#Dappy!verse

[aslightaddity]

Black Bat Cassandra Cain

[aslightaddity]

ALREADY DID THIS (actually something similar but shhhhh) BITCHESSS

OH MY GOD

[memoryoflife]

∞∞∞∞∞

:)

PUT A “∞” IN MY ASK BOX AND I’LL SHUFFLE MY MUSIC PLAYER AND GIVE YOU MY FAVORITE LYRIC FROM THE SONG THAT COMES UP.

okay i GUESS i did ask for multiple :') i'm gonna put some of this below the cut bc this'll get long

song: glory and gore — lorde

"Glory and gore go hand in hand That's why we're making headlines"

tbh it's a toss up between this bit or the entire bridge, but... there's something about the way she sings "glory and gore go hand in hand" that fucks me up? i should listen to this song more :')

———

song: demons — imagine dragons

"They say it's what you make, I say it's up to fate It's woven in my soul, I need to let you go"

THIS! THIS HAS BEEN MY FAVOURITE LYRICS FOR YEARS! especially "it's woven in my soul, i need to let you go" because GOD, the incredible tragedies interwoven into that line... sobs and wails

———

song: palace — hayley kiyoko

"So this is where I leave you Sitting in a palace covered in gold inside my head This is where I see you On a bed of roses when I wanna kiss your silhouette"

god the imagery this evokes... i've wanted to write something to this song for a long time :') i'm such a sucker for devotion and worship and the beauty that comes with that...

———

song: youth — glass animals

"I want you to be happy Free to run, get dizzy on caffeine Funny friends that make you laugh And maybe you're just a little bit dappy"

aaaaa GOD, youth by glass animals is just such a lovely song. it was a toss up between this and verse 1 but this one won out because i think i connect it with more. it's just that intimately pure desire for someone you love so much to be free and happy and not plagued by life's woes...

———

song: kill the lights — the birthday massacre

"Now you know, it's so much better to pretend There's something waiting for you here Every letter that you wrote has found its way to me, my dear You can make believe that what you say is what I want to hear I'll keep dancing through this beautiful delusional career Faking every tear Looking like a compromised suicide Keeping all my dreams alive"

oh... i've always adored the last few parts of this song. kill the lights is about this wretchedly dark fairytale, a tale that goes horribly wrong, and it's just. the outro really gives me so many emotions. that maybe it's better to pretend and fake it despite it being the opposite of what you want... plus the way it flows, the lyrics, it's all so beautiful. a love that isn't reciprocated...

(also how fitting is it that i roll kill the lights on your ask, skep?)

[aykutiltertr]

Bling-Bang-Bang-Born - Creepy Nuts - Rhythm Karaoke Original Traffic (Wo...  Ayrıcalıklardan yararlanmak için bu kanala katılın: ( Join this channel to enjoy privileges.) https://www.youtube.com/channel/UCqm-5vmc2L6oFZ1vo2Fz3JQ/join Şarkının Orijinal Versiyonunu Linkten Dinleyip Ritim Karaokesiyle Çalışabilirsiniz. https://www.youtube.com/watch?v=mLW35YMzELE Aykut ilter Ritim Karaoke Kanalıma Abone Olun Beğenip Paylaşın. Bling-Bang-Bang-Born - Creepy Nuts - Rhythm Karaoke Original Traffic (World Music) STRUMMING There is no strumming pattern for this song yet. Create and get +5 IQ transcribed from: https://www.youtube.com/watch?v=Jg73p9udbAQ Tempo =  157 BPM ------------------------------------------------------------------- [Intro] N.C. Yeah, boy [Verse 1] N.C. Chiito, gifted, arawaza, wanted N.C. Kinki, kinjite, akiraka mouten N.C. Hansoku, ijigen, kono yo no mon de wa nai desu N.C. Muri gee, sore kiitenai tte N.C. Ay, raibaru kuchi wo soroete N.C. Wow, raibaru kuchi wo soroete N.C. Bagu de, magure, mitomenee zettee N.C. Maji de? Kore wo ma N.C. Zenbu namami de? Bm  F#7 Bm  F#7 [Chorus] Bm           F#7/A#        Bm        F#7 It's namami, it's namami, yeah-yeah-yeah-yeah Bm         F#7/A# Bm              F#7 Bling-bang-bang,  bling-bang-bang-born Bm         F#7/A# Bm              F#7 Bling-bang-bang,  bling-bang-bang-born [Verse 2]              Bm                F#7 Jitsuryoku wo hakki shikiru mae ni               Bm             F#7 Aite no hou ga bakkurete kurashii          Bm              F#7 Agarikiru haadoru very happy           Bm               F#7 Akiraka ni dantotsu de pikaichi            Bm               F#7          Bm      F#7 Aika warazu dappi shiteru mainichi (Bling,  bling,  bling)        Bm         F#7               Bm         F#7 Dare no nanahikari mo iranai omae no ice yori icy (Icy)     Bm             F#7            Bm              F#7 Ore, patto mi dekinai koto bakkari da kedo very happy              Bm            F#7 Aa, kiretеru, akireteru mawari              Bm           F#7 Megu marеteru kazoku tomodachi (Happy)    Bm                 F#7              Bm            F#7 Mou hansoku teki tachiichi, mina ore ni makase tokeba ii (Bang-bang-bang)    Bm                F#7 Kyoukasho ni nai, mondaishuu ni nai     Bm           F#7  N.C. Chou bad na majinai,   listen [Pre-Chorus] Bm        F#7      Bm     F#7 Kagami yo kagami kotaechatte          Bm            F#7/A#   Bm     F#7 Who's the best? I'm the best! Oh ye-e-e-eah Bm        F#7        Bm     F#7 Namami no mama ikeru toko made       Bm           F#7/A#  Bm To the next, to the ichiban ue [Chorus] Now singin' Bm               F#7              Bm              F#7 Bling-bang-bang, bling-bang-bang, bling-bang-bang-born (Now singin') Bm               F#7              Bm              F#7 Bling-bang-bang, bling-bang-bang, bling-bang-bang-born (Now singin') Bm               F#7              Bm              F#7 Bling-bang-bang, bling-bang-bang, bling-bang-bang-born       Bm           F#7     Bm    F#7 To the next, to the ichiban ue [Refrain] Bm      F#7            Bm       F#7 Ey-day, ore no mama de iru dake de chou flex Bm      F#7/A#          Bm      F#7 Ey-day, daremo kuchi wo hasamenai (Don't test) Bm      F#7            Bm       F#7 Ey-day, ore no mama de iru dake de chou flex Bm      F#7/A#          Bm      F#7 Ey-day, daremo kuchi wo hasamasenai (Don't test)                 Bm Yeah, yeah, yeah            F#7          Bm           F#7 Gakureki mo nai zenka mo nai yoyuu de bling-bling Bm            F#7/A#      Bm             F#7 Kono sonzai jitai ga bunkazai na noumiso bling-bling Bm            F#7             Bm        F#7 Koukyuusha wa kaeru menkyo wa nai aisha green, green Bm               F#7/A#   Bm Zenkoku kakuchi yurasu ippin             F#7 Kono bero ga bling-bling Bm      F#7 Baretto nara mantan Bm            F#7             Bm Kansai namari namami no kotodama    F#7                  Bm               F#7          Bm Ongaku, kouun, shouri no megami, koyoi mo sanmata bang-bang             F#7         Bm             F#7              Bm Manga mitai na yakara to manma de hariaete shimatteru manga       F#7              Bm               F#7 Attou teki chikara kono atama to kuchi kara     Bm               F#7 Kono karada tattoo wa haittenai     Bm               F#7 Kono tsura ni kizu mo tsuitenai    Bm                   F#7 Kurikaeshi yarakashiteku dameeji ga    Bm              F#7 Ikatsui nenrin wo kizamu shiwa Bm               F#7              Bm              F#7 Bling-bang-bang, bling-bang-bang, bling-bang-bang-born               Bm                       F#7 Ore no mama de bling shite, bang shite, bang suru tame ni Bm                 F#7 Born shite kita nippon, ay! Bm        F#7      Bm     F#7 Kagami yo kagami kotaechatte          Bm            F#7/A#   Bm     F#7 Who's the best? I'm the best! Oh ye-e-e-eah Bm        F#7        Bm     F#7 Namami no mama ikeru toko made       Bm           F#7/A#  Bm To the next, to the ichiban ue

[a-patheticapathetic]

Glass Animals - How To Be A Human Being: Review

https://www.youtube.com/watch?v=9lUfunQW84U&list=PLQReQsnItdzYQzuK2yD7ipXIT9ce9WAWA

I’ve been listening to this album for a few months now and I think I can call it one of my current favorites. I don’t know anything else that’s quite like it. The sound, the variety, and the story make it completely unique. Plus the lyrics deal with some refreshingly dark subjects in a way that feels respectful. Each character on the intentionally cheesy album cover is tied directly to a song on the record and that idea is so good I can’t believe I haven’t seen it done anywhere else. 

I’ve done a couple of track-by-track reviews before, but I want to try something different. I’m going to start the album, and write about each song as they play. I don’t if I’m going to try to keep it relatively formal or fall into a less coherent stream-of-consciousness kind of writing. If you want to listen to the album along with me, there’s no real way to synchronize. If there’s something I want to point out, I’ll try to guess early. After the album I’ll give number ratings to each song.

Ok, here we go.

Life Itself - 8/10

The strange noises we start with here make a really interesting transition into the percussion intro. The vocals instantly draw you in. The pre-chorus here is one of my favorite moments on the album. Such a good melody, and transition into the hook. Sounds nice but the lyrics aren’t up to the standard of everything else. The positive sounds combined with the desperate lyrics really stand out. The scale of the song really opens up during the hooks. More interesting noises in the break, building back up into the last chorus. A sweeping chord progression, feels like it’s rising. The synth solo again, and drop to near silence. This song really establishes the feel of the album effectively.

Youth - 6/10

This one has never been my favorite. It’s too poppy for me. Again, the pre-chorus knocks it out of the park. Great vocal performance. Honestly a lot of my problem with this song comes from the word “dappy”. Silly UK slang like that kinda takes away from the more serious theme of the rest of the lyrics. Even still, the emotion in the song can’t be overlooked. It really feels like one of the most hopeful tracks here. I feel like it would have been better if it ended during that bridge, instead of jumping back in. Another chorus wasn’t entirely necessary. 

Season 2 Episode 3 - 8/10

One of the centerpieces of the album. Iconic and unique. The breathy intro doesn’t give any warning to the 8-bit sound effects that follow. The lyrics here are so hopeless and the instrumental just doesn’t care, I love it. The pre-chorus again is amazing. The chorus hits you at full force, much deeper sonically than the intro was. Then back into the lazy verse. Is it about her, or about microwaving french fries? The second pre-chorus evolves and seamlessly transitions. Interesting mix-up after. Coast out on the intro.

Pork Soda - 8/10

Intended to sound like it was being played on the streets. Really punches you when the percussion comes in. Darker vocal performance for the first verse. Pineapple chorus, then a strange verse. Laced with effective cursing, first swearing we’ve heard so far. Stop. Hook vocals are back, mixed with the verse. The song starts to build really effectively here. Strange verse 2, but this time completely clean. Even more buildup and release. After, the slowdown. Back to the streets, leaving the bassline alone.

Mama’s Gun - 5/10

Immediately, a completely different sound. Quiet, woodwind focus, with background humming. A sense of paranoia in the vocals and lyrics. Instead of a hook we get a deeper instrumental. Next verse, another layered voice. Starts to drag a bit, but then the real chorus. Marching slow drum, then the instrumental again. Near silence, sounds like owls used as instrumentation. Odd, fantasy-like backing vocals. Buildup, and finally the song gets to the point. Is that a guitar? 

Cane Suga - 6/10

Strong melody to start off. Back to electronic noises. Ethereal vocals, sounds like they come from a long ways away. Then some kind of rapping, almost. A steady stream of not quite decipherable syllables, pitch shifted. Small pause, back to the distant hazy verse. The buildup begins. Results in a very satisfying drop into the ending.

[Premade Sandwiches] / The Other Side Of Paradise - 7/10

Honestly, just listen to this first one.

[PS] has always seemed like the intro to Paradise for me. The song proper starts with some on/off instrumentation, drops us dead into the verse. Much more subdued and consistent. Great vocal melodies during the verses here. Back to the intro instrumentation for the hook. High-pitched, tinny guitar work. A worrying transition into verse 2. Haunting background vocals here change the feel from the last verse. Small buildup into the bridge. Chilling crooning. This is one of the best moments on the album. The tension rises immensely. Precision f-bomb strike has a massive impact. The spiral is cut off by the hook before it can lead to insanity. Are they saying “go” over and over again?

Take A Slice - 9/10

The song that got me here in the first place. Lazy intro gets snipped off by some threatening percussion and a dark melody. The vocals fill you entire head. They have an air of imminent violence. And then....

Titanic percussion kicks you in the goddamn throat. The chorus hits with the force of a freight train. Horns and strings, distorted. Then, drop back into the verse. Don’t get comfortable. Even louder, now. Sleaze incarnate. The chorus again, and a guitar fed through a unspeakable amount of filters. The repeating note in the background gets higher and higher until it drops from under your feet. Spend the aftermath in free-fall.

Poplar St - 7/10

No, it isn’t RHCP. The cleanest guitar we’ve heard so far. A great vocal melody. More guitar gets added as the chorus begins. Next verse switches up the arpeggios to a quieter tone. Ends on a worrying note. Chorus really opens up now, before dropping it all for a whispered bridge. Haunting backing vocals. One more chorus, the song uses everything it has left. The outro is spent of energy, only here to finish the story. I don’t love you anymore, and ceased to be.

Agnes - 7/10

For the finale, the happiest instrumental and the saddest lyrics on the album. Sounds like it’s gonna be a pop song. Vocals sound the part, but listen to the words. And so it goes. The chorus humming here would be happy if you isolated it. Where went that cheeky friend of mine, where went that billion-dollar smile. The true nature of the hook, and ride it out.

Definitely ended up being more stream-of-consciousness. Oh well. 

I can do numeric song ratings but I can’t bring myself to give an album an x/10. So on a scale of “My body’s looking wrong” to “I feel fantastic”, How To Be A Human Being gets a “Sometimes it makes me laugh, sometimes it makes me sad”.

[aslightaddity]

For mine and secrets in the dark!

EDIT: I forgor the OCD moment for secrets in the dark

Bingo card for whenever The Riddler shows up in something ( or for your own AU )

special thanks to unofficial codotverse rogues! Server for the help!

[bronva]

N-Dubz confirm Wednesday’s gig going ahead after cancelling previous concert minutes before it was due to start

N-Dubz confirm Wednesday’s gig going ahead after cancelling previous concert minutes before it was due to start

Last night’s concert was cancelled at the last minute (Picture: Ashley Verse) Fear not, N-Dubz fans, Tulisa Contostavlos, Dappy and Fazer have confirmed tonight’s (Wednesday) gig is still going ahead, despite last night’s sudden cancellation. The I Need You hitmakers were due to perform at the Motorpoint Arena on Tuesday evening as part of their sold out Back To The Future tour in the…

[deadcactuswalking]

REVIEWING THE CHARTS: 9th June 2019

Okay so full disclosure; I haven’t been enjoying writing this show for a while, mostly because of how I’ve been barely been able to keep up with life yet alone new music as it comes out each week... but let’s not get into detail. This isn’t what I’m here for, I’m here to ramble about pop music that probably isn’t all that interesting anyway, in this case a lot of British hip hop.

Top 10

“I Don’t Care” by Ed Sheeran featuring Justin Bieber is unsurprisingly still at the top after being at first place running on the chart ever since its debut four weeks ago.

Lil Nas X’s “Old Town Road” featuring Billy Ray Cyrus hasn’t moved since last week either, still at number-two.

In fact, the whole top 10 is stable and kind of stale. To exemplify that, only number-five has moved from last week. Hence, “Someone You Loved” by Lewis Capaldi is at number-three.

“Vossi Bop” by Stormzy holds on at number-four.

Billie Eilish’s “bad guy” actually moves a singular space up to number-five.

“Piece of Your Heart” by MEDUZA and Goodboys, however, has not at number-six.

“Hold Me While You Wait” by Lewis Capaldi is at number-seven.

The late Avicii’s “SOS” featuring Aloe Blacc is at number-eight. I’ll be up next week thanks to the album’s release.

To my surprise, Ed Sheeran’s “Cross Me” featuring Chance the Rapper and PNB Rock is still at number-nine off of the debut last week. I’d like to add that this is an Ed Sheeran song with a producer tag. Huh.

Shawn Mendes’ “If I Can’t Have You” rounds off the top 10 by not moving at #10.

Climbers

Well, there aren’t many climbers this week, especially since it’s busy in terms of new arrivals, but there are some increases here. “Wish You Well” by Sigala and Becky Hill zooms up 15 spaces to #24 (Methinks it didn’t have a full tracking week last week as this sudden increase seems odd), whilst “Falling Like the Stars” by James Arthur continues an unfortunate gain up the charts as it’s moving up 10 spaces to #25. Other than that, we have nothing. However, it’s a different story with our Fallers.

Fallers

We’ll have to do what we usually don’t have enough fallers to do anymore and split it into genre categories, especially as pretty much everything in the second half of the Top 40 is in freefall.

In terms of pop, rock and EDM, “Summer Days” by Martin Garrix, Patrick Stump of Fall Out Boy and Macklemore is down six spaces to #40 off of the debut, “Giant” by Calvin Harris and Rag’n’Bone Man continues its fall down six to #39, “3 Nights” by Dominic Fike is sadly down five to #38, “Late Night Feelings” by Mark Ronson featuring Lykke Li is down six to #36, “So Am I” by Ava Max collapses down 10 spaces to #35, “Easier” by 5 Seconds of Summer (Featuring Nine Inch Nails, simply because it’s funnier this way) is down five off of the debut to #34, “Talk” by Khalid is down six to #28, “Here with Me” by Marshmello and CHRVCHES is down four to #20, and that’s about it.

For hip-hop and R&B, we have slightly less notable hits, with “EARFQUAKE” by Tyler, the Creator featuring Playboi Carti and Charlie Wilson continuing its unfortunate fall down 13 spaces to #37, “Fashion Week” by Steel Banglez, AJ Tracey and MoStack falling down five spaces to #33, “Guten Tag” by Hardy Caprio and Digdat dropping down four to #27, right next to “OT Bop” by NSG collapsing down nine spaces to #26 off of the debut. We also have “The London” by Young Thug, J. Cole and Travis Scott down four to #22, “Keisha & Becky” by Russ and Tion Wayne down four to #19, and that’s all.

Dropouts & Returning Entries

Well, streaming cuts have snabbed “Grace” by Lewis Capaldi of its longevity as it drops out from #14 – no, I’m not complaining – and the same could be said for “Your Mrs” but JAY1 out from #37 but I’d argue that’s just because people are starting to realise the song is awful. Otherwise, well, streaming cuts have hurt “Sucker” by Jonas Brothers as well out from #20 and “Just You and I” by Tom Walker is out from #36 (There will be a rebound), but it’s not like I didn’t expect the Skepta album bomb of sorts to get rid of competition, as “Motorola” by DaBeatfreakz featuring Swarmz, Deno and Dappy is out from #38, “No Diet” by Digga D is out from #32 and... “Earth” by Lil Dicky and Friends, which isn’t competition for Skepta but would have been out from #40 anyway. There is one returning entry but we won’t be covering it in this section, because it’s time for the new arr—

ALBUM BOMB

Skepta – Ignorance is Bliss

New section time, I suppose, even though there won’t be any new content for the most part. This is just a separated space for me to talk about mini-album bombs as they don’t really exist in the UK, but they allow three songs from an artist at once. Hence, Skepta is currently charting three songs from his highly-anticipated album Ignorance is Bliss (Which I haven’t had the time or motivation to listen to, as with most recently-released albums), two of which are completely new and will be at both ends of the chart. There is one returning entry however, as “Greaze Mode” featuring Nafe Smallz, despite being pretty awful, reaches a new peak at #18 after dropping off last week.

#32 – “Bullet from a Gun” – Skepta

Produced by Skepta and Ragz Originale

Now, the BBC usually censors any objectionable material on the album covers and replaces them with a picture of the artist, but Skepta flipping the bird and holding a gun was fine here, I suppose. This song was actually part of the double A-side single Skepta released to promote the album before its release, but it never charted in the top 40 until it ended up as the opening song on the tracklist, as well as having a video pushed. Now, I hated “Greaze Mode” so hopefully its less accessible counterpart will be better, and, well, it is, but not because this is of insane levels of quality. The instrumental’s eerie synths here are hypnotic like most of Skepta’s self-produced synth loops but the infectiousness of the beat doesn’t translate to the vocals and content here, as his oddly low-mixed vocals under the trap percussion don’t go into any detail until the verse where he talks about how he can’t make any sorrowful songs mourning his father because he’s only thankful for him and how he has rubbed off on Skeppy himself, and then he actually goes into a pretty emotional verse about facing demons and considering seeing his daughter’s face every day as a blessing, with a rapid and blunt flow, because he can’t be sure every day that he’ll be alive to see the next morning, not because he’s still involved in gang violence as he’s matured from that experience but because he’s paranoid of those we are supposed to place our trust in most, the police. That’s only a few bars though, and while they connect and they are pretty powerful lines, it has to be book-ended with Skepta taking your girl because it was just your turn and not learning his lesson by shooting you as that’s just how the world works. I mean, this isn’t bad by any means, but staying on topic would be appreciated when you emphasise such heavy subject matter for as many bars as you do but completely abandon it by the end of that one extended verse. The beat’s great, though, and Skepta’s delivery has always been pretty aggressive on these types of beats, so for what it is, it’s decent and it works fine for Skepta’s 13th Top 40 hit. Next.

#14 – “What Do You Mean?” – Skepta featuring J Hus

Produced by Skepta and iO

Now this is Skepta’s 14th Top 40 hit over here in the UK and J Hus’ sixth (In terms of top 20 hits, it’s Hus’ third and Skepta’s fourth). J Hus, recently released out of prison, delivered a consistently fire and really impressive feature verse on Dave’s “Disaster” last time we had a British hip-hop album bomb onto the charts, and has performed with Drake hours after he was released, but honestly a lot of the time I find J Hus to be uninteresting in his solo work, and his last album was droning and honestly pretty dull. This, on the other hand, is a complete banger. Skepta’s self-produced beat is equally as menacing and eerie as “Bullet with a Gun” but I see it takes some steps from ‘90s G-funk with that synth line, backed up by strings and plunging 808s. J Hus’ Auto-Tuned chorus is really slick, and he shows a lot of swagger in his funky yet relatively mellow hook, before Skepta comes in bouncing with a pretty intense verse. Is the content anything interesting? No, but it’s not trying to, and when the beat is this interesting of an amalgamation of trap, G-funk and freaking banjos in the second chorus, as well as smooth as hell flows delivered by Skepta, you don’t need insane lyricism. I love how the multi-tracked vocals from J Hus transition perfectly into Skeppy’s verses as well, and both ride the beat fantastically. Not much to say about this one but I’m glad to see some trap with an actual groove to it that doesn’t overstay its welcome, as well as performers who know what they’re doing spitting on it. Oh, and the vocals are actually mixed decently this time. Seems like Skeppy’s mixing may be a bit inconsistent especially on the vocal side, as the bass and kick here are much louder than they need to be. I love this, though, so check it out.

Oh, yeah and J Hus crooning “North Korea” is hilarious to me.

NEW ARRIVALS

#31 – “Mother’s Daughter” – Miley Cyrus

Produced by Andrew Wyatt – Peaked at #10 in Hungary and Slovakia, #54 in the US

Miley Cyrus has released another absolute trainwreck of an album a la Dead Petz, but this time it’s harder to swallow as it’s just an EP and all tracks take on a different style of music, despite being primarily trap-influenced. That sounds like it’d be an interesting venture into the Cyrus psyche but nope, SHE IS COMING is just as awful as I and many others expected, but the breakout single, her 16th UK Top 40 hit, doesn’t exactly make that evident, because instead it’s just mediocre, almost painfully so. This starts with a scratchy guitar mumble before exploding into a synth-lead trap beat, complete with high-pitched vocal samples, but it seems really lightweight, mostly because all these pop princesses that try their hand on trap beats can’t pick a beat with any bass or intensity, especially when this song is about playing up a archetypal villain role for the media, I assume, and despite the distortion on her vocals she still has the country twang, can’t flow for the like of her and belts a post-chorus that is pitchy and hard to listen to. Really, the whole song is just one big mess, not even mixing wise as it’s completely fine on a technical level (Although the lack of much noticeable sub-bass to speak of concerns me), but the messiness of the songwriting really shows in the bridge, which essentially takes away the gliding synths and places the scratchy guitar groaning in its place, whilst Miley rapid-fire spits an incredibly janky flow. The final chorus also has these “Oh, my God” lines as filler to replace the lines in the chorus, which doesn’t break up the monotony of this song at all. The cringeworthy outro aside, this is just boring – and it looks like I won’t get a break from dullness anytime soon.

#16 – “Bruises” – Lewis Capaldi

Produced by Lewis Capaldi and James Earp – Peaked at #19 in Scotland

When I said that Capaldi had streaming cuts, that may not have been entirely accurate as Capaldi has debuted his fourth UK hit in the top 20 to replace “Grace”, so seemingly the three song per artist rule has kicked out the lowest performing song. Now Capaldi’s success doesn’t surprise me, because there’s no one making breathy, low-key ballads that Sheeran specialised in – well, there are, they’re just not gaining real traction – so we need to fill a hole while Sheeran’s off partying at a party he doesn’t want to be at with Justin Bieber and PNB Rock. I am, however, incredibly disappointed by his success, because he and James Arthur make me want to throw bricks at squirrels. Now this is actually his first official single as it was released independently (And on his label) back in early 2017, but thanks to inclusion on his newest album, has had a boost two and a half years late, and we weren’t really missing anything. I’ve heard this before reviewing the charts this week, I feel it was an advert, and it really does seem like a song for melodramatic commercials. I’ll give it to him, Capaldi has strength and he has a lot of power in his young voice, with a rock edge I appreciate that Arthur doesn’t have, but this instrumental is painfully simple, to the point where it’s so minimal that it can’t work, especially with Capaldi’s multi-tracked falsetto nonsense crooning, as that would make much more sense with an actual drum beat instead of just soul-less piano notes being looped under Capaldi essentially vocally riffing. By the final chorus and bridge, you’d expect some strings or something, surely, but, no, it stays as it was until the last second, where a secondary piano line plays... and it just plays the vocal melody from the chorus, once. It’s not worth it at that point, and there’s not even a stylish finish to the whole thing. To be fair, it’s the only Capaldi song I’ve heard that isn’t excruciating. Doesn’t mean it’s any good though.

#15 – “Shine Girl” – MoStack featuring Stormzy

Produced by Ill Blu, TSB and Levi Lennox

God, I really don’t like MoStack. I’ve never heard a chorus or verse from him that’s compelling in his five Top 40 hits (and three Top 20 hits) since “No Words”, and most of his singles are Auto-Tuned faux-dancehall faux-grime nonsense, but he’s just released a 40-minute album (Delightful) with features from J Hus, Dave, Fredo and of course Stormzy, who has propelled one of the STACKO tracks to the top 20, becoming his 14th Top 40 hit and his seventh Top 20. Is it any good? Well, actually, it’s much better than most of MoStack’s stuff, mostly because the twinkling synths in this Afrobeats track are actually fitting as instead of attempting to be threatening, menacing or intimidating, it’s a love song. Stormzy’s hook, despite being somewhat overly possessive, is somewhat cute and the multi-tracked harmony backing vocals are really nice... MoStack exists though, and the content here pretty much chalks up to having sex with other girls despite the fact that both Stormzy and MoStack are always talking about how they love the sex from this girl in particular. MoStack is nasal and irritating as usual, although I do like the completely irrelevant line where he asks why Stormzy’s high

Wait, Stormzy, why you look so damn high?

It’s offbeat, drenched in Auto-Tune and reverb, and mixed below both the instrumental and Stormzy, but overall, MoStack is mostly a non-presence, so that’s cool. I like Stormzy’s hook well enough, and the piano dwindling at the tail-end is pretty excellent, so, you know what, Stacko, you get a pass for now.

#13 – “Never Really Over” – Katy Perry

Produced by Zedd and Dreamlab – Peaked at #4 in Scotland and #15 in the US

So, she’s back. Katy Perry has been existent for  a while now but she hasn’t released that big comeback single since her waning success with the Witness era, so she’s come back with a bang... except it’s a Zedd production and it’s only in the top 20. To be fair, I’d accept anything if I had just experienced that trainwreck of an album cycle. Did you guys hear about how Zedd doesn’t actually produce or compose his own beats, though? Yeah, that’s pretty dreadful, apparently he can’t play piano in a note other than C. I don’t believe that for a second personally, but the dude absolutely tears into Zedd, it’s hilarious. Anyway, is this Katy Perry song any good? Well, it does take me back to the days where Katy Perry was massive, with the cute yet simplistic synth line and finger-snaps making up a vibe similar to the introductions to a lot of her earlier hits. It is familiar overall actually, I swear I’ve heard that vocal melody in the pre-chorus before. The rattling percussion adds some bounce but may be a bit too stiff and unnatural, as a lot of Zedd’s production is. The snares and even Perry’s vocals are clipping over the cloudy synth mix in the chorus, however, and the lyrics are repetitious and somewhat meaningless... but who cares? That drop is incredible. The song could be a Chris Brown song featuring posthumous vocals from XXXTENTACION produced by Tay Keith if it had that fun, 80s-reminiscent drop which Katy Perry essentially triplet-flows over. The way it carries into the bridge as well makes it very manic and it works as a damn good post-chorus. Oh, yeah, and that ticking clock is annoying, and only made sense in “Stay” and “The Middle”. I’d say stop using it, but Zedd doesn’t exactly have much control over his compositions so I’m gonna say it’s Dreamlab’s fault for implementing it if anyone. It’s really jankily pushed into this song and doesn’t make for a good outro at all, there’s literally a clock solo. Oh, yeah, and this is Katy Perry’s 28th UK Top 40 hit. That’s insane.

Conclusion

There’s not much really to go home about here, although Best of the Week is probably going to Skepta and J Hus for “What Do You Mean?”, with the Honourable Mention going to both Skepta and Katy Perry – yep, it’s a tie – for “Bullet with a Gun” and “Never Really Over”, while Worst of the Week is easily going to Miley Cyrus for “Mother’s Daughter”. In fact, I’d be hesitant to give ANYONE, even Reviewing the Charts nemesis Lewis Capaldi (and MoStack for that matter), a Dishonourable Mention of any sort. Hence, follow me on Twitter @cactusinthebank for more musical ramblings, sarcastically quote-tweeting Piers Morgan and I’ll see you next week.

[aslightaddity]

AWWWWWWW I love it juke!!!!

@aslightadditys girls!! AAAAAAAA I couldn’t not draw them

[aslightaddity]

Blue Beetle is ready for día de los muertos

[gvnmetal]

Jordy x Taylor

"Each time you happen to me all over again."

I read this quote this morning and it made me think about Jordan specifically. Like even in DC the Unspeakable Thing happened and Jordan left Taylor and their family in Canada and ran away to America.

There's Riley still and now there's Cubbie in this universe which makes me believe that if you ask DC!Jordan if he's happy with his life the answer will be a "Of course I am." followed by a soft smile. Picturing him wearing warm sweaters and dirty boots living somewhere near a river or a pond, with fall coming in and bringing dry leaves he'll be too lazy to clean properly and the opportunity to light up the fireplace. Actually, I think it's a similar life I'd like him to have in the regular verse as well, in the future once things are better I guess.

But see, even in Different Choices – where Jordy still gets the chance to wake up with Cubbie drooling on his shoulder still wearing his yesterday's clothes – I know Jordan would still think about Taylor and their family quite often.

And then we know with Riley meeting Ethan it would only be a matter of time before shit hits the fan again and Jordan is forced to face his brother again and BOY I have no idea how that would go tbh

BUT ANYWAYS I was also thinking about the scenario where the Unspeakable Thing never happens. The one where a friend stops Jordan from going home drunk, convinces him to stay and sleep the alcohol away. And then the morning after, when he sneaks back home all he gets is a judging look from his father and his mother rolling her eyes and telling him to shower because he smells terrible.

Picturing a world where Jordan never acts on his feelings, one where he decides to stay, finishes school, shares embarrassing stories about his friends to his brother when he comes home, goes out for walks with his mom when Taylor and Paul are busy watching TV together and only moves out when he gets a job offer in Ottawa that even has his dad clapping his back and smiling proud of his oldest son.

Jordan hesitating to take the job but knowing he has to, has no good reason to say no to that. Taylor would also be getting in college soon as well and I don't know if he would also stick around or choose one far away, either way Jordan knows what he has to do and moves to Ottawa and hates the city but learns that he needed that break and space.

It's not a good alternative to the original story but one I know Jordan would often think about, "What if I'd never done that? What if I never left?"

I don't know how that would affect Taylor's personality and behavior. I don't know if eventually Jordan would simply accept that exists inside of him but it's too wrong to do anything about it, or maybe if one afternoon he would tell Taylor, open up and tell him the truth while they're drinking coffee in their family living room.

Oh and Glass Animals released their new album and I cried a bit hearing "Youth" for the first time because the beginning kills me like:

Boy, when I left you you were young I was gone, but not my love You were clearly meant for more Than a life lost in the war I want you to be happy Free to run, get dizzy on caffeine Funny friends that make you laugh And maybe you're just a little bit dappy

–– September 9, 2016

But now that you've wrote more on Taylor's personality and mental health I don't think it would've made things that much better either on the perspective of them being happy as individuals. 

[bnha-more-like-bnh-gay]

A playlist for when you’re kinning Izuku:

Spirits - the strumbellas

Ophelia - the lumineers

Ride - twenty one pilots

The boy in the bubble - Alec Benjamin

Cry baby - Melanie Martinez

Are you bored yet - wallows ft. Clairo

Numbers - Melanie Martinez

Let me down slowly- Alec Benjamin

Angel with a shotgun - the cab

One little slip - barenaked ladies

You’re gonna go far kid - the offspring

Don’t you know who I think I am - fall out boy

Fool - cavetown

Wishing well - juice WRLD

I promise I’m trying - cavetown

Mommy fwiend- Penelope Scott

Don’t stop me now - queen

Unbreakable - faydee ft. Miracle

Father - the front bottoms

Cry baby - the neighborhood

Afraid - the neighborhood

Nurse’s office - Melanie Martinez

The knife in my back - Alec Benjamin

I’m so sorry - Nico Collins

Parents - yungblud

The greatest show - greatest showman soundtrack

Beautiful scars - Maximilian

The kid I used to know - arrested youth

Alone - Nico Collins

Karma - AJR

Jokes on you - Charlotte Lawrence

Toy - netta barzilai

I’m not okay- weathers

Burning alive - 8 graves

I’m not a cynic - Alec Benjamin

Believer - imagine dragons

Thunder - imagine dragons

Sunflower - into the spider verse soundtrack

Stressed out - twenty one pilots

High hopes - panic! At the disco

Hey look ma, I made it - panic! At the disco

Fireflies- owl city

Backflip - green eggs and ham, rivers cuomo

Good intentions- dappy

We will rock you - queen

Centuries- fall out boy

Summer depression- girl in red (again, is it the lesbianism and fact that I kin izuku, or that it actually makes sense? We’ll never know)

4 am - girl in red (same deal)

The Phoenix - fall out boy

Juliet - cavetown

Head up high - fitz and the tantrums

Typical story- hobo Johnson

What’s wrong - half alive

The kinning Todoroki playlist can be found here

[thesinglesjukebox]

WILEY FT. TORY LANEZ, KRANIUM & DAPPY - MY ONE

[5.43]

They're low-balling the score a bit...

Ian Mathers: Not quite as great as the very fun "Boasty" -- if anything, it could use more Wiley -- but just compare guests and that's not totally surprising. It does, however, share a surprisingly openhearted, fun feeling, given that at one point Wiley's main attribute seemed to be crabbiness. Whatever he's doing now instead, it's working. [7]

Scott Mildenhall: You only have to ask Dappy, the man he did down in claiming he "went number one with 'Number 1'" on the otherwise unimpeachable "Take That," to know that Wiley has form in claiming other people's one as his. So it is with "My One", not so much his one as his guests' -- particularly Claudia Valentina, whose honourable effort in keeping it afloat has been Kelli-Leighed, a double indignity after sounding like it had already been Anne-Maried. Sure, Wiley invented music, and his inspiration is all over the place -- somewhere around "boohoo.com money" in this case -- but he's still a passenger here on a slow-moving train, from "Boasty" to coasty in the space of one single. [5]

Katherine St Asaph: If "Boasty" sounded like very little on the charts, "My One" sounds like almost everything on them. Specifically, it sounds like Drake -- someone often synonymous with "almost everything on the charts" -- but the Drake of "One Dance," one of his more pleasant incarnations. [6]

Joshua Minsoo Kim: Flirty and exuberant, "My One" succeeds because of the impressive arrangement of its four vocalists. They're not relegated to a single verse each; instead they constantly intermingle, capturing the bustle and fullness of a thriving summer party. [6]

Iain Mew: Wiley and the guys trade lines and part-lines in an idol group manner that makes it a surprise there isn't a colour-coded lyrics page out there. The dynamic changes only work, even to the small extent they they do, thanks to the sung hook holding it together and away from total incoherence, which makes it worse that the singer goes uncredited. [3]

Edward Okulicz: Totally incoherent, but still a bop -- it's fun and summery and infectious, but honestly, there's too many people on it. Possibly the inclusion of three (named) guests is to pay back a debt, or to give the video something other than Wiley sticking a single finger up to indicate "one," but it dilutes the charm. [6]

Alfred Soto: The percussion rattles, the vocals are in sync, and no one bothers him- or herself unduly. [5]

[Read, comment and vote on The Singles Jukebox]

[lyricshot-net]

Dappy – Trill Lyrics

[Intro] Yah, yeah-yeah, yeah Stay prayed up [Verse 1] Did you see how many feds were at my door, wow Should’ve seen how many paps were at the courthouse Do you know how much I have had to fork out? Who’s that fucking banging on the door now? It’s cool, let them in, it’s only few of my lot from round the way Shout out to the dawgies dem from day Yeah they might come in a pack But they all got my…

[aykutiltertr]

Bling-Bang-Bang-Born - Creepy Nuts - Rhythm Karaoke Original Traffic (Wo...  Ayrıcalıklardan yararlanmak için bu kanala katılın: ( Join this channel to enjoy privileges.) https://www.youtube.com/channel/UCqm-5vmc2L6oFZ1vo2Fz3JQ/join Şarkının Orijinal Versiyonunu Linkten Dinleyip Ritim Karaokesiyle Çalışabilirsiniz. https://www.youtube.com/watch?v=mLW35YMzELE Aykut ilter Ritim Karaoke Kanalıma Abone Olun Beğenip Paylaşın. Bling-Bang-Bang-Born - Creepy Nuts - Rhythm Karaoke Original Traffic (World Music) STRUMMING There is no strumming pattern for this song yet. Create and get +5 IQ transcribed from: https://www.youtube.com/watch?v=Jg73p9udbAQ Tempo =  157 BPM ------------------------------------------------------------------- [Intro] N.C. Yeah, boy [Verse 1] N.C. Chiito, gifted, arawaza, wanted N.C. Kinki, kinjite, akiraka mouten N.C. Hansoku, ijigen, kono yo no mon de wa nai desu N.C. Muri gee, sore kiitenai tte N.C. Ay, raibaru kuchi wo soroete N.C. Wow, raibaru kuchi wo soroete N.C. Bagu de, magure, mitomenee zettee N.C. Maji de? Kore wo ma N.C. Zenbu namami de? Bm  F#7 Bm  F#7 [Chorus] Bm           F#7/A#        Bm        F#7 It's namami, it's namami, yeah-yeah-yeah-yeah Bm         F#7/A# Bm              F#7 Bling-bang-bang,  bling-bang-bang-born Bm         F#7/A# Bm              F#7 Bling-bang-bang,  bling-bang-bang-born [Verse 2]              Bm                F#7 Jitsuryoku wo hakki shikiru mae ni               Bm             F#7 Aite no hou ga bakkurete kurashii          Bm              F#7 Agarikiru haadoru very happy           Bm               F#7 Akiraka ni dantotsu de pikaichi            Bm               F#7          Bm      F#7 Aika warazu dappi shiteru mainichi (Bling,  bling,  bling)        Bm         F#7               Bm         F#7 Dare no nanahikari mo iranai omae no ice yori icy (Icy)     Bm             F#7            Bm              F#7 Ore, patto mi dekinai koto bakkari da kedo very happy              Bm            F#7 Aa, kiretеru, akireteru mawari              Bm           F#7 Megu marеteru kazoku tomodachi (Happy)    Bm                 F#7              Bm            F#7 Mou hansoku teki tachiichi, mina ore ni makase tokeba ii (Bang-bang-bang)    Bm                F#7 Kyoukasho ni nai, mondaishuu ni nai     Bm           F#7  N.C. Chou bad na majinai,   listen [Pre-Chorus] Bm        F#7      Bm     F#7 Kagami yo kagami kotaechatte          Bm            F#7/A#   Bm     F#7 Who's the best? I'm the best! Oh ye-e-e-eah Bm        F#7        Bm     F#7 Namami no mama ikeru toko made   ��   Bm           F#7/A#  Bm To the next, to the ichiban ue [Chorus] Now singin' Bm               F#7              Bm              F#7 Bling-bang-bang, bling-bang-bang, bling-bang-bang-born (Now singin') Bm               F#7              Bm              F#7 Bling-bang-bang, bling-bang-bang, bling-bang-bang-born (Now singin') Bm               F#7              Bm              F#7 Bling-bang-bang, bling-bang-bang, bling-bang-bang-born       Bm           F#7     Bm    F#7 To the next, to the ichiban ue [Refrain] Bm      F#7            Bm       F#7 Ey-day, ore no mama de iru dake de chou flex Bm      F#7/A#          Bm      F#7 Ey-day, daremo kuchi wo hasamenai (Don't test) Bm      F#7            Bm       F#7 Ey-day, ore no mama de iru dake de chou flex Bm      F#7/A#          Bm      F#7 Ey-day, daremo kuchi wo hasamasenai (Don't test)                 Bm Yeah, yeah, yeah            F#7          Bm           F#7 Gakureki mo nai zenka mo nai yoyuu de bling-bling Bm            F#7/A#      Bm             F#7 Kono sonzai jitai ga bunkazai na noumiso bling-bling Bm            F#7             Bm        F#7 Koukyuusha wa kaeru menkyo wa nai aisha green, green Bm               F#7/A#   Bm Zenkoku kakuchi yurasu ippin             F#7 Kono bero ga bling-bling Bm      F#7 Baretto nara mantan Bm            F#7             Bm Kansai namari namami no kotodama    F#7                  Bm               F#7          Bm Ongaku, kouun, shouri no megami, koyoi mo sanmata bang-bang             F#7         Bm             F#7              Bm Manga mitai na yakara to manma de hariaete shimatteru manga       F#7              Bm               F#7 Attou teki chikara kono atama to kuchi kara     Bm               F#7 Kono karada tattoo wa haittenai     Bm               F#7 Kono tsura ni kizu mo tsuitenai    Bm                   F#7 Kurikaeshi yarakashiteku dameeji ga    Bm              F#7 Ikatsui nenrin wo kizamu shiwa Bm               F#7              Bm              F#7 Bling-bang-bang, bling-bang-bang, bling-bang-bang-born               Bm                       F#7 Ore no mama de bling shite, bang shite, bang suru tame ni Bm                 F#7 Born shite kita nippon, ay! Bm        F#7      Bm     F#7 Kagami yo kagami kotaechatte          Bm            F#7/A#   Bm     F#7 Who's the best? I'm the best! Oh ye-e-e-eah Bm        F#7        Bm     F#7 Namami no mama ikeru toko made       Bm           F#7/A#  Bm To the next, to the ichiban ue

[stopoutadverts]

So, I create videos and have been doing lyric videos lately. I've recently become interested in making one for Wiley's track, Step 20 that normally has Rude Kid's track behind it. Unfortunately, lyrics for Step 20 do not exist anywhere, so I have written out everything I could and I got about 95% correct. I was wondering if some of you who have more experience with Wiley's tracks and Grime in general, as well as the accent, would be able to help me figure out the last few bits of what he's saying? This would be very helpful to me, in fact this is all I need in order to continue with my project. The acapella for it is here, so the track being too loud isn't any issue. Could some or a few of you try your ear at it and see if you think these are correct? I'll put the timestamps next to the verses. Here is the Joss Ryan remix that I will be using if I can perfect these lyrics. @ 0:30 he says: "Refuse to work for the minimal P, 'cause I know the path to the wickedest beat" > wickedest beat, right? Not P again? @ 0:55 he says: "Gyal be like "Oh gosh, Widdium's cool" > wtf is "Widdium", or is it something else? @ 1:48 he says: "Bikes and chains, a lot to bring 'em all out" > Bikes and chains seem a little unrelated, is this really the line? "[You see the [...] that] explains yappin'" > I have no idea what he could be saying at this part "Hand in the air 'cause the jaw keeps clappin'" > Is he saying the jaw or a jaw? Her jaw? @ 2:08 he says: Or at least something that sounds like "What the new four cals SM9 sell the Mackys" > I have no idea what this could mean or if I even got it right... @ 2:13 he says: "Won't let it out 'til it's done like duppy" > I can only assume he says Duppy because he was included in that production, but it sounds like dappy... Clarification anyone? Much thanks to anyone who expends the effort! :-D

Help! I need some help deciphering some of Wiley's lines!