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lovejustforaday · 1 year ago

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2023 Year End List - #6

Red Moon In Venus - Kali Uchis

Main genres: Neo-Soul, Contemporary R&B, Psychedelic Soul

A decent sampling of: Synth Funk, Smooth Soul

Coming out as a Kali Uchis stan.

But for real, the Colombian American singer/songwriter seems to be the one artist that music hipsters, the English mainstream(ish), and the Hispanic mainstream can all collectively agree upon. Part of this is most definitely owed to Kali's versatility as an artist, with a primary basis of sound rooted in R&B (particularly neo-soul) but regularly dipping her toes into the waters of reggaetón, hip hop, bolero, and afrobeats.

Kali is also a definite lover of retro chic, given her clear appreciation for mid 20th century easy-listening pop and old Hollywood glamour. She cites artists like Ella Fitzgerald, Celia Cruz, and Curtis Mayfield as some of her biggest influences. At the same time, she modernizes these influences and aesthetics with a post-sexual revolution ethos of overpowering feminine-centred eroticism and fiercely wielded confidence and self-love.

Her voice is pleasant, mature, and strikingly womanly, in that same kind of way when you first discover as a child the sensation of being struck by the awe-inspiring beauty of a grown woman. Even as a gay man, I can confidently say that I think this is a sort of universal childhood experience, right?

Actually, I think a lot of Kali Uchis' success as an artist can be attributed to just how likable her musical persona is. I think that deep down, many of us want to be a Kali - completely liberated, in touch with our sensuality, and going through life as a warm and confident optimist. She makes music that isn't just well-written; it makes you feel good about life.

After making a big splash with her stellar 2018 LP Isolation and following it up with the success of 2020's Sin Miedo which was more invested in her Latin American roots and corresponding following, I was very curious to see where she would take things next with her career.

In the end, as it would turn out, Kali Uchis' 2023 record didn't really amount to anything that surprising. Instead, we were treated to a progression and evolution in her sound that feels very natural to her, culminating in an album that makes good on the typical promises of a Kali Uchis project.

That is to say, Red Moon In Venus exists in a rose-tinted world bedecked with lush palm trees and populated by curvaceous mermaids. The record is a creamy cocktail of smooth and funky soul jams with the sweet taste of cinnamon kisses and strawberry wine. A true musical oasis of the richest fruits.

Kali really is at the top of her game here. Everything is a subtle improvement on what already mostly worked for her on past projects, with a little more psychedelic flavour added into the mix, resulting in a final product that just sounds and feels really gorgeous and summery to listen to. Not all great music has to be challenging; this just does incredibly well at what it is already comfortable doing.

The record's first song proper is the lead single "I Wish You Roses", a beautiful parting gift to an ex-lover she holds no grudge towards. Petals flutter past the mind's eye as the world of this neo-soul paean springs to life with all the shades of a summer's rainbow. This song is a soft sigh of relief, heard quite vividly in the actual noticeable sighing melodies of those psychedelic keyboards in the chorus. A very classy song, expressing a sentiment not nearly heard often enough in most music about breakups.

"All Mine" is a lights off "wah-wah" slow jam describing a greedy lover's fantasy of having someone completely to themselves. The sound of the passionate id taking over the superego's domain.

Fans of the big city pop explosion that happened on the internet with the surge of Mariya Takeuchi's "Plastic Love" a few years ago may get a lot of mileage out of "Endlessly", a synth funk track that captures a similar kind of metropolitan utopianism. Kali really knows how to bring the kind of riding-passenger-in-a-red-convertible energy that a track like this one needs to really all come together.

"Moral Conscience", in mild contrast to "I Wish You Roses", is a cautionary tale of karma hunting down an ex-lover who hurt her. Even still, there's more of an air that she's simply warning the wrongful party here - it's not a threat, she's just stating a fact about how the world works (as she sees it anyway). Still keeping it classy. Musically, this is thick and fleecy, lounging languidly in a boudoir sofette with low humming synths.

"Deserve Me" is an elegant and drip-droppy hip hop soul duet with Summer Walker, who is now officially my new favourite random feature after previously popping up on last year's Kendrick Lamar record. Very killer refrain on this cut, almost as addictive as the track that follows it. Speaking of which...

"Moonlight" was quite possibly my SOTY for 2023. A lot can be said for how erotic round shapes are for basically all genders and sexual preferences, and I don't know how to explain this but the song simply sounds ROUND in every possible way. The funk bass is so bubbly and horny and sopping wet that it's probably illegal in many parts of the world. Kali is giving it her ALL on those verses. Absolutely luxurious production. The chorus has that subtle air of mystery that really ensnares the erotic imagination. I can't even remember the last time I heard a song that positively oozed sex like this, while also describing such a clearly healthy relationship. Is it possible to be getting drunk off of flowery bubble bath fumes? Because this is precisely what it would feel like. Interstellar spa getaway for two in the neon pink galaxy of Aphrodite. Perfect fucking song. A++ goddamn.

I could say a few words as to how this is a back-loaded record, but I think y'all have heard me call something front or back loaded at least a dozen times and I'm struggling to find original ways to express this sentiment. Either way, this is a milder case - more just that the second half is so consistently brilliant that it kinda blows the first half out of the water, particularly that early-mid section. The weakest moments here are the least imaginative ones.

But a very good chunk of this record is just pure gold. Red Moon In Venus is a vibrant and aesthetically immaculate R&B record, possibly the best of the new decade thus far.

As I publish this review, Kali has already dropped another album in the first few weeks of 2024 and it sounds almost as good as this one. I don't know how exactly she's doing it but she makes exploring a variety of genres and killing it at every one of them look so easy. Kali Uchis is the queen of her medium right now.

9/10

Highlights: "Moonlight", "I Wish You Roses", "Deserve Me (with Summer Walker)", "Moral Conscience", "All Mine", "Endlessly", "Not Too Late (Interlude)", "Love Between", "Happy Now"

#album review #music review #list #aoty #year end list #2023 #aoty2023 #neo-soul #soul #psychedelic soul #R&B #contemporary R&B #Kali Uchis #red moon in venus

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afrobeatsindacity · 1 year ago

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BURNA BOY REAFFIRMS HIS GREATNESS ONCE MORE WITH "I TOLD THEM..."

Ever since the stroke of luck or carefully planned commercial move that was the release of "Ye" in January of 2018, Burna Boy has not stopped rising. The song that led to his meteoric rise was a part of his album, Outside which marked his major label debut. With the success of the album shooting him into universal acclaim, he wasted no time in declaring himself the African Giant with a new album released in 2019. He kept with the pace by releasing his fifth studio album which he named, in true smug Burna fashion, Twice as Tall. Five years and a few weeks after that first alignment of stars, Burna is still steady on his grind and as confident as ever with his new body of work, I Told Them…, his fifth album in six years. The title is no doubt drawn from the same self-assured state of mind that the previous ones were.

Burna's greatness shines through from the very beginning of the album as his unique artistry is put fully on display here. He begins with a palm wine music–inspired, slow tempo song with traditional percussion. "I told them", he says and he repeats it, and his delivery is very much "I told you so". It is a clear payback to all those who didn't believe in him. He sings his own praises, calling himself amongst other things; a genius, a giant, the master. GZA, of the legendary Wu Tang Clan, comes in at the end with a spoken word rendition. Burna's self proclaimed genius is evident not only in this song but in the entirety of the album which is a unique blend of different elements and influences, featuring snippets, excerpts and samples from other musical works, banter with friends and phone conversations all carefully curated to create an inimitable work of art.

"On form" for instance, is both Afrobeat and Afrobeats and he mixes English with pidgin and Yoruba. "E no go tire me, nothing we never see", Burna sings, assuring us that he does not plan on quitting anytime soon. Burna travels through time in the earlier released "Sittin' on top of the world" which features a sample of Brandy's 1998 single, "Top of the world". It is a funky delight and a perfect throwback to the vibes of the late '90s and early 2000s.

Is it really a Burna Boy album if it doesn't feature a bit of political activism in some form?. On "Cheat on me", Burna takes a break from the focus on girls and money which occupied most of the earlier tracks, to pass a message about the prejudiced treatment of Africans by foreign governments; "Make embassy no deny my people visa/ No be Taliban, no be Al-Qaeda". Dave makes an appearance here but the potential of his verse is hindered by what could bluntly be described as lazy writing. He borrows multiple rhymes from Burna; "Believer", "Kilometer" and "Visa", using the last to end three different lines. Dave, also Nigerian, missed an opportunity to deliver a resonant, patriotic verse that could perhaps rival that of Skepta in "Dimension". On this song as well, Burna reworks a sample, this time from English singer Kwabs' "Cheating On Me", though this snippet bears only sonic but not thematic connection to Burna's new album. "Big 7" bears a similarity in rhythm to "Sittin' On Top Of The World", calling to mind early hip hop culture while Burna Boy grittily brags that he's been "Wavy since London, wavy since Berlin", referencing European cities from his tours on his journey to world domination.

But despite all of this, Burna is not forgetting his home and people. He takes a quick trip back home with "Giza", an Amapiano track with Seyi Vibes that is simply perfection, beginning with the ethereal sound of the Ney, the Arabian flute, and followed by rapidly mounting, light percussion. Seyi begins the track with characteristic spoken-word rap, and Burna's deep bass glides so smoothly into the second verse that it might take you a second to notice when the baton was passed. On "If I'm lying" Burna returns to foreign soil, this time somber and sincere. His delivery is assisted only by a few guitar strings and toned down Middle Eastern vocalization that gives a naked poignant beauty to the RnB song. Burna puts on no airs here, baring himself to the world. "Everyday I just dey give thanks for life/ Know how to move 'cause I know sacrifice", he begins. Not long after he promises; "If you need a shoulder to cry, then I'll give you mine".

On the next song however, Burna draws from a completely opposite emotion—anger. "Is this the motherfucking thanks I get/ For making my people proud every chance I get", he begins furiously. Like the Dave assisted "Cheat on me", this song too is about his people, but where he had pled on their behalf for respect from the outside world on the previous song, on this one, he berates them for what he believes to be a gross ingratitude for his many gifts, including his founding of Afro Fusion and being the blueprint for other African acts seeking global fame. He confronts them with their accusations and claps back at their threats, sacrificing melody for message, so that the song is not as appealing as most others. "Thanks" features hip hop heavyweight, J. Cole, whose verse would have served better on one of the grander rap-leaning tracks rather than an Afrobeats track that fixes on a domestic squabble between a man and his people.

I Told Them… had been much anticipated since its announcement, but even more so in light of Burna's recent interview with Apple music where he made some controversial statements about Nigerian music's lack of substance. Ironically, many of the songs on his album centre on hedonistic pursuits - Afropop staples. There was talk of "Azul and champagne" in "City Boys", "Rocking your body" in "On Form" and in "Normal", he makes us know that none of this is excessive in his book. But this is Burna Boy, and flippant and dismissive comments are not a new thing coming from him. And perhaps he could be exonerated on the grounds that he is one of the few artists in the business who regularly ventures out of that banal box to create timeless pieces of art.

With I Told Them… Burna Boy manages to pull off what many African artists have failed and are still failing at; creating a sound that will tie two worlds together. He not only does this effortlessly but even manages to bring in slices of different subcultures - African-American hip hop, Afrobeat, Afrobeats, Reggae fusion, Amapiano and RnB. The album is a patchwork of cultures, it is Burna's journey through space and time collecting bits and pieces here and there for an enduring album. I Told Them… is Burna taking another giant step across continental waters to claim new territory whilst still managing to carry along his already conquered turfs, putting his versatility and ingenuity on full display for the world to see. The African Giant need not try to tell us of his greatness anymore as he has proven it to us time and time again. But knowing Burna, there is no doubt that he will continue to.

This article was written by Afrobeats City Contributor Prisca

Afrobeats City doesn’t own the right to the images

#Afrobeats #Afrobeats City #Burna Boy #I told Them #Burna Boy I Told Them #Africa #African music #Afrobeats article #Nigeria #Nigerian music #Wu Tang Clan #No.1 UKTopAlbum #UK Music charts #J Cole #Brandy #Sittin on top of the world #Cityboys #Seyi Vibez

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deadcactuswalking · 1 year ago

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REVIEWING THE CHARTS: 16/09/2023 (Olivia Rodrigo, V, Leigh-Anne/Ayra Starr)

Content warning: Brief sex references

For a second week, Doja Cat grabs the #1 with “Paint the Town Red” - welcome back to REVIEWING THE CHARTS!

Rundown

As always, we start every episode of this show - however much of a non-event - with our notable dropouts, songs exiting the UK Top 75, which is what I cover, after five weeks in the region or a peak in the top 40. We don’t have much here but they are some heavy-hitters we say farewell to: “Pink” by Lizzo, “I Can See You” by Taylor Swift, “Padam Padam” by Kylie Minogue and finally, “People” by Libianca

As for our gains and returns, outside of the top 40, not much happened in this week’s chart, and even then, the top 40 happenings are mostly new entries. We do see Fleetwood Mac’s “Dreams” at #74, and as for our gains, we do see some notable boosts for “I Remember Everything” by Zach Bryan featuring Maggie Roggers at #45, "DNA (Loving You)" by Billy Gillies featuring Hannah Boleyn at #43, "City Boys" by Burna Boy at #23 and "Strangers" by Kenya Grace at #12.

This week’s top five of the UK Singles Chart actually had some decent change-up, particularly “Prada” by casso, RAYE and D-Block Europe at #5, “adore u” by Fred again.. and Obongjayar at #4, “bad idea right?” and “vampire” by Olivia Rodrigo off the album boost to #3 and #2 respectively - more on that later - and of course, Doja at #1. Now that’s out of the way, I suppose it’s time to talk about the new songs that entered this week.

NEW ARRIVALS

#55 - “Water” - Tyla

Produced by Sammy Sosa

That was a short introduction, wasn’t it? Usually the rundown is at least a bit longer, but this may be a short episode in general. We do have around seven new songs, but I can already tell not many of them will warrant all that much discussion. Anyway, whoever the Hell Tyla is, she definitely isn’t the Creator, because this song has many other writers, including names familiar to me like Tricky Stewart and Ari PenSmith. It’s not often that an R&B song, which it seems to be by the credits, blows up without name recognition here in the UK, except for like… Eamon but we don’t want him back so I was wondering how this would sound and… turns out it’s really good. It’s a lot funkier than I expected, going off a faster-paced almost dancefloor-ready house groove accentuated by Afrobeats-sounding percussion, in a style known as amapiano - we might have covered it here before. Hailing from South Africa, Tyla isn’t the most unique singer but she has enough little inflections to function within the pretty minimal song, even if there’s a bit more Auto-Tune than I’d want. Regardless, the harmonies are the tightest thing here, as the song is otherwise pretty loose and fun: not everything is perfectly on-beat, there’s random stray snares, cute 808 patterns mixed really low in the chorus and flailing vocal loops just developing outside of an otherwise set-in-stone sex jam, which is an approach I can appreciate for this “let’s make love right now, no questions asked” kind of content. That choir vocal chorus is absolutely infectious and even if the mix gets a bit muddier by the end, I think that actually makes the song feel more intimate and in tune with itself. The song isn’t exactly fully developed, I feel, and could use a proper climax bridge but is otherwise a pretty decent track I’m honestly surprised is here though I could see it lasting a lot longer. Just a bonus thought, I’d also love to hear Doechii on this. Remix, anyone?

#52 - “Tip Toes” - Clavish and Aitch

Produced by WhYJay and LiTek

Clavish making a song with Aitch is like Snorlax making a song with shiny Snorlax at this point. Aitch at one time was a charming, kind of obnoxious nuisance but he and ArrDee alike have quickly become indistinguishable rap stars. And Clavish, well… it’s Clavish. I did say last week that I’d like more 2000s G-Unit-type beats in British hip hop and this does deliver on that trend, with the stock steel pans and faux-luxurious pianos under a clapping beat that is overall pretty good. I’ll admit, WhYJay and LITek did a good job here, no-one else did. Clavish says a whole lot of nothing talking about girls, and well, at least Aitch says that he doesn’t do crypto. That’s… reassuring, I guess. He’s on full bore mode here though, just being dull and gross as usual. The hook isn’t even all that memorable, even if it at least has a much more substantial melody than a lot of UK rap hooks, so it might get stuck in my head. As a whole though, this is just not engaging at all to me.

#35 - “Bongos” - Cardi B featuring Megan Thee Stallion

Produced by DJ SwanQo, Breyan Isaac and We Good

I’m sure a lot of people were expecting a sequel to “WAP” for this one and it most certainly took some people aback by not sounding like it at all. Sure, compositionally, it’s there - there’s a looping vocal sample, the song is structurally nonexistent and bass-focused but on the surface level, considering how it actually sounds, the two are night-and-day. For one, the vocal sample this time is a complete fragment under what sounds to me like a Brazilian funk beat, or maybe a dembow track, but still a minimal, incredibly annoying one, which is a shame because Cardi’s pretty fun on here with basic but memorable punchlines and sassy lines accentuated by her no-darns-given demeanour, which is kind of needed given the complete lack of a hook, and the fact that none of the dirty lyrics are remotely surprising anymore. Then Megan comes in, steals the show with an impeccable flow and commandeering presence on the track that almost makes the beat sound good. Truth is, just like “WAP”, without the overwhelming video, this song is just kind of nothing. By the end, Cardi’s repeating herself as much as the beat and Megan’s presence winds down into sharing verses and ad-libs, so it’s like one shining moment in a whole lot of sludge. Again, whilst it sounds nothing like “WAP”, I pretty much have the same opinion on it. Huh.

#34 - “Angry” - The Rolling Stones

Produced by watt

Oh, hey, the Rolling Stones! When’s the last time they charted? Must have been decades ago. Oh, 2020? Well, damn, nevermind then. This is their first time in the top 40 since 2005, though even that seems a bit recent. I guess these guys are still kicking in a major way… I never got them. I don’t think I like a single song from them that I’ve heard past “Paint it, Black” and that is including their other big hits. They’re one of the most legendary rock bands of all time, but I simply cannot get into them. Their newest single, propelled into the top 40 thanks to a livestream with Jimmy Fallon - wow, that aged quickly - is probably the worst place to start but it is produced by watt, who since working with Post Malone has kind of styled himself as a modern rock producer for older bands, and as you’d expect for a song by an aging rock band from the 60s written with a modern pop producer, it sounds completely competent and serviceable with very little risks. I will admit that riff is kind of incredible in just how simple yet earwormy it is, but the drums feel flat, the content isn’t exactly compelling and whilst Mick Jagger’s voice doesn’t so much signs of aging, it’s not like he wasn’t a nasal annoyance to begin with. That chorus especially feels like it has an unnecessary pop swell that could have been replaced with the drums going double-time or a crunchier guitar, something that would really make this rock, you know? This band would probably complain about songs on the radio not going hard enough, and I know their audience definitely does, but this one goes about as hard as a jaffa cake fresh out the box. I’ll give it to the Jagger-Richards writing duo though, they can still write catchy and sometimes just bizarre songs. “I’m still taking the pills and I’m off to Brazil”? You’re just gonna let that lyric sit there in the outro? Not rhyming it with anything even? Alright, man.

#28 - “My Love” - Leigh-Anne featuring Ayra Starr

Produced by PRGRSHN, Khristopher Riddick-Tynes, Alex Goldblatt and Magicsticks

Leigh-Anne’s follow-up to “Don’t Say Love” actually landing in the top 40 was kind of a surprise to me but she has more potential than Ms. Nelson so I’m not exactly complaining that she’s the solo act with at least a little longevity out of Little Mix. She even brings on Nigerian singer Ayra Starr, who I tend to like, so this could easily end up as a good song, though maybe not matching up to the Timberlake-T.I. collaboration of the same name (plug my 2006 list here)… and I mean, yeah, of course it is. The distant synth lead is backed by a slick guitar in a mix that eventually embraces all the elements of a good Afrobeats song: the layered percussion constantly bordering on both chill and tense, the choir vocals that are always just a winner for me, it’s all here. In fact, Leigh-Anne and Ayra Starr do a little back-and-forth throughout pretty much the entire song and it’s wonderful. The song’s lyrics are where it might miss out just a bit, largely because there’s nothing too unique or poetic about the love she’s giving here, even if the very female-centred perspective is refreshing. I’m more focused on how well the ladies’ vocals blend, the way they play off the bass and rhythm so tightly, the echoing backing vocal from Ms. Starr in the chorus, the breathy ad-libs after the first chorus that just flutter effortlessly off of the drums, pretty much everything else. This is a rather detailed song in terms of throwing a lot of proven pop and Afrobeats tropes but with immense sound design, and the production here from the quartet we have is genuinely impressive, not that our performers aren’t, because Leigh-Anne kills it with her bombast and Ayra is the perfect vocalist to play off that, because of how relaxed as well as just slick and fast she can be at her best, cool dripping off her constantly. This is an excellent song through and through so I’m glad it’s here - whether it’ll last has yet to be seen, and since “Don’t Say Love” tumbled second week, I have my concerns but I hope this continues to chart because it’s fantastic.

#24 - “Slow Dancing” - V

Produced by freekind. and FRNK

Our latest BTS member to chart with a solo hit, this is V, who recently released his debut solo EP, Layover, this being one of the singles it produced. Once again, I find myself kind of at odds with the direction BTS members are going in, with this feeling like a bit too programmed version of a smooth R&B song, which V doesn’t fit just as well as he wants to. Now I’m still a sucker for smooth R&B jams so I end up still liking the melodious elements of this, like those cheesy strings and the jauntling keys jammed under a pretty remote, stagnant-sounding drum pattern. In fact, the chorus just worsens it, as I’ve yet to fully understand why the synth his producers chose sounds like a video game sound font for a glass or smoke sound effect instead of, you know, a synth. V’s performance isn’t bad, even if it’s stuck between sounding like other guys - YUMDDA and Joji come to mind - and being so laidback that it kind of stifles much of the emotion - so it gets off the intimacy pretty okay and… okay, that flute is beautiful. That flute solo is incredibly gorgeous and has no business being in such a song. It caught me way off guard originally and honestly it’s such a shame there aren’t punchier organic drums or an actually bearable synth for it to lay upon. I did listen to the “piano version” out of curiosity - it is considerably worse thanks to the lack of flute, but is mostly the same and suffers from a lot of the same problems, just being kind of identity-less, lacking in second drafts. I wish I could like this more but yeah, it’s not it for me. Sorry.

#7 - “get him back!” - Olivia Rodrigo

Produced by Dan Nigro, Alexander 23 and Ian Kirkpatrick

The intro to this song is Alexander 23 asking if it’s “the song with the drums”. What do you mean, the song with the drums? You made a rock album, Mr. 23, most of the songs have drums. Anyway, I think it’s no surprise that O-Rod’s #1 album GUTS did not appeal to me, as the teen melodrama didn’t wear off whilst a lot of the rawer pop catharsis I feel has, replaced with a sheen that wants to be taken off by sheer emotion but just never finds it footing as anything else other than a faint desire. There’s something raucous and real in here, it’s just not coming out thanks to clumsy (yet unique and very easily recognisable) writing, softened blows of buzzy production that only fully rip on occasion and honestly shoddy sequencing. “get him back!” is a pretty good example, given the drums and fuzz that would go harder if it weren’t for O-Rod being the Beastie Boys for Gen Z girls for whatever reason in those verses, and a kind of bratty chorus that just doesn’t resonate with me on any significant level. I understand it fits with the pathetic, vengeful content, but it’s also just not something I’m going to appreciate, especially not with those faint “ohs” in the verses that seem like last-minute attempts to add a distinct melody, and a bridge that started as a cool a capella idea and ends up as just a mess, not consolidating into the uppercut she mentions because of how she’s not front-and-center in that weak final chorus, and the… can you call it a guitar solo if it’s basic, I can barely hear it, and it’s drowned out by rambling? This isn’t my thing, probably never will be and it’s a shame because I can tell everyone involved is talented, I just don’t think this is ever going to appeal to me. I did like the opener though, and “pretty isn’t pretty”, mostly because I feel like they had a bit more to say. Otherwise, yeah, I’m not a fan.

Conclusion

I might just be getting old - I feel like the amount of songs I consider middling has increased a lot in the past couple months. With that said, nothing here is bad so I probably have to half-sincerely give Cardi B and Megan Thee Stallion the Dishonourable Mention for “Bongos”, even though the song’s mostly just decently pestering, whilst Worst of the Week goes to “get him back!” by Olivia Rodrigo, as you should probably expect by now. It’s the only song this week I feel actively fails at what it’s trying to do. The best falls out a lot easier: Best of the Week goes to Leigh-Anne for “My Love” featuring Ayra Starr - by far - and the Honourable Mention ends up going to Tyla with “Water”, I think I’ll check out more of her stuff. For now though, thanks for reading. I’ll see you next week!

#song review #uk singles chart #pop music #cardi b #megan thee stallion #v #ayra starr #leigh-anne #olivia rodrigo #rolling stones

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jranimator · 2 months ago

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Bridging Local and Global Music Audiences

The music world today is more interconnected than ever before. With the rise of digital platforms and music apps, boundaries between local and global music cultures are fading, allowing listeners from all walks of life to explore diverse tunes. This article delves into how music apps and platforms bridge the gap between regional and international audiences, offering a unique blend of discovery and engagement.

The Growth of Regional Music Apps

In the past decade, regional music apps have significantly transformed the listening experience. India, for instance, is home to a thriving music industry with millions of avid listeners. Among the platforms that stand out is the best music app India, which caters specifically to Indian audiences. This app excels in promoting local artists, folk music, and Bollywood tracks while also offering users access to international hits.

These apps cater to unique preferences, such as regional languages, cultural soundscapes, and trending genres like Indian hip-hop. By doing so, they create a personalized experience that global platforms often lack. Indian music apps have not only enhanced the reach of local musicians but also created an ecosystem where diverse voices can thrive.

Connecting Local Audiences with Global Sounds

Global platforms like Airtel Wynk Music have taken the initiative to bridge local music traditions with international sounds. Wynk Music combines the charm of regional tracks with popular international hits, ensuring that users enjoy a well-rounded experience. For example, it’s not uncommon to find a curated playlist that features a Bollywood dance number alongside a chart-topping pop hit.

Such integrations make these apps a gateway for listeners to explore new genres. Imagine discovering a South Korean ballad while listening to your favorite Punjabi track or grooving to Afrobeat rhythms during your workout session. These seamless transitions reflect the power of technology in breaking down cultural barriers.

Lyrics as a Universal Connector

Lyrics are another powerful tool that connects audiences across geographies. Songs with universally relatable themes, such as love, ambition, or nostalgia, resonate deeply with listeners regardless of language or origin. A striking example is the popularity of New York lyrics. Tracks inspired by this iconic city are embraced worldwide, showcasing its universal appeal.

Music apps have recognized this connection, incorporating features that highlight lyrics for deeper engagement. For instance, apps often allow users to read, share, and even sing along with synced lyrics. This not only enhances the listening experience but also introduces audiences to linguistic nuances and storytelling traditions from different cultures.

Music Platforms as Cultural Ambassadors

Platforms like Just Music play a significant role in acting as cultural ambassadors. By curating playlists based on themes such as “Global Hits” or “Music from Around the World,” they encourage users to step out of their comfort zones and explore something new.

These platforms also support lesser-known artists by providing them with a stage to showcase their talent. As a result, listeners gain access to an eclectic mix of music that ranges from African jazz to Scandinavian folk tunes. Such initiatives contribute to a more inclusive and diverse music landscape, where local traditions gain recognition on a global scale.

Which Country is the Best for Music?

The debate over which country is the best music in the world is a long-standing one, and the answer largely depends on individual preferences. Some might argue that the United States, with its dominance in pop, hip-hop, and rock, takes the crown. Others might highlight India for its rich classical traditions and Bollywood flair or Brazil for its samba and bossa nova.

Music apps have allowed audiences to explore this diversity firsthand. They provide an opportunity to appreciate the unique elements of each country’s music while also finding commonalities that unite us all. Through collaborative projects, international tours, and global playlists, these platforms continue to redefine the boundaries of music.

Why Bridging Audiences Matters

Bridging local and global music audiences has significant cultural and economic implications. It fosters cross-cultural understanding and appreciation, breaking stereotypes and encouraging collaboration. A listener in Tokyo can now enjoy Afrobeat from Lagos, while an artist in Mumbai can gain fans in Los Angeles.

Moreover, the globalization of music contributes to the growth of the industry. Artists earn recognition beyond their home countries, leading to increased revenues and opportunities. For listeners, it means endless possibilities for discovering their next favorite track or artist.

How Listeners Benefit from Diverse Music

For listeners, the blending of local and global music offers endless possibilities. It enriches their playlists, provides a window into different cultures, and fosters a deeper appreciation for artistic diversity. Music apps act as the medium through which they can access these treasures, catering to every taste and mood.

The rise of apps like the best music app India, Airtel Wynk Music, and Just Music ensures that music lovers are never limited in their options. From the latest trending pop songs to traditional folk melodies, these platforms offer something for everyone.

Conclusion

Music has always been a universal language, and today’s digital platforms have amplified its reach. By bridging local and global music audiences, apps and platforms ensure that diversity thrives while also celebrating the universal emotions that music evokes. Whether it’s through lyrics like New York lyrics, curated playlists, or unique features, these tools make the world a smaller, more harmonious place.

The next time you explore a music app, venture into uncharted territory. Discover a genre you’ve never heard before or listen to a song in a language you don’t understand. You might just find your new favorite tune while connecting with a culture halfway across the globe.

What’s your take on the globalization of music? Share your thoughts and favorite apps in the comments below!

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delivermytuneo6 · 2 months ago

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The Globalization of Pop Music

In recent years, the music industry has rapidly expanded beyond traditional borders, embracing an era defined by cultural fusion and digital connectivity. The influence of once geographically confined sounds now resonates across continents, opening the door for a richer, more diverse musical landscape. Global recognition comes in many forms, including billboard awards nominations, which increasingly reflect a more multicultural array of artists. These celebrated accolades highlight not only the breakthrough of new talent but also the undeniable impact of established performers who have redefined genres and connected with audiences across the planet.

A crucial factor in this ongoing transformation is the ubiquity of pop star names that transcend linguistic and cultural barriers. These monikers, once familiar primarily within their home countries or regions, now spark instant recognition on a global scale. Walk through any major city—from Tokyo to Toronto—and you’ll find pockets of fans who know every word to their idols’ hits. They follow their style trends, engage in fan discussions online, and unite in digital spaces to celebrate album releases and concert streams. Platforms like YouTube, TikTok, and streaming services have contributed immensely to this phenomenon, ensuring that a track can travel thousands of miles in a matter of hours, all without the listener ever leaving their home.

Such widespread recognition is evident in viral songs that gain universal appeal almost overnight. Consider the resonance of popular tracks featuring friends marshmello lyrics. These lyrics, simple yet captivating, have earned countless covers, dance challenges, and short-form videos created by fans worldwide. The track’s catchy melody and relatable themes embody how internet culture reshapes how we discover and interact with music. It’s no longer about where an artist originates; it’s about how listeners everywhere connect with their sound.

Yet, global stardom hinges on more than just a single trend or platform. Adaptability and versatility are key, as demonstrated by artists like Rihanna. Her evolving sound, as evidenced by her rihanna biggest hits, spans dancehall-infused pop, R&B ballads, and genre-bending experiments. This flexibility mirrors the cosmopolitan nature of today’s audiences, who have grown accustomed to blending influences and savoring the unexpected. Rihanna’s lasting relevance proves that an artist who can adapt to the tastes of multiple regions—not just their own—can become a household name everywhere.

All of these changes are most visible when examining the ever-evolving lists of global trending songs. Whether it’s Latin rhythms breaking into the English-speaking mainstream, K-pop idols selling out arenas in Europe, or Afrobeats tracks charting around the world, these trends underscore how music is now a universal language that everyone can speak. In decades past, radio airplay and record store presence determined a song’s fate. Today, data-driven recommendations, fan-driven social media campaigns, and instant international accessibility have replaced traditional gatekeeping.

The globalization of pop music is far more than a market trend; it’s a cultural shift that echoes the interconnected world we inhabit. As physical borders become less relevant to musical discovery, listeners embrace an eclectic mix of sounds, while artists find new ways to express their identities through creative fusions. In this new era, music lovers can freely explore a sonic universe without boundaries, forging new communities and relationships that transcend geography. As this cross-pollination of sounds continues, the global stage remains open for rising stars, timeless icons, and unexpected collaborations that shape the soundtrack of our collective future.

#Music

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radioeuroextasis · 4 months ago

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MOVE Afrobeat Mix - Veronica Brown

A Detroit native, Veronica Brown counts Aretha Franklin, Don Was, Dave McMurray (with all of whom she's had the pleasure to work with), Rance Allen, Fred Hammond, Luther Vandross, Whitney Houston, Tina Turner, The Temptations as musical influences that helped shape her dynamic artistry. Veronica grew to combine her love of music and a personal call to service by lending her talents to the Department of Defense (DOD) and the United Service Organizations (USO). As a principal member of the group “The Preachers Daughters,” and on behalf of the USO, she has performed worldwide for military staff and their families, veterans, and heads of state. In recognition of her accomplishments for the Department of Defense (DOD) and the United Service Organizations USO, Brown was presented the Key to the City of Detroit, a proclamation from the Detroit City Council, and was named Ambassador for the State of Michigan. With a growing global fan base thanks to her years of touring with the USO, Veronica released a series of dance music projects including her debut album That's Just The Way It Is, which featured "Last 2 Know,” produced by Dave McMurray, and the hit single "Words That You Say" that reached #12 on the Billboard Dance Chart, #3 on the Billboard Mix Mag Chart and #1 on several European dance charts. Veronica was featured on several compilations with Michael McDonald and Sheila E. Before "MOVE,” Veronica released the gospel single "Time After Time," which ended just short of reaching the TOP 50 Billboard Charts, “I Don't Wanna Be a Sinner," "My God," and "I Feel Blessed." Veronica continues to sing and travel around the globe as she readies for the release of her upcoming Album “Come Quickly”. Along with her esteemed music career, Veronica is a veteran flight attendant. In her upcoming book “INDISPUTABLE,” she shares her experiences as a Black flight attendant in white America and gives advice to anyone desiring to take their next job “to the skies.” Veronica is also the host of her faith-based program “Reflections with Veronica Brown”. Read the full article

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djntloaded · 6 months ago

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Discover Superstar YB's "Proudly Nigerian" EP – Stream It Now!

Superstar YB proudly unveils his new EP, “Proudly Nigerian,” featuring a vibrant mix of Afrobeats, Amapiano, and Afropop. This collection includes: 1.⁠ ⁠Undercover Lover – A catchy blend of Afrobeats and rock, exploring the thrill of a secret romance. 2.⁠ ⁠Love in Lagos (featuring Chinko Ekun) – An energetic celebration of Lagosian romance and city life. 3.⁠ ⁠Akwa Ibom – A soulful tribute to the…

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dtba · 7 months ago

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Discover Møya Rey's 'Tourbillon': A Tri-Lingual Heartfelt Reflection on Toxic Love and Embracing Self-Worth

___________________________________________________

Official Music Video for Tourbillon | https://www.youtube.com/watch?v=Q6Ar5RFNVeo

Stream Tourbillon on all DSPs here | https://distrokid.com/hyperfollow/myarey/tourbillon

CONNECT WITH MØYA REY

Instagram | https://www.instagram.com/moyamusic_

TikTok | https://www.tiktok.com/@moyamusic_

Youtube | https://www.youtube.com/@moyamusic_/videos

___________________________________________________

[Brooklyn, New York ] — Emerging artist Møya Rey has just dropped her highly anticipated new single "Tourbillon," a mesmerizing track that seamlessly blends French, English, and Spanish lyrics into a whirlwind of emotions. This vibrant single is a testament to Møya Rey’s multifaceted talents, showcasing her unique ability to fuse genres with ease. "Tourbillon" is a dynamic mix of Afrobeats, R&B, and Dancehall, reflecting her diverse musical influences and creative versatility. With its infectious rhythms and evocative lyrics, "Tourbillon" takes listeners on a captivating journey through love, self-empowerment, and the complexities of toxic relationships, all while celebrating Møya Rey’s rich cultural heritage and innovative sound.

Official Music Video for Tourbillon

youtube

Stream Tourbillon on all DSPs here

The trilingual track, which dropped on Sunday, 7/7, coincides with a special date: her grandparents' anniversary. This meaningful release date adds an extra layer of emotion and significance to the song. "Tourbillon," (French for whirlwind) is a powerful exploration of the cyclical nature of toxic relationships. Dropping the track on her grandparents' anniversary, Møya Rey underscores her belief in unconditional love. This juxtaposition highlights the contrast between tumultuous romantic entanglements and the enduring, unwavering love her grandparents represent, adding layers of meaning to the song's narrative.

"Tourbillon" stands out not only for its vibrant blend of French, English, and Spanish lyrics but also for its unique collaborative genesis. The song's first and second verses were co-written by a talented French artist who prefers to remain a ghostwriter, adding an authentic bilingual flair to the track. This secret collaboration brings a fresh, transatlantic dialogue to the music, enriching the song's narrative and emotional depth. Møya Rey's seamless integration of the ghostwriter's lyrical contributions with her own creates a compelling, whirlwind romance that resonates with listeners across cultures.

Opting for anonymity, the vocalist's voice is brought to life through the presence of Møya’s close friend, Caël Domond, who stars as the love interest in the music video. A French-Haitian artist himself, Caël’s involvement deepens the song’s transatlantic artistic vision. His role not only represents the elusive, mysterious figure in the song’s narrative but also reinforces the theme of a shared Black artistic lens that transcends geographical boundaries. With Caël’s authentic French-Haitian background, "Tourbillon" becomes a vibrant celebration of multicultural influences and artistic unity, enriching the track’s exploration of love, toxicity, and self-empowerment.

Møya Rey's "Tourbillon," is a testament to her artistic vision, blending elements from two vibrant cities. Recorded in the heart of Paris, France, and brought to life through stunning visuals filmed in both New York and Paris, the song embodies a true transatlantic collaboration. Møya Rey took creative control not only in front of the microphone but also behind the scenes, as she meticulously edited and color-graded the video herself in addition to creating the cover art. This hands-on approach ensures that every frame and note of "Tourbillon," reflects her unique artistic perspective and dedication to her craft.

"Tourbillon," opens with a poignant bridge, “Send me some flowers” a symbol of honesty and deep affection. This sets the tone for a song that explores themes of love, choice, and vulnerability.

The first verse reveals the depth of the ghost writer’s feelings. Although a fictive plot, both artists collaborated to enhance the meaning of a toxic, cyclical relationship. With lines like "I got more than flowers for you, cause you’re the one I choose," the song speaks to the profound connection between the artist and her muse, referring to them as her "unique rendez-vous."

**Verse 1**

I got more than flowers for you

Cause you’re the one I choose

Cherie, I fuck with you

T’est mon unique rendez-vous

The chorus blends French, English, and Spanish, reflecting the cross-cultural relationship at the heart of the song. "Tu y yo, it’s like a tourbillon (damn)" captures the dizzying, whirlwind nature of love, or rather toxic situationships perceived as love.

**Chorus**

Tu y yo (Spanish - you and I )

it’s like a (English)

tourbillon (French - Whirlwind)

In the hook, Møya Rey conveys a sense of longing and desire, highlighting the intoxicating effect her partner has on her. The lyrics "Can’t get enough when you sip from my cup" is a double entendre and testament to the deep, almost addictive connection shared between the two.

**Hook**

Can’t get enough

When you sip from my cup

Tell me the truth

If it’s convenient to you

Opened my heart

When speaking to you

I don’t know about it

Gotta feeling in my body

The second verse delves deeper into the ghost writer’s feelings, describing The blend of French and English continues, emphasizing the partner's love for the French language and the impact they have on Møya Rey's life.

**Verse 2**

You should know how I feel about this girl,

She's my drug, she’s my world

She loves when I speak French

Oh honey

Now my life won’t be the same

It drives me insane

How she’s a saint

In the concluding notes of "Tourbillon" Møya Rey delivers a powerful message about self-empowerment and the strength to walk away from toxic relationships. The lyrics “Cause you know I’m not the one” might initially seem like a moment of resignation, but they actually serve as a bold declaration of self-worth and strength. In the context of the song’s exploration of toxic relationships, this final line is a fierce affirmation that Møya Rey is “not the one to be messed with.” It’s a powerful reminder that recognizing your own value means not settling for anything less than respect and love. This outro transforms what could be seen as a defeat into a statement of self-love and resilience, making it clear that she will no longer tolerate being treated poorly. "Tourbillon"ultimately stands as a testament to the importance of self-affirmation and the strength it takes to reject toxic dynamics and embrace one’s own worth.

"Tourbillon" is more than just a song; it's an emotional journey that captures the complexities of love and relationships. With its trilingual lyrics and compelling narrative, it is sure to resonate with a diverse audience. Notably, the first and second verses were co-written by a talented French artist who wishes to remain a ghostwriter, adding an authentic bilingual flair to the piece.

Stream "Tourbillon" now on all major platforms and experience the whirlwind romance crafted by Møya Rey.

**Listen to "Tourbillon" on all platforms:**

For more information, interviews, or to request a press kit, please contact:

Shirley Reynozo

[email protected]

___________________________________________________

CONNECT WITH MØYA REY

Instagram | TikTok | Youtube | Music

Stream the EP “Lost in Translation” --> HERE

Watch her video for "Transatlantic Calls" on YouTube

Watch her video for Je pense à toi on YouTube

Watch her video for Je pense à toi (BSNYEA Remix) on YouTube

Watch her video for "Open Letter" on YouTube

Watch her video for "Long Distance" on YouTube

Watch her video for “DILE” on YouTube

___________________________________________________

MUSIC CREDITS

Performed & Written by - Møya Rey @moyamusic_

Produced by - DapperDeluxx @producedbydapperdeluxx

Bass - Franck Boom @boom2music

Mix & Master - Edson Sean @edsonsean

Male Vocalist - Ghost Writer

___________________________________________________

VIDEO CREDITS

Model - Caël Domond @gunnersamadeus

Director of Photography - Deme Brown @demegawd_

Video Assistants

Isiah Blake @isaiah.iman.blake

Genesis Bazil @flywithgen_

Produced, Styled, Edited and Color Graded by Shirley Reynozo - Down To Be Artsy

___________________________________________________

**About Møya Rey**

Møya Rey is a New York City-based multidisciplinary artist. As a Dominican-American born and raised in New York, Møya Rey has been shaped and influenced by a multitude of cultures. The transatlantic dialogue that occurs in music is the pulse that gives Møya Rey’s music an unwavering rhythm of expression and liberation. With the upbeat tones and percussions derived from multicultural influences of the Caribbean and West Africa, and the smooth rhythms of the United States, Møya is known for synthesizing multiple genres such as Afro-Tunes, R&B, Jazz, Hip Hop, Reggaeton, Amapiano, Brazilian Funk, Jersey Club, and Litefeet.

#moya rey #moyarey #tourbillon #Møya Rey #MøyaRey #Møya Rey tourbillon #Youtube

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moyareymusic · 7 months ago

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Discover Møya Rey's 'Tourbillon': A Tri-Lingual Heartfelt Reflection on Toxic Love and Embracing Self-Worth

Official Music Video for Tourbillon | https://www.youtube.com/watch?v=Q6Ar5RFNVeo

Stream Tourbillon on all DSPs here | https://distrokid.com/hyperfollow/myarey/tourbillon

___________________________________________________

CONNECT WITH MØYA REY

Instagram | https://www.instagram.com/moyamusic_

TikTok | https://www.tiktok.com/@moyamusic_

Youtube | https://www.youtube.com/@moyamusic_/videos

___________________________________________________

Official Music Video for Tourbillon

youtube

Stream Tourbillon on all DSPs here

"Tourbillon," opens with a poignant bridge, “Send me some flowers” a symbol of honesty and deep affection. This sets the tone for a song that explores themes of love, choice, and vulnerability.

**Verse 1**

I got more than flowers for you

Cause you’re the one I choose

Cherie, I fuck with you

T’est mon unique rendez-vous

**Chorus**

Tu y yo (Spanish - you and I )

it’s like a (English)

tourbillon (French - Whirlwind)

**Hook**

Can’t get enough

When you sip from my cup

Tell me the truth

If it’s convenient to you

Opened my heart

When speaking to you

I don’t know about it

Gotta feeling in my body

**Verse 2**

You should know how I feel about this girl,

She's my drug, she’s my world

She loves when I speak French

Oh honey

Now my life won’t be the same

It drives me insane

How she’s a saint

Stream "Tourbillon" now on all major platforms and experience the whirlwind romance crafted by Møya Rey.

**Listen to "Tourbillon" on all platforms:**

For more information, interviews, or to request a press kit, please contact:

Shirley Reynozo

[email protected]

___________________________________________________

CONNECT WITH MØYA REY

Instagram | TikTok | Youtube | Music

Stream the EP “Lost in Translation” --> HERE

Watch her video for "Transatlantic Calls" on YouTube

Watch her video for Je pense à toi on YouTube

Watch her video for Je pense à toi (BSNYEA Remix) on YouTube

Watch her video for "Open Letter" on YouTube

Watch her video for "Long Distance" on YouTube

Watch her video for “DILE” on YouTube

___________________________________________________

MUSIC CREDITS

Performed & Written by - Møya Rey @moyamusic_

Produced by - DapperDeluxx @producedbydapperdeluxx

Bass - Franck Boom @boom2music

Mix & Master - Edson Sean @edsonsean

Male Vocalist - Ghost Writer

___________________________________________________

VIDEO CREDITS

Model - Caël Domond @gunnersamadeus

Director of Photography - Deme Brown @demegawd_

Video Assistants

Isiah Blake @isaiah.iman.blake

Genesis Bazil @flywithgen_

Produced, Styled, Edited and Color Graded by Shirley Reynozo - Down To Be Artsy

___________________________________________________

**About Møya Rey**

#moya rey #tourbillon #moya rey tourbillon #Youtube

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entertainmentinc · 1 year ago

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When the sun sets over the vibrant cityscape of Johannesburg, a different kind of energy takes center stage. The pulsating beats, electrifying rhythms, and the undeniable groove of the music scene come alive, all thanks to the talented DJs in Johannesburg who set the nightlife ablaze. In this blog, we dive into the heart of this dynamic musical landscape, exploring the magic created by the DJs in Johannesburg and their contribution to the city's cultural tapestry.

The Beat Beneath the City Lights: DJs in Johannesburg

Johannesburg's music scene is as diverse as its population, and the DJs in Johannesburg play a pivotal role in shaping its sonic identity. From underground electronic beats to soulful melodies that tug at heartstrings, these DJs are the architects of unforgettable nights. They curate playlists that reflect the city's energy, capturing the essence of its people and its spirit.

Exploring the Artistry of DJs in Johannesburg

Genre Fusion: The DJs in Johannesburg are known for their ability to seamlessly blend genres, creating musical journeys that transcend conventional boundaries. They mix old and new, local and global, creating an eclectic sound that resonates with diverse audiences.

Cultural Resonance: Johannesburg is a melting pot of cultures, and the DJs understand this diversity intimately. They infuse their sets with influences from Afrobeat, jazz, house, and more, paying homage to the city's rich cultural heritage.

Nightlife Catalysts: The city's nightlife owes much of its dynamism to the DJs in Johannesburg. They transform venues into electric dance floors, uniting people through music and fostering a sense of community.

The DJ Revolution: Beyond the Dance Floor

The impact of DJs in Johannesburg extends far beyond the dance floor. They are musical curators who introduce listeners to new sounds, artists, and perspectives. They provide a platform for local talent to shine and contribute to the city's reputation as a hub of creativity.

Joining the Rhythmic Journey

Whether you're a seasoned party-goer or someone looking to experience the city's beat for the first time, exploring the world of DJs in Johannesburg is a must. Attend a live set, feel the vibrations of the music, and become part of the collective energy that fills the air. From intimate lounge sessions to massive club nights, the DJs in Johannesburg have something for everyone. As the night unfolds and the city's lights illuminate the path, remember that the rhythm of Johannesburg is intricately woven into the melodies spun by its DJs. So, grab your dancing shoes, immerse yourself in the beats, and let the music take you on a journey you won't soon forget.

#DJs in Johannesburg

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clickvibes · 1 year ago

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Tema: The DJ bringing her own style to Amapiano, Afrohouse, & Afro Beats

In the vibrant city of Lagos, a rising star named Tsemaye Jemide, popularly known as Tema is set to change the game for DJs. Tema is not your typical DJ. Her passion for Amapiano music and her beautiful dance moves have made her a beloved figure among music lovers across Africa. Despite her meteoric rise to fame, she has remained humble and grateful, always crediting her love of music for her success. As she honed her skills, Tema discovered her deep connection with Amapiano music. The Pulsating basslines and soulful melodies of Amapiano, Afro house, and Afro beats captivate her. She has spent countless hours honing her craft, mixing tracks and experimenting with different sounds and performance movements, all while dreaming of the day she would share her love of these genres with the world. Tema’s big break came at a wedding in Lagos, where her Amapiano set had the crowd dancing in the aisles and made her a household name overnight. Tema’s passionate performances and eclectic taste in music made her a crowd favourite at clubs and festivals all across Nigeria. Her unique blend of Amapiano, Afrobeat, and Afro house captivated audiences of all backgrounds Join the party and experience her live performance here! https://youtu.be/etmnRwgMhjg Tema’s ambitions weren’t bound by borders. She dreamed of sharing Amapiano music with the world, and she set out on a grand African tour, captivating audiences in Zambia and Rwanda with her infectious energy and genuine love for her craft. Tema’s African tour was a celebration of Amapiano and the power of music to uplift and inspire. She took her audiences on a journey through the heart of the genre, leaving them wanting more. Source: https://www.bellanaija.com/2023/09/djtema-bringing-her-own-style/ Read the full article

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musicarenagh · 1 year ago

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DERi Released His Latest EP 'Without A Map' With the release of his highly anticipated EP, 'Without A Map,' the talented musician known as DERi, who is signed to Bryte City Entertainment, has set the Ghanaian music landscape ablaze. This musical offering is a tribute to DERi's skill as an Afrobeat and highlife singer and composer. It consists of five engaging tunes, and each one captures the listener's attention in its own unique way. The brilliant DERi has woven a beautiful tapestry of African rhythms and melodies into each piece of the album 'Without A Map,' which takes the listener on an unforgettable adventure across this musical landscape. It is clear that Deri's musical journey is analogous to a well-thought-out map, which carefully charts his track in the business. He has meticulously charted his career in the industry. https://www.youtube.com/watch?v=ivAIUfvNlDk The list of producers credited on this extended play reads like a who's who of the Ghanaian music production industry. Baddex, Gigz Beat, Steverawd, Xarmy Heart Sounds, and Klasick Beat are just some of the names that appear on this list. The incorporation of Cliq Musiq's voice into the EP's auditory environment adds another layer of depth to the soundtrack, resulting in the creation of a harmonic mix of soundscapes. Ghanaians are being cautioned to keep a close check on this up-and-coming phenomenon known as DERi as his fame continues to soar. The song "Without A Map" not only demonstrates the tremendous skill he has, but it also provides a glimpse into the bright future of Afrobeat and highlife music in Ghana. [caption id="attachment_51789" align="alignnone" width="1080"] DERi Released His Latest EP 'Without A Map'[/caption] It is nothing short of astounding how well DERi is able to traverse the ever-evolving musical environment, and he is ready to make an unforgettable impression on the music industry all over the world. DERi has not only discovered his musical orientation thanks to the publication of 'Without A Map,' but he has also charted a road for greatness that will certainly lead to other exceptional releases in the years to come. As his career in music progresses, DERi is demonstrating that he is an artist of both substance and inventiveness, which positions him as a genuine treasure within Ghana's thriving music business. https://open.spotify.com/album/16kGxp8kthCYyV5PbnYHe1?si=WG5Hb5mERcC2__wlzZTCdw

#Music #DERi #DERiWithoutAMap #DeriWithoutAMapFullEP #DericreatesAfrobeatsmagicwith‎KelvynBoyonnewEP #DERiReleasedHisLatestEPWithoutAMap #DERiWithoutAMapep #‎WithoutaMapEPbyDeri

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deadcactuswalking · 1 year ago

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REVIEWING THE CHARTS: 18/11/2023 (Jack Harlow, Dua Lipa, Noah Kahan)

Content warning: Some language, brief sex references

Welp, we have two new songs debuting at #1 and #2 respectively on this week’s UK Singles Chart, which is pretty cool. Jack Harlow of all people snabs his first #1 with “Lovin’ on Me” and Dua Lipa trails right behind him at #2 with “Houdini”.

Rundown

Is it the last dying breath of 2023 or is 2024 just coming two months early? Either way, it’s a bit of a busy week to chalk through so let’s start as we always start: our notable dropouts, songs exiting the UK Top 75 - which is what I cover - after five weeks in the region or a peak in the top 40. This week, we bid adieu to a pretty large batch of songs, those being “ecstacy” by SUICIDAL-IDOL, “get him back!” by Olivia Rodrigo, “Back on 74” by Jungle, “City Boys” by Burna Boy, “Rush” by Troye Sivan, “fukumean” by Gunna, “Good Love” by Hannah Laing and RoRo, “Giving Me” by Jazzy, “Miracle” by Calvin Harris and Ellie Goulding, and “Bad Habits” by Ed Sheeran - it’s a mixed bunch quality wise but these are, bar “Bad Habits”, some of the biggest and most interesting hit songs of 2023 all very quickly gone thanks to our invasion of new arrivals companioned with Christmas songs. Oh yeah, we should get to those, shouldn’t we?

Well, none are in the top 10 yet - “Last Christmas” is the highest at #26 - but entering the top 75 for the first time this year round are “Santa Tell Me” by Ariana Grande at #71, “It’s Beginning to Look a Lot Like Christmas” by Michael Bublé at #68 and “Rockin’ Around the Christmas Tree” by Brenda Lee at #65 - I could see that one having a particularly good year. As for the rest of our notable gains and returns, well, there’s not many, but we do see Lana Del Rey’s “Say Yes to Heaven” back at #64 and Chris Brown’s album help “Sensational” featuring Davido and Lojay peak at #45 - more on him later - and outside of the new songs, that’s pretty much it. Thankfully, we have a particularly interesting top five to sift through.

This week, our top five starts off pretty standard though there is a great deal of movement over here already, with “Stick Season” by Noah Kahan up at #5. Then we have the expected - “greedy” by Tate McRae at #4 and “Prada” by casso, RAYE and D-Block Europe at #3 - and then of course the two new leaders at the very front. Before we get to Dua Lipa and Mr. More than a Feature, however, we have a LOT to get through - like a whole damn back catalogue, really - so let’s run through all 11 of them.

NEW ARRIVALS

#73 - “Nightmares” - Chris Brown featuring Byron Messia

Produced by Chopstix and Chris Brown

It is pretty telling that a lot of the traction for this new Chris Brown album comes from collaborations with other artists, many of whom are lesser known than he is, but I don’t like to waste much breath on this guy and his album that debuted at #11 this week - fitting for an album named 11:11 - so I’ll try and be brief. Chris Brown’s Auto-Tuned false Patois does not fit this more minimal, arguably chalky dancehall vibe at all, even if this is closer to Afrobeats to anything. He just sounds so desperate and false here, which may not have anything to do with genre choice and more just over-selling content that is pretty murky and violent, deserving more of the Byron Messia treatment, though even he is over-doing it a bit, though he of course much more easily catches a rhythm here. The content isn’t bad at least, and the beat, whilst there’s not much to it, is well-produced enough, and also partly self-produced so there’s some merit there.

#60 - “Evergreen” - Ritchy Mitch & the Coal Miners

Produced by Nicolas Haughn

Ritchy Mitch & the Coal Miners are an American indie folk group and this song’s from 2017. Also, TikTok is a social media application used to post short video clips with accompanying sounds or music. Now that we’ve established what it is and why it’s charting, is the viral sleeper hit any good this time around? Well, it’s barely a song, standing as a pretty abstract one-and-a-half-minutes, but there is a lot to like in those low harmonies, the slightly muddy cackling of acoustics where the percussion sounds terrible and that just helps the campfire song aesthetic of it all, and especially the confused set of lyrics, with the guy just being lost and that’s pretty much all that’s sure: he’s stuck between a rock and a hard place, he’s anxious about it, but anything more is speculation because there’s not much to the song lyrically, or at all, and that’s honestly completely fine with me. For the one minute it sits in, it’s pretty compelling and that first time the drums come in is a pretty great wham moment so can’t really complain. Sure, I’d prefer… maybe something to keep it going, but it’s not like it can overstay its welcome. Welcome to the charts, coal miners. I’m pretty sure that’s what J. Cole’s fanbase are called.

#51 - “When We Were Young (The Logical Song)” - David Guetta and Kim Petras

Produced by David Guetta and T.I Jakke

The story of this song starts all the way back in 1979, with progressive pop band Supertramp’s “The Logical Song”. One of their most highly-acclaimed songs, it peaked at #7 - Art Garfunkel’s “Bright Eyes” was #1 - and has enjoyed a lot of retrospective acclaim, even if not being that recognised in its original version, oddly enough like Supertramp’s other hit from that album, “Breakfast in America”, which you may know better as Gym Class Heroes’ “Cupid’s Chokehold”. Anyway, “The Logical Song” is a brilliantly composed track with a lot of pop and some fantastic lyrics about conforming, a song that shows a man desperate for an identity. Also, it has a saxophone solo so it’s immediately a great song. Roger Hodgson based the lyrics off of his experience in boarding school, and for a pop track with such zest, it also conveys a lot of frustration and bursts of energy. So naturally, it needs a happy hardcore remix from German trance outfit Scooter… and I may even like it more. For whatever reason, this German version of a London band’s song became an anthem in Glasgow, and deserves to, because even if the sample may be cheap and obvious, they evolve this song into some bizarre night out at a rave club, with H.P. Baxxter yelling complete nonsense in the interim between the randomly-placed Supertramp hook. Oh, and putting the Amen break behind the original hook is kind of genius. The song peaked at #2 in 2002, kept off the top by yet another remix, that being “A Little Less Conversation” by Elvis and JXL. Whilst very different, both of these versions of the song I would describe as being incredibly human and nuanced. So you know who needs to get their grubby mits on it? David Guetta and Kim Petras, of course. I feel like I don’t need to tell you what they do with this one, it’s got the Eurodance pianos and the typical trance kicks but nothing over-the-top enough to justify the chill-out pianos that sound ripped straight off of Robert Miles or the pitch-shifted hook. I’m sure for some people the lyrics mean more or gain another layer of resonance coming from a trans woman; I could fully see that interpretation. Musically, though, it’s uninspired, and missing the vast majority of the character that both versions had. Bring Baxxter back on the charts, man.

#44 - “LALALALA” - Stray Kids

Produced by Bang Chan (3RACHA), VERSACHOI and Cubeatz

So… this is Stray Kids, a K-pop boy band, and this is from their new album… and this is the kind of K-pop I remember from the 2010s. We have the blending of unrelated genres mashed together into barely-sequenced, chaotic songs with a lot of try-hard rapping and Auto-Tune, stopped in their tracks by random, English-infused melodic pivots, and an overall sound that’ll be dated within five years. I don’t know what to make of this though because, well, it’s done kind of gracefully. The boys can flow pretty well over this mix of Jersey club rhythm, drift-phonk cowbells and drill-esque flowing sub-bass, and the pre-drop leading into the drop is so cinematic it kind of works for me, especially considering the sheer level of… sound quantity in that drop, all of which just blends into a muddy pile of monogenre “cool pop music sounds”. The trap breakdown from Cubeatz is surprisingly smooth too, and the fake-out bridge leading into the final chorus is… actually kind of hype. I didn’t think I’d be into this, and I’m not entirely sure that I fully am, but this has me… compelled. There’s also a “rock version” which goes way harder than it should, that pre-chorus is perfect for that kind of sound and the phonk elements translate surprisingly well into electric guitar. So yeah, shout-out these guys, I suppose. Whoda thunk?

#41 - “Angel Numbers / Ten Toes” - Chris Brown

Produced by Hitmaka, Haze, DSTRK, RoccStar, Troy Taylor, LNKmusic, Slim Pharaoh, Zuus, Ebby and JuanRa

So this is the opening track to that Chris Brown album and is essentially two songs put together, hence why it has 10 Goddamn producers. The first half, “Angel Numbers”, is a glorified intro with a cheap acoustic guitar loop and your typically Auto-Tune-drenched performance from Breezy here, including inappropriately upbeat ad-libs as he tries to heal himself, but a whole lot of that self-improvement and “healing” comes mostly from this girl because of course it does. I will admit that the panning static and synth blend that transitions the two tracks is pretty smooth, which I’d argue it has to be when you have the budget of 10 producers, even if the end goal beat of “Ten Toes” isn’t all that different, just with a murkier mix and Rod Wave-esque basic trap percussion. You know you’re UK chart-brained when you can start hearing D-Block Europe in songs, but come on, this beat isn’t that far off, right? As for Breezy on here, the content isn’t awful, even if it’s drowned in clichés, but it’s also not special and I am not really interested in hearing bragging from Chris Brown. That “anxiety” refrain is very catchy, however, and his slightly raspy, powerful delivery on it does resonate pretty well, even if some of the ad-libbed harmonies are over-the-top, but that’s as to be expected with him. It’s really not terrible, but the standard - especially for a song professing to have as many layers as this one appears to - should be higher.

#27 - “Selecta” - Chase & Status featuring Stefflon Don

Produced by Chase & Status

So Chase & Status released an album, 2 RUFF, Vol. 1, and perhaps expectedly due to their surprisingly big run recently, it debuted at #4 on this week’s albums chart. I haven’t heard it yet but have had mostly mixed opinions on the singles, and whilst Stefflon Don isn’t exactly someone who’d convince me on a track, I was slightly interested to see what was going on here and it’s… functional, barely. I like the focus on atmosphere that Chase & Status typically use as their main approach, but the electric guitars - and Stefflon Don’s badly-mixed vocal take - are very compressed, overly so, and it prevents the atmospheric intro from really translating into the verses. I know the guitar is sampled from Ashanti’s “Only U” - as is much of the rhythm and percussion - but it doesn’t particularly work in that ugly slog of a song either. Sure, it peaked at #2 in 2005 - behind, again for a bizarre 2000s moment, Elvis Presley - but it’s one of those 2000s R&B tracks that always came off as more creepy than sexy as intended, which I guess is not the worst fit for this kind of intensity in the Chase & Status version. I do think the chorus goes relatively hard, and the switch into double-time breakbeats is fun! I just wish there was more of a song here, I guess. I’m usually really easy to win over with drum and bass, especially with this which is semi-ragga jungle influenced and should be a slam dunk for me, but a lot of distorted energy from Stefflon Don isn’t enough to make this feel a bit malformed of a track. Hell, maybe it would have gone harder without being drum and bass at all.

#20 - “Nice to meet you” - PinkPantheress featuring Central Cee

Produced by Cash Cobain, PinkPantheress and Count Baldor

I really did love that new PinkPantheress album, Heaven knows, and it’s a shame we only get one song from the record debuting, especially since 1.) the album only debuted at #28 on the albums chart, which is a real shame, and 2.) this is probably my least favourite song on the entire album, and not actually because of Central Cee. In fact, quite the opposite. Now for the record, I still like the song, it’s got the bouncy drum and bass groove you’d expect and the detailed synthscape of a production that feels miniature in sound but ultimately massive in scope. I did say my thoughts on the album on RateYourMusic so won’t elaborate much here, but she really did expand her songwriting abilities here on this record. This song is the worst example, where much of the chorus relies on a drop into a frankly kind of unpleasant and dull extended syllable, and her one verse is pretty generic for her standards, as well as having a quite staccato delivery that’s somewhat disappointing. Then midway through, Cench comes in and just kind of takes the song for his own. We get some cute strings before he comes in and they serve as the foundation for the beat in his part, with Cench delivering a lot of detail, some cute little flows, much of what you’d expect from him, and whilst he’s not mixed well, he rides it fine, and the transition into a drill rhythm is well done… but after Cench’s verse ends, the song just kind of gives up, with some minimal backing vocals echoing off of a coating of synths and the remainer of the drums but that really is all it is by the end, and I don’t exactly know why that decision was made, it just renders the song incomplete for me. It is still a good song - it’s catchy, the production is intricate and ultimately there’s a lot of fun to be had here, with even some cute moments of chemistry between the two - but it’s far from great… like you know, the rest of that album.

#18 - “Murdaside” - Mazza_l20 and Pistol Po

Produced by JxmieMusic and TylianMTB

I feel like these guys wouldn’t be offended by me saying they are complete and utter nobodies who probably shouldn’t be charting this high, because it is just the truth, but they have the streams to back it up, and I can tell why. Sure, the vocal mixing is clearly amateur, the two don’t have great delivery, and the Merseyside accent is kind of funny, but the flow is solid and they go for an intense, very bass-heavy horrorcore kind of feel mixing elements of that 2000s 50 Cent-esque sound people like Digga D have tried to revive with more subtle trap skitters and drill percs, and it’s quite interesting. I don’t like Pistol Po here, mostly because I can’t 100% tell if he’s joking or not with his downbeat delivery and repetition of the “29” line, which seems almost like he’s setting up a sketch, but otherwise, it’s a decent little homemade song. And for the actual reason it’s charting, Aitch and Potter Payper have verses on the remix, which is pretty good. Sure, I could do without Aitch trying his best to be menacing, when he can’t ever pull that off, and it would be cool if Mazza had re-recorded his vocals to fit better with the more high-budget guest features, but Potter Payper - even when censored - sounds excellent on this production, mostly because he actually has some natural violence and venom to him. He also replaces the mediocre Pistol Po so I can’t complain. There are also four other remixes, the “ScouseMix” with Aystar, who’s pretty boring, a “BrumMix” with Birmingham rapper RM, who barely has enough time to make an impression, and then other remixes with Loski, whose recording is worse quality than Mazza, and SJ, who goes pretty effortlessly hard. In fact, since that version also gets rid of Pistol Po, it’s probably my favourite because it’s the coldest of them all, even if there’s only just one verse of difference across most versions. Either version you listen to, it’s oddly hypnotic, and really, listening to all these versions has kind of convinced me that the foundation of it is actually brilliant. I don’t know if this is more than a novelty, but I wonder how much staying power it’ll have.

#16 - “Northern Attitude” - Noah Kahan

Produced by Gabe Simon and Noah Kahan

Okay, he’s convinced me. Mostly because of the lyrics. I like the picked bluegrass rumble in that acoustic flitter, and Kahan is far from as nasal as he has been on past tracks I’ve heard from him, in fact giving a quite frail falsetto delivery at times that’s pretty heart-breaking, and that sudden development into a stomp-rock belter is pulled off surprisingly well. The lyrics though are what I like the most - in functions in a similar vein to “The Logical Song” in that it’s about the struggles of finding identity in adulthood, but instead of that coming from a more naive perspective, Kahan’s kind of talking down here, perhaps condescendingly, to someone who had all that and lost it, not through wrong-doing but through pure complacency and just lack of change, has led to a depressing, routine life that Kahan’s going to blame on the fact he was brought up in “cold” New England. It’s a middle-life crisis song, essentially, but with a bitter, pissy perspective that is pretty much only there because of the chosen second-person tense of the song. It’s fascinating, it reminds me almost of Toby Keith’s “How Do You Like Me Now?!”, except withb the history of Kahan’s relationship with this person being much less clear. The change of tense to Kahan speaking as if this person was himself I think doesn’t show this magical twist that the person is him after all, what it makes me speculate is that our narrator knows this eventually WILL be him, and that’s why that “Northern Attitude” is so relevant. He’s seeing this happen to the people who raised him, and that’s why he’s so bitter about it: he’s eventually going to be just as cold and broken as them. This is a fantastic song, it’s not charting purely because of that as there is a duet version with Hozier that doesn’t really change the song in any substantial way other than have Hozier sing parts of it solo and in harmony with Kahan. It’s not a better mix or anything, it’s just the song with Hozier now, there are no substantial lyric additions or changes, and Hozier adds little more perspective since there are already two characters in the song, and Hozier’s delivery is honestly kind of awkward. I like Hozier fine, but I much prefer the solo version in this case. Still, can’t really do much wrong with this good of a composition and set of lyrics.

#2 - “Houdini” - Dua Lipa

Produced by Kevin Parker and Danny L Harle

I don’t even need to say much here to introduce this, right? Danny L Harle, Tame Impala, Dua Lipa - I’m on board, let’s go. It’s got a solidly atmospheric intro in that it cuts to the chase immediately into an undeniable rumble of a synth-funk groove, especially with those “Billie Jean”-esque lead synths. The kind of static, acid-y synths feel oddly dry, in that they’ve dried for too long and Dua and co. are struggling to pick everything back up from the fence it dried on. Meanwhile, Dua “comes and goes” - the double meaning isn’t hard - and just wants some in-the-moment love, having gained a reputation for being a bit of a “Houdini”. The character is careless, not desperate for this guy but almost menacing, like she’s on his mind at all times. There’s a hot-and-heavy intensity to this, especially with how the bass In the left channel kind of clashes with the tighter synths, it’s actually a really odd-feeling mix sometimes. I wish there was more to the bridge than just Tame Impala playing with some keys, maybe a really bass-heavy moment, but I understand why they don’t do that - the song needs to be ephemeral to an extent and the bridge slides very well into the final chorus. This is pretty obviously great, maybe not excellent, but it does have me very excited for what’s coming next, even if it doesn’t fully exceed what expectations I had for this.

#1 - “Lovin’ on Me” - Jack Harlow

Produced by OZ, Nik D and Sean Momberger

Now what expectations did I have for this? None, and it still sucks ass. Jack Harlow “proving he can rap” after a lot of fans jumped ship due to the lazy pop pivot of Come Home the Kids Miss You by dropping a fleeting, not-nearly-as-interesting-as-he-thinks-it-is conscious tape and then returning back to what got him the #1 when he realised that chasing credibility matters much less to him than bank statements - it is just the natural progression, but the fact that it worked, and so extraordinarily well, is what surprises me, Hell, even saddens me. At least in the hook of “First Class” there was some fun wordplay and a call-and-response to be had, though to be fair, he’s not charting a hit song, instead the groovy obscurity “Whatever” by Cadillac Dale, which is honestly a bit of a bizarre find for his producers, I commend them on finding such a catchy hook that feels like it’s straight from, I don’t know, Ginuwine, in a random new jack swing song that I couldn’t find on most streaming services. With that said, it’s just a loop. A catchy loop, but a loop, a mindless, hypnotic loop that gets real tired really damn fast. It plays under factorial hyphy beats, and Harlow doesn’t learn the lesson from “First Class” as he gives up trying to write an actual chorus in the second half and just does a deadpan harmony of the sample. He’s saying so little in the verses, and what he does say is about as charming as the Shrek character he references with his staccato flow. This is mind-numbing, why is he spelling words all the time? Why is he whispering? Wake up, Jackman! I know this is supposed to be dumb fun, but hey, you can’t use that defence when it’s clear that no-one on this song is having that. At least I got one laugh out of him starting the hook of the song just stating unabashedly that he is white and boring to have sex with. I don’t think he needed to say it, exactly, the song already gave that impression and then some.

Conclusion

Yes, of course, Jack Harlow easily snabs Worst of the Week for “Lovin’ on Me” and bizarrely enough, Chris Brown dodges the Dishonourable Mention. That’s going to “When We Were Young (The Logical Song)” by David Guetta and Kim Petras. As for the best, it’s much trickier because for a busy week, it was also quite a positive one and Noah Kahan probably has the Best of the Week locked with “Northern Attitude”, though Dua Lipa, much like she is on the actual chart, trails close behind with “Houdini” as the Honourable Mention. As for what’s on the horizon, I don’t know, Santa Claus and Drake. Thank you for reading and I’ll see you next week!

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