiences that he’s gone through and continues to go through. With Big Fish Theory, Vince keeps it short and concise with a running time of about 36 minutes and the production has a heavy electronic influence and the guest features don’t overshadow Vince’s presence (but Kendrick Lamar continues to shine on his guest verse on “Yeah Right”). After listening to this project, I consider Vince one of the top artists in his class and kind of underrated compared to other West Coast artists. This album won’t be accessible to everyone, but it definitely has me curious to see what Vince does on his next project.

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#3 Godfather by Wiley

Released: 01/13/2017

Label: Wiley/CTA Records

Talk about another artist that I have slept on and an actual subgenre that I have slept on for years. I’m talking about the U.K. grime scene and the artist in question is the ‘Godfather of Grime’ Wiley. Over the past couple of years, I have recognized that grime’s popularity had finally made it across the Atlantic and into the consciousness of hip-hop in the United States with artists like Skepta being an ambassador of the genre. The aggressive style that grime artists rapped with over EDM-infused beats got me interested , so I decided to give Wiley a chance when I heard his latest album, Godfather, when it premiered on Beats 1 Radio with Julie Adenuga. I was sold from first listen and from start to finish, this album was a full-octane rollercoaster that had loud production, infectious flows, and great lyrics. This is also slated to be Wiley’s last album and hopefully that won’t be the case because Wiley is one of the forefront artists of grime, and Godfather proves it.

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#2 DAMN. by Kendrick Lamar

Released: 04/14/2017

Label: Top Dawg Entertainment/Aftermath/Interscope Records

What else can I say about Kung Fu Kenny that hasn’t already been said? K. Dot continues his dominance and solidified his position on top of the rap game with the release of his fourth studio album, DAMN. After coming off of the politically-charged and dense album that was To Pimp a Butterfly, I didn’t know where Kendrick was going to go with this one, but I wasn’t disappointed at all and he delivered once again. To me, Kendrick’s discography is pretty much flawless, and he hasn’t released a bad project in his career yet. He continues to be one of the most versatile rappers in the music industry today and with this album, he continues to provide the listeners all that is him. On the album, Kendrick discusses how his superstardom is affecting his personal life and how he deals with the effects of being in such a spot light. The overall sound his more accessible than To Pimp a Butterfly, and it was a little reminiscent of his Section.80 days. This album just made me realize that with all the fame and appraise that Kendrick has gathered over the last five years, he’s still human and still deals with the inner demons that plague a lot of people. In my eyes, he’s everything I want the ideal hip-hop artist to represent: humble, flawed, extremely talented, conscious, and progressive. DAMN. is probably on top of many people’s lists and deservingly so, but there’s actually one project that I enjoyed more than this great effort from King Kendrick.

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#1 ALL-AMERIKKKAN BADA$$ by Joey Bada$$

Released: 04/07/2017

Label: Pro Era/Cinamatic Music Group

That’s right. Mr. Badmon gets the number one spot on my list, and he truly deserves it. If you want to get my full opinion of the project, check out my in-depth review here. There are honestly no skippable tracks on this project, and I think it needs to get more love and attention than it has been getting since it was released. I just think that as an artist, Joey has emerged as a force to be reckoned with not just with his lyrical content, but with his ability to craft good songs that can appeal to mainstream audiences. The dude just keeps getting better and better and on ALL-AMERIKKKAN BADA$$, he maturing into the artist that I know that he can become.

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I hope you enjoyed reading my top 5 hip-hop albums of the year so far, and I’d like to know what were some of your favorites! Keep the conversations positive and remember...not everyone has to have the same opinion, but respect each other and keep it cool.

Also, be on the look out for my 5 favorites movies of the year so far list. I’ll probably post it tomorrow.

Anyway, have a kickass day and one love. - Chris Gonzo

#complexity blog #rather you than me #big fish theory #godfather #damn.#all-amerikkkan bada$$#rick ross #vince staples #wiley #kendrick lamar #joey bada$$#hip-hop #2017

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shanethvarosa · 5 years

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2018: In Review

At this point in time, I feel like my blog is 100% reblogs of memes and ridiculous videos of animals and maybe some gratuitous selfies. Originally, Shaneth Varosa was supposed to be a place for me to publish some of my articles about music and try to facilitate discussion about these releases. Unfortunately, life gets in the way, and I can’t write like I used to. While here on Christmas break from work, and with the next hour or so of free time I have, I wanted to go over some of the artists that did The Most this year and recommend their work in case you’re in need of something new and exciting. See more after the cut!

I’d like to start with about five honorable mentions and then move in to the ten artists who did the best job at promoting their craft and developing something sincere and meaningful. These honorable mentions all had really great releases, but overall didn't feel very impactful to pop culture overall.

1. Florence And The Machine - High As Hope was absolutely one of my most anticipated albums this year, especially after the amazing lead single was released out of the clear blue sky. The follow up single, Hunger, is one of the most relatable tracks in her discography. However, the lack of overall energy was somewhat disappointing despite the lyrics being 100% on point.

2. Miyavi - I’m not sure I’m as big a fan of the Samurai Guitarist as I used to be, however he really is expanding upon his talents and schmoozing with the right people. A feature from Samuel L. Jackson was no small feet and he really did some neat guitar work on his third collaborative album this year.

3. Crystal Kay - A Japanese/American pop star with a voice like Janet Jackson, but does not always make the strongest choices when it comes to album tunes. Her singles for this era were almost entirely ballads, so when she released an album with actual bangers for the summer, I was very impressed.

4. Cher - Usually, when Cher releases an album it is a shoe-in victory for album of the year. However, she really only did a cover album of songs, even if they were completely amazing songs. Here’s hoping she has a collection of original material to release soon.

5. DADAROMA - A newer VK mainstay, but they haven’t actually released a full collection in over two years. Instead, they’re focusing on singles and EPs. This year, they began with “This is Live” which really blew me away following their lackluster third installment of the Dadaism series. They rounded out the year with the fourth installment which was also a significant improvement. However, in 2019, they should consider an album.

Without any further ado, the top ten artists who really Did That this year:

10. Troye Sivan: I am a sucker for a good Gay Tune and “Bloom” had 12 of them. It’s rare when you find an album that has no tracks you want to skip, and maybe I’m biased, but there isn't one track that isn’t relatable to me and most of my pals. Highlights: Plum, Dance to This, Animal.

9. CHVRCHES: Every couple of years, I’m guaranteed an over-the-top synth album from this group. Their debut found me at just the right time and their follow up found me at just the right time as well. These two albums really struck a chord with me personally and so naturally I was through the roof the Love is Dead was announced. While the production and vocal performance was totally still there, the lyrical content didn’t quite get me the way the previous albums did. Highlights: Graffiti, Graves, Deliverance.

8. Kamijo: Interesting how my favorite male singer and my favorite female singer both released albums this year and how neither of them made top five. Well, of course they were both excellent, but something stopped them from being everything they could be. Kamijo’s newest solo effort came in four parts and they were all a little confusing. Sang’s main storyline seemed to insinuate Napoleon Bonaparte was a vampire and the third installment of the album was a duet with vocaloid Hatsune Miku. Not to say the vocal performance and composition weren’t top of the line, but I just don’t know what he was trying to do with this era. Highlights: Sang II, Emigre, Nosferatu.

7. Dir en grey: The world’s most iconic shock-rock band finally returned to us after a four year hiatus. This year’s Insulated World really did give us something to behold: A concept album that wasn’t completely based on mindless violence and fake-deepery. Sure, Kyo does his standard noise-making throughout a lot of the album, but I firmly believe this is their best work in about ten or more years. Highlight: Ranunculus, Keigaku no Yoku (Ravenous Greed), Ningen wo Kaburu (Suffering Human Beings).

6. The 1975: A recent favorite of mine. Their singles for this era really enraptured what it is to be in your late 20′s in today’s day and age. Their whole album ended up being somewhat bizarre and ballad-heavy, but everything they put out before the main LP was fire and deeply, personally relatable. Highlights: Give Yourself a Try, Love it If We Made It, I Like America and America Likes Me.

5. David: Most who will read this post will probably not know that “David” is a pseudonym for VK heavy-hitter Sui. This man started out in Metis Gretel many years ago, moved to a band called Megaromania, worked briefly with Lin before ultimately achieving his solo project which is easily the best thing he’s ever done. Probably because it is produced by Kamijo, but I digress. This year, he gave us his first solo album released in too-many parts, but the overall product was outstanding. His visuals even made him look like a true-blue cartoon character. Highlights: Confession (Awakening and Genesis), Genesis (In Bible), Metempsychosis.

4. Panic! At the Disco: This band, whom we all know is just Brendan Urie, blew me away several years ago with Death of a Bachelor and the only way he could go at the time was down. DOAB was one of my top 25 albums of all time and I didn’t think he could outdo himself, but the energy given to us on Pray For the Wicked was genuinely dumbfounding. His lyrics were and are always at the forefront of what makes him special and for that reason I’m ecstatic that I have “Filthy as Charged” on a t-shirt. Also, he managed to make the title track of “The Greatest Showman” into the banger hit I knew it could be. Highlights: Dancing’s Not a Crime, Dying in LA, Old Fashioned.

3. Asagi: For those of you who don’t know, Asagi is another heavy-hitter in the VK world. He did attempt a solo project back in the day, but it didn’t take off. This year, thankfully, it really did in the biggest way and he didn't let his main project, D, suffer at all. Fans were getting bored of D’s constant Vampire and/or Alice in Wonderland themes and so he basically said “I hear your pleas, here is what we give you” and released a traditional Japanese album with a modern twist in January as the true beginning of his solo presence. The man then followed up with several incredible singles with D including Revive and Deadly Sin, both of whom had insane B-Sides. Highlights: Madara (Chestnut Tiger Butterfly), Gekkai no Miko (Children of the Moon World), Homuzakura (Hidden Cherry Blossoms).

2. the GazettE: An absolutely legendary band, one of the fewest VK success stories to be told. They’ve released so many concept albums over the years with stacks and stacks of successful singles, but 2015 really was their comeback year. They revamped everything about themselves and gave fans the darkest album in recent history. How do they follow it up? With their 9th LP of varying intensity, which was actually quite refreshing. My personal favorite aspect is how absolutely self-gratifying it was. Highlights: Ninth Odd Smell, The Mortal, Sono Koe wa Moroku (This Voice is Weak).

1. BoA: My favorite multi-national pop-star had a... Kind of ridiculous last few years. In 2014 she released a Japanese comeback album that was literally a collection of singles that came out since her last album. In 2015, though, she brought us back with a Korean album really showcasing her talents as a singer/songwriter and then in 2018 she did THE MOST!!!! She starts the year with a Korean EP called “One Shot, Two Shot” which was all bangers, and then followed up with a Japanese LP called “Watashi Kono Mama de ii no Kana (I Wonder if I Can Remain this Good).” This album was a little less perfect than the EP, however it will be forgiven as it had a perfect selection of ballads with one of the hottest tracks of the year: Mannish Chocolat. Don’t ask me what that means. Almost immediately after, she released an EP called “Unchained” which was an acoustic set of some of her recent ballads. Most notably, “Close to Me” was released as a completely acoustic piano ballad. Several months go by, and she comes back with a Korean LP called “Woman” which was almost completely perfect as well. “Encounter” and “No Limit” are probably the hottest tracks, but the title-track really showcases her feminist nature. She rounded out the year with yet another Japanese single called “Amor” which is, truly, the hottest dance track of 2018. I hope she keeps this momentum up next year!

#BoA #the GazettE #Asagi #panic! at the disco #The 1975 #Sui #Dir en grey #Kamijo #chvrches #troye sivan

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theworstbob · 6 years

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yellin’ at songs, week forty-four

reviewing the billboard debuts from 11.08.1997 11.10.2007 11.11.2017

11.8.1997

32) "Spice up Your Life," by Spice Girls

There was a Spice Girls movie made. We don't talk about this enough, but at one point, someone looked at Spice Girls and came up with an idea for a feature-length film. We don't do this with modern pop stars, but I'm sitting here listening to this song I never wanted to listen to, and now I'm wondering, what would a Lil Uzi Vert movie look like? I may find him uninterestingly dark, but I at least find something in him worth remarking on. I think that's enough for a feature-length film based on his works. It'd be the black Donnie Darko. That might be worthwhile, certainly more worth exploring than any of his songs, or this Spice Girls song you already knew was bad.

60) "Breaking All the Rules," by She Moves

This is the shallow bouncy pop music I signed up for. I never wanted 21 Savage. I just wanted subtly sexual pop songs I'd forget about seconds after listening to them. I wanted songs by artists for whom the dance moves mattered as much as the vocal work. Not Imagine Dragons, never Imagine Dragons. This. Solid stupid fun. I'm going to write my Congressman a link to this YouTube video and urge him to do something.

73) "At the Beginning," by Richard Marx & Donna Lewis

I'm sorry. I'm sorry! I didn't realize, months ago, when I started whatever this was, that I would have to opine on the fucking love theme from the seventh-best Don Bluth movie. I wasn't prepared to think about Anastasia in any way, form, or fashion, ever, for any reason, in my life. Anastasia was a VHS buried deep within the linen closet. I'm pretty sure it was an Easter basket filling. Did anyone else's family do Easter presents? We got chocolate, yeah, of course we got chocolate, just because my parents didn't love each other doesn't mean they were heartless, but my parents said, "I mean... We can't just give them chocolate. They should also get a present. But the present can’t be more than like $15. Hey it's a cartoon about a girl, have fun girl children." This was an afterthought, and now it's a duringthought for me. I don't. It's fine? It's the love theme from a Don Bluth movie, which means it's less well-written and has slightly worse singers and is a degree cheesier than the love theme from a Disney movie, and in the live-action reboot it’ll be covered by the seventh-place finisher from season seven of The Voice and either Nico or Vinz.

76) "I Don't Ever Wanna See You Again," by Uncle Sam

you have no idea how happy it makes me that this is a 1997 joint and not a 2017 joint because a song with this title with this credit would be sooooooooooooooooo much worse. it's bad? but it's not politically bad, it's just bad because an R&B man got a letter. so many '90s r&B songs begin with someone receiving a letter. the dude is now vocalizing over an orchestral swell, if anyone's wondering in what specific way this song is bad.

88) "All of My Days," by Changing Faces ft./Jay-Z

this is cool in the way a lot of '90s r&b is cool. like, there's the over-emotional uncle sam r&b, but then there's the hyper-chill stuff like this, music to which you can kick it, just settle into a groove and listen to again and again. stuff like this is so dope. like, it's chill, but it's compelling enough that you wanna stick with it.

92) "Baby You Know," by The O'Jays

this is the most disappointing thing i've ever heard. you see the artist name, you think, hey, this is gonna be a throwback jam. you don't think that this is going to sound like '90s r&b slo jamz because why would you think that, no one would want to think that because it would be a bad thing. but. that's what this ended up being. this song is what they did instead of buying a leather jacket and a motorcycle.

95) "Kiss the Rain," by Billie Meyers

I needed this after The O'Jays. I'm just gonna try my best to articulate something about the actual music, because gosh the drums on this track do some work. From the start, it's a really cool drum part, but the transition to the guitar solo and then the drumming under "As you fall over me, think of me, only me" are absolutely insane, really sell the climactic moment. Obviously, Billie Meyers is a phenomenal singer, she has as much to do with the moment as the drums, but I just really like drum parts. Apparently the drummer on this track also did the drums for one of the two Avril songs I like. I wish there were more dedicated Wikipedia editors who'd make full discographies for studio musicians, because I'm now curious how many pop songs I enjoy feature Kenny Aronoff's work.

96) "Da Joint," by EPMD

This was OK! I would like to take this time to note EPMD's discography. That is... certainly a thematic throughline. Do you think they got the idea to follow up Strictly Business with Unfinished Business and then felt they were kinda shoehorned in to putting the word Business in every album title? I feel that's what happened. Like, there's no going back after naming album three Business as Usual, and by the way, Business as Usual? HORRIBLE album title. Way to tell fans, "Yeah, this is the same shit as the first two albums. Y'all know the drill." I suppose it's a better title than None of Your Business, but I'd go with something like New Business or Business Is Boomin' or, if they wanted to do a collab with Jeezy, No Business Like Snow Business.

11.10.2007

89) "Watching Airplanes," Gary Allan

just another pop/country song with the word 'truck' in the first line

91) "Low," Flo Rida ft./T-Pain

There are people out there who don't like this song and those people are living the worst lives. What a joyless, horrible existence, feeling anything about this song other than "this is a hot party jam." Like, even when I was a pretentious 18-year-old trying to convince himself and others he liked Bright Eyes, I knew this was an undeniable banger. This is a perfect pop song. It's loud and dumb in all the best ways, disposable without being forgettable, and that hook. That's the sort of hook where, once you come up with it, you have to know you've got something great on your hands.

94) "Winner at a Losing Game," Rascal Flatts

What's the shelf life on a song like this? I'm not trying to make fun of country music here, I'm trying to make fun of any mid-tempo ballad. How much mileage can you derive from some slow song about a break-up? You can find ten or eleven of these on the chart at any given moment, and you can definitely reach a few hundred people who're going through a break-up at the exact time this song comes on, but time passes, and you think about the ex less, then think about the song less, and this isn't the sort of song people are gonna dredge up at karaoke or something ten years later unless they're REALLY not over it, nor are any country stations gonna throw it into any sort of classics bloc because there are, going by Billboard, 21 songs from 2007 alone more notable and the classics bloc only gets an hour, so what life did this song have after 2007? Is this the first time anyone has talked about this song in any way in the last ten years? Again: "Low" was disposable, but it was disposable like a Kodak, you throw it away but keep the memories. This is a wet wipe. It does one thing for three seconds and is flung into a pile where it rests forever.

96) "I'm Like a Lawyer with the Way I'm Always Trying to Get You Off (Me & You)," Fall Out Boy

I love that funk-tinged guitar in the verses, that's a dimension of musicality heretofore unheard from Fall Out Boy, and that line "I only keep myself this sick in the head 'cuz I know how the words get you off" is kind of tragic. There's a lot more to this song than being the first Fall Out Boy song to sound like a love song (even if it's not quite that), but I'll save the deep dive for the other, dumber blog I've fallen behind on updating.

97) "Empty Walls," Serj Tankian

Something you realize while watching a music video with very, very subtle references to the Iraq War: there haven't been any political songs in 2017, despite the fact Trump is a significantly worse president than Bush. No one's making protest music. And that's fine, I guess, maybe we don't need pop stars at the vanguard of political change, and we have seen strong performances from Kendrick and Kesha who maybe aren't making protest music but nonetheless are expressing strong beliefs in their music, but there's not a "none of this is OK" song like this. It's kind of a bummer.

99) "Dreaming with a Broken Heart," John Mayer

imagine having to tell yourself that this is a song you are proud of having written and a song you want attached to your name and a song you want people to associate with you from now until the end of your cultural relevance. imagine wanting to be known for making this song. if you're not sure whether or not you're a psychopath, i would recommend closing your eyes and picture yourself receiving a royalty check for this song. what emotion did you feel? if you felt pride, seek therapy.

100) "Another Side of You," Joe Nichols

at least this pop/country song doesn't have the word 'truck' in it. it even says that the girl traded in her sports car for a minivan, and this acknowledgement of a woman's ability to drive makes this maybe the most feminist country song there's ever been by a male artist.

11.11.2017

13) "Gorgeous," by Tay Tay

"There's nothing I hate more than what I can’t have/I guess I’ll just stumble on home to my cats.” Fuck off, dude. I’m glad there’s a Tay Tay single in 2017 that's mostly good, but that line just throws it completely off track. "I'm just a regular girl who's intimidated by hot boys! At least my kitties understand me!" That schtick doesn't work when there's reason to believe you haven't felt an honest human emotion in five years.

50) "Patek Water," by Future & Young Thug ft./Offset 62) "No Cap," by Future & Young Thug 68) "Feed Me Dope," by Future 77) "All Da Smoke," by Future & Young Thug 92) "4 Da Gang," by Future 100) "Three," by Future & Young Thug

I was kinda excited for Super Slimey, but having listened to the album I realize it is wrong to ever be hopeful. The problem with this collaboration is that the two personalities are dissimilar in ways that don't feel complimentary. Future isn't the most unconventional artist; he has a sound of his own, but it's a sound with a clear place in hip-hop's evolution, part of a direct line, whereas Young Thug is just his own thing. Future's great because he's direct and blunt, you never leave a Future song unsure of what the song was, and Young Thug is great because he's completely out there and doing his own thing, and these are not complementary traits.

61) "Meant to Be," by Bebe Rexha & Florida Georgia Line

i wished so hard and so long for a duet, i must have made a thousand wishes on a thousand monkeys' paws, and the ONE TIME i forgot to make sure the paw wasn't cursed is the time the wish came true

84) "Candy Paint," by Post Malone

"God damn, I love paper, I'm like Michael Scott" "Baby I'm the boss, like I'm Tony Danza" Someone get Post Malone more current pop culture references. I also find "You don't know me, homie, you don't want war" to be a toothless threat given that Post Malone's songs to this point have all been about how he loves to smoke weed and feel bad about himself. Like, I don't doubt that Post Malone could take me in a fight, I'm weak and my leg sometimes hurts for no reason, but I do doubt his willingness to actually fight me. You could poke Post Malone in the arm for at least 20 minutes before he half-heartedly tried to swat your hand away, then he’d immediately resume napping because there’s nothing in this world he cares about except getting enough sleep.

88) "Wolves," by Selena Gomez x Marshmello

"I've been running through the jungle/I've been running with the wolves/To get to you." ...Um? Hey. Guys? Look. I know, we're all just trying to have fun, this is pop music, we're trying to keep it light, trying to keep it breezy, these are just sounds we're hoping will please as many people as possible, could you PLEASE not say wolves live in the jungle. Could you not do that. Could you find a better animal for this line in the song.

98) "Bedroom Floor," by Liam Payne

I liked this. It's not like the best song in the world, but it's breezy, it has a nice line in the chorus, and Liam Payne makes a telephone noise multiple times and I think that's delightful. Not everything can be a titanic, world-changing pop music event. Sometimes, you just want a hot boy to make telephone noises. This song hits that incredibly specific spot in my heart.

Who won the week?

Not 2017 because the best song was the “hot boy makes telephone noises” song. Um... I hate to be uncreative here, but I think 1997 had the best total offering. I’d be willing to hear an argument for “Low” deserving much more consideration than I’m giving it, but you also have to argue that everything 2007 offered is better than everything 1997 had to offer, and if you gave me a choice between Spice Girls and the three 2007 country songs, I am cursing whatever put me in this position and going with Spice Girls. 1997: best overall song this week, least bad support.

Current standings: 1997: 18 2007: 12 2017: 14 With five wins in the last six weeks and eight weeks left in this incredibly essential project, 1997′s starting to pull away. But there’s hope for the other years yet, as 1997 offers no classics, whereas 2007 has one song I remember! 2017 has very 2017 things. 2017 is gonna 2017 it up, no doubt.

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