#Friday music review

[thatyoutubereviewer]

Watch "The Guy Who Didn't Like Musicals" on YouTube

The Guy Who Didn't Like Musicals

Genre: sci-fi horror comedy musical proshot

Date posted: Dec 24, 2018

Closed captioning: very good 👍👍

Runtime: 1:52:36

Youtube description: summary of the show with full credits of cast crew and direction, as well as time stamps for both scenes and songs

Trigger warnings: fake blood and guts, blue shit, smoking, drinking, vulgar language, guns, gunshots, the US government, gaslighting

My rating: ⭐️⭐️⭐️⭐️⭐️🌟

Full spoilers free review below vv

What a better video to review than the one that *really* got me sucked into YouTube. Of course, I'd been watching YouTube for years before that, even the same channel. But this musical? Fucking transcendent!

The Guy Who Didn't Like Musicals (tgwdlm) pushes the boundaries in every way. From the adult comedy that can't *quite* make it on Broadway, to the suspenseful sci-fi apocalyptic plot you can't find anywhere else, this show is perfect for theater lovers and those wishing to dip their toes into the musical world. A story that takes place over two days, after a meteor hits and people start singing, what will the guy who doesn't like musicals do?

The characters are brilliantly written and all stand apart from each other. Even when an actor is playing another character on stage, you can always tell who they are supposed to be. It's a cast of eight performers onstage, which is wildly impressive to me that it seems like a whole town with only eight people. There is... decent representation, while most of the characters are straight white men, there is one black man with a lesbian daughter. Trust me that Starkid vastly improves their representation if that is something of importance to you.

Jeff Blim's musical writing paired with the cast's talent made a wonderful soundtrack with genres ranging from 80s rock ballad to coffee showtune it'll leave you in whiplash in the best way. All of the songs make sense for the scenes and flow well with the plot. Let's just say I've jammed to this album a few,, several times.

The pacing starts slow, then picks up and doesn't stop. There's so much to chew on, but the show gives you enough time to swallow it. Nick and Matt Lang's writing has always been really good, but a lot of people consider tgwdlm their magnum opus. Tgwdlm is one of three musicals set in the small town Hatchetfield, and if you like this, you'll definitely like those.

Tgwdlm has an active fandom on tumblr and twitter, though I highly recommend you watch all three hatchetfield musicals before you interact for fear of spoilers.

I rated tgwdlm at a 6 out of 5 stars because this show gave me joy and community when I didn't have a lot. It's hard not to fall in love with these characters, songs, and plot. Also, when it first came out, I watched it several times over just because it was so good. I highly recommend to anyone willing to spend their time on something cooky, fun, and a little spooky.

[rentumblsstuff]

Did someone say Jane Houston edit? Cause I heard Jane Houston edit-

Wdym most of the clips are a car? Yeah, dude, Jane’s a car!!???

(It’s late and I made this in 20 mins cause I thought it’d be funny)

[thewhizzyhead]

before I sleep, here is my definitive ranking on all the NPMD songs and some rambles on why I placed them there - also the ranking is based on how much I vibe with them (music production and lyricism have different rankings)

1. Hatchet Town (aka the hatchetfield trilogy theme song like this tune perfectly encapsulates the chaos Hatchetfield has to go through with every Starkid project pos-2018 and I love it - kinda wish it was a number that is more integrated with the plot with the kids tho BUT I REALLY DID LIKE that this melody was quite prominent in the other songs too)

2. High School is Killing Me (I've watched many teen centered musicals and believe me when I say that this song is one of, if not, the best introduction numbers out there for this genre - also it's a really great opening hook for a show)

3. Nerdy Prudes Must Die (FUCKING AMAZING HONESTLY - amazing way to REALLY re-establish a villain back from the dead and to establish the main theme for the nerds here: "I'm Not A Loser" (tho i fucking wish that motif was used a bit more))

4. Just For Once (everyone cheer for Lauren Lopez flexing not just her high tier soprano skills, but also how amazing of a fucking actor she can be like the concept of this song is quite layered and to pull it off both comedically and emphatically takes great lyrical and acting prowess)

5. The Summoning (a well-anticipated onstage introduction to all 5 of the LiB that balances out befuddling neon-entertainment with genuine fucking menace)

7. Cool As I Think I Am Reprise (A FUCKING GENIUS REPRISE I CAN'T STRESS ENOUGH HOW COOL I FIND THEM RECONTEXTUALIZING THE OG SONG AND IF I LOVED YOU TO FIT THE SITUATION AND BOTH OF THE CHARACTERS GROWTH. LIKE IN TERMS OF THEMATIC IMPLICATIONS WITH CHARQCTER DEVELOPMENT, THIS SONG AND ITS SCENE WOULD BE THE TOP)

6. If I Loved You (I think this song could be a bit more honestly like I know how much Starkid has explored Steph and Pete's relationship in their other projects and I was really hoping that they would have it more portrayed here - however the song is a bop nonetheless and it matches neatly with their themes and the harmonies are top tier. I placed this higher than the next just due to my personal bias like I really do like the song)

8. Dirty Dudes Must Die (A GREAT TWIST THAT MAKES ME WANT ANOTHER MUSICAL ABOUT GRACE CHASITY'S DERANGED SELF - also the new context of the song Grace is reprising here makes her a villain even scarier than MAX of all people but that's just me)

9. Literal Monster (A very catchy beat and well structured song that provides a good introduction to a jock-bully with the god complex. also kinda foreshadowing to nerdy prudes must die)

10. Cool As I Think I Am (the instrumentation reminded me of Dear Evan Hansen ngl fjsjd but it really does sound like an I-Want song from a teen-musical which is of course what they are going for - it sounds very nice and earnest though and I loved how it was utilised in the reprise. However I still fucking wish that the I'm Not A Loser motif was used more)

11. Dirty Girl (look I'm sorry for ranking this quite low on the list but like there is no fucking way I'm using this as bait to lure other people in like they'd be scared away I'm sorry fjdjs BUT I love how Will and Angela perform this though like top tier starkid performances ever - its not just what I would listen to on repeat personally jgjdjs)

12. Go Go Nighthawks! (This one gets plus points because of FUCK YOU CLIVESDALE GO GET FUCKED. otherwise its nice and cheery and perfectly shows how happy everyone is without Max but um I kinda wish it could be a bit more especially in terms of showing how happy the other nerds are now that Max is gone but that's just me)

13. Bully The Bully + Bury The Bully (Look I couldn't decide which was better like they both are the same melodies so like gjxjs these two are cute though and I liked seeing the 5 kids bonding in Bully The Bully since we don't get that many scenes with them)

14. The Best Of You (the pop-punk happy number is a staple of teen-centered musicals and it does really sound nice - just isn't that much of a standout compared to the others.)

[heartsleevemag]

Indie supergroup boygenius releases cyclical new EP, "the rest"

by Cassidy Byrnes

The boys are yet again back in town. Last Friday, indie trio boygenius released a new EP, the rest, after their astounding, widely accredited full-length album, the record. With their 2018 debut EP, boygenius, many of us assumed it would be their first and last outing as a group. But now, in 2023, we are all swimming in the sorrowful rock sounds of both the record, released March 31st, and the newly released EP, the rest.

I want to mention the significance, to me and to other fans, of releasing an EP rather than an extended or deluxe version of the LP. While I assume that the rest is composed of songs that were meant for the record, I think it’s wonderful to acknowledge, as an artist, that that album is complete. After listening to the rest an extraordinary amount of times, I can tell boygenius also believed that it was deserving of its own independent release because, like the record, it tells its own stories with its own conclusions. That’s not to say that I’m not a sucker for an extended or deluxe album (Taylor Swift, for example, can have all of my money), but understanding when a project is finished is something really special and noteworthy.

“Black Hole” starts off this EP with a staccato piano and an entrance of vocals from Julien Baker, where she is describing a night spent on a porch smoking cigarettes. Then a rhythm line comes in along with a more chaotic piano beginning to drown her out. Then enters Lucy Dacus with a smattering of nouns and adjectives that seemingly have no connection to Baker – but I’d like to imagine they are sharing a phone call where they are discussing these things, “Sometimes, I need to hear your voice,” Dacus concludes.

Dacus also brings us into the next track “Afraid of Heights.” This track has a very light acoustic feel with some steel guitar, until the final 40 seconds where a steady bass line joins and increases the gravity, making you really take in the story that Dacus weaves. Throughout the track, she describes a relationship with someone who pushed her to her limits: “I know I was a disappointment / Know you wanted me to take a risk / Not everybody gets the chance to live / A life that isn’t dangerous.” She has this amazing ability to make the listener believe everything she’s telling them, almost like they lived it themselves. The chaotic nature of the relationship and the slow, explanatory narrative by Dacus gives the song extreme emotional depth. They even snuck in the word “entropy," which seems to be the perfect encapsulation for this relationship.

We haven't heard a lot from Phoebe Bridgers yet, the third member of boygenius who is known for her wispy vocals and brutal lyrics, but the third track definitely showcases both. Opening with a humming harmony from the boys, “Voyager” pushes the audience into a story led by Bridgers; “It’s a hundred and three in the Valley / Blacktop is meltin’ on our shoes.” She tells us about a relationship that has ended, that was seemingly romantic but toxic all at the same time, and Bridgers still feels some sort of possession over them. This groundless notion is what drives the track – one moment she is reminiscing about spending the day in bed with this person, and the next she’s telling us that they “stepped on the gas” and asked her if she’s ready to die. While I hope that’s figurative, it gets the toxicity of the relationship across without it slapping the audience in the face. The production of the track is very minimal, with a plucky guitar line and the harmonies of Baker and Dacus.

“Powers” ends the EP and lets us hear from Baker one last time, where she is questioning her origins. Baker discusses her “powers” and where they came from with a sort of disdain, even relating her existence to a cockroach. This track’s lyrical allegories are great and the harmonies from the other boys offer a nice place to land, but the majority of the production, to me, was a little lackluster. But, again, the final minute of the track offers an undemanding trumpet solo accompanied by some strings which is a delicate way to lay the EP to rest (haha).

The entirety of this EP seems to be a conclusion of sorts. Each song is discussing the end of something and the acceptance that often accompanies endings, giving the title, the rest, a whole new meaning. The exceptional thing is that all of these tracks blend perfectly into the next; even the closing track blends right into the opener. Listening to it the first time, I was questioning where one song ended and the next began. I can only hope that this cyclical feeling was purposeful and that the boys, like this EP, will likely end but will begin again.

[reviewsbyliam]

Nicki Minaj - Last Time I Saw You

(Single Review)

01/09/23

Friendly Reminder: make sure to listen to the song whilst reading!

Nicki Minaj for Last Time I Saw You

-----------------------------------------------------------------

Kicking off September with the supposed lead single from her highly anticipated 5th album 'Pink Friday 2' is none other than Nicki Minaj.

Last Time I Saw You is the 3rd single to be released from her upcoming album, with 1 & 2 being the #1 HIT Super Freaky Girl and Red Ruby Da Sleeze which introduced her new alter ego, Red Ruby Da Sleeze.

Earlier today, Nicki spoke with Zane Lowe on the New Music Daily series which is platformed by Apple Music Radio, touching on the subjects behind the song.

She indicated that it's partly about her late Father, Robert Maraj, who was killed in a hit-and-run in February of 2021, also adding; "The vibe of it was really talking about a loss, a real loss you know. But to not make the song feel only directed at one kind of loss. When I wrote the singing verse, I tried to expand it and think even about relationships. And then by the time I got to the rap, it was like I had included all relationships that I had lost before, because I mentioned even best friends and stuff like that."

Never forgetting to also pay homage to her own personal growth, Nicki stated; "I just wanted the next song that I put out to represent my growth, but not just as an artist, but as a human being. I’ve experienced so many things that I hadn’t experienced five years ago, and that’s just the truth."

Talking earlier today to Zane Lowe about the current rap climate, Nicki said: "I felt that if I don’t take the risk, that I’m just as bad as everyone else who I think should make a change. And not only artists, but people behind the scenes. Because the truth of the matter is people are experiencing real life every day. Believe it or not, people are going through real shit every day. So just because they don’t have that music out to express it, it doesn’t mean they’re not experiencing it."

-----------------------------------------------------------------

Taking risks from the music she has previously put out was the best choice for Nicki, as it proves that no matter how long she has been in the game for; she'll always find a way to create a new wave and ride it like no other whilst managing to stay relatable with her sound and writing.

Diversity in your lyricism and flow alongside experimenting with beats is something that many rappers lack so they choose to stick to their comfort zones, but for Nicki? That's not her story. Each album she has put out for public consumption has been consistently different. From flows, beats, lyrics, alter egos, stories - nothing is the same. Nicki being 15 years into her career and still finding ways to elevate her musical skill is truly inspirational.

After becoming a mother and surviving a very consistent hate train from the general public in 2018 that lasted for a couple years, it's more obvious now than ever that Nicki is ready to show the world what shes made of once again and gently but savagely remind people that whilst they might be able to play with others, they can't play with her. At all.

I'm personally extremely excited for her new album and eager to hear what sounds she has been experimenting with in her studio, alongside everything else that comes. Being a fan since Pink Friday was first released in 2010, it always is anxiety inducing when you don't exactly know where your favorite artists creative mind is directing itself, but then I also find that's what makes it so exciting about being a fan of that person, because when their past work is so consistent and still streamed to this day, you know you won't be let down no matter what, especially when its a mastermind like Nicki Minaj.

PINK FRIDAY 2 OUT NOVEMBER 17TH 2023

-----------------------------------------------------------------

CONCLUSION: A very emotionally layered track from Nicki that is upbeat and catchy whilst managing to stay unique, securing it's destiny for greatness. I (like many others) found myself able to relate on a personal level with past and current situations and even found myself getting a bit emotional at one point once I understood her own personal connections with the song. A very cohesive, well produced track with outstanding vocals and flow from Nicki.

-----------------------------------------------------------------

Last Time I Saw You is a certified 10/10 by Reviews By Liam

-----------------------------------------------------------------

Thank you for checking out my review of Nicki Minaj's new single Last Time I Saw You!

If you would like to listen to Last Time I Saw You, it is available to stream on Spotify and Apple Music, or purchase from iTunes.

Please support my blog by giving me a follow and sharing my reviews with your family and friends, whilst not forgetting to leave your own comments below!

X (Twitter): reviewsbyliam

Instagram: reviewsbyliam

[alphafightmusic]

SHE'S DONE IT AGAIN!!! Just when you think she couldn't set the bar any higher. SHE DID THAT. Charli, we love you and we hear you. It's a brat summer bitches!

[topoet]

Saturday Night Inferno

The Saturday Night Fever (1977) soundtrack is one of the best-selling albums in history, and remains the biggest-selling soundtrack of all time, selling over 45 million copies worldwide. It produced 4 #1 singles & became the catalyst for the ‘hate disco’ ‘disco sucks’ movement. The soundtrack & the movie both capture a time & place perfectly. The Bee Gees were big stars & this propelled then…

[deadcactuswalking]

REVIEWING THE CHARTS: THE CHRISTMAS EPISODE 2023 (23/12/2023)

So this is Christmas, and what have you done? Another year over, and God, I hate that song. Welcome to the ceremonial series finale of REVIEWING THE CHARTS - the Christmas chart, the only time anyone aside from people who still use forums care about the UK Singles Chart, as the Christmas #1 is revealed. Rather unceremoniously, it’s “Last Christmas” by Wham!, a song that’s been #1 before but the week after Christmas, and was literally #1 last week. Welcome back.

About “Last Christmas”

It is a cute novelty to have a song that could have been the Christmas #1 any year in the past 39 years actually land that spot instead of a current year-exclusive novelty, and it’s actually the first year I’ve covered where LadBaby hasn’t been #1. In fact, this is the first Christmas #1 for Wham!, because most people don’t have several, I say with gritted teeth but in no direction whatsoever. Let’s do some trivia though, because this episode will be full of lists and facts and all of that, it’s an otherwise dull chart week. George Michael, the late singer of “Last Christmas”, has had a Christmas #1 before, specifically in the first year that “Last Christmas” could have been - he was one of the singers in the Band Aid collective that hit #1 in 1984 with the first rendition of “Do They Know it’s Christmas?”, a song that Morrissey, for all his flaws, rightfully stated was “diabolical”. When Band Aid was #1, George Michael had the feat of being on both the #1 and #2 records on the Christmas chart, a feat only managed by the Beatles and Ed Sheeran. He also joins the few who have had several Christmas chart-toppers, a prestigious group for sure, if you exclude the YouTubers from Nottingham that are also in that group.

Andrew Ridgeley, the other member of Wham!, did not perform on Band Aid however and therefore grabs his first Christmas #1. I’d say “Good for him”, but the man doesn’t perform on “Last Christmas” either - it’s all George. He doesn’t even provide a backing vocal or synth, and he’s not credited as a writer or producer. To be completely honest, I don’t know what Andrew Ridgeley ever did, but this is the first time in eight years that the Christmas #1 has not had either LadBaby and/or Ed Sheeran on it so let the man accept his completely undeserved award. He joins the even more prestigious group of artists with Christmas #1s despite technically not doing anything, up there with Mr. Blobby and Bob the Builder. Hey, maybe I should do an episode going through all the Christmas #1s at some point, maybe in lieu of a year-end list next year, it could be interesting.

Whilst we’re here, let’s have some fun with it, let’s get some “Last Christmas” facts in, why don’t we? Despite “Whamageddon”, the British public actually can’t get enough of the song as proven by its many covers to have hit the charts. Now I know what you’re thinking: they’re not going to list all the versions of “Last Christmas” that have charted, right?

…The original Wham! recording debuted at #2, originally as a double A-side with their song “Everything She Wants”, and stayed there for five weeks, being blocked by Band Aid for each and every one of them. It re-appeared the next two years before being given a rest until downloads came in and it returned to the charts, now on its own, in 2007 at #50. It peaked at #14 that year and has returned every single year since, hitting #7 in 2016-17, #2 in 2017-18 and 2020, before finally reaching #1 on the week after Christmas in 2021, sadly long after George Michael had passed. The song has now spent six weeks at the top. Now there is a large 20-year gap between its first chart run and its second. What happened during that time? Surely “Last Christmas” was simply off the charts? No, of course not. As early as 1995, Whigfield, fronted by a Danish singer and produced by Italians, had a cover out. It peaked at #21, with the #1 then being that year’s Christmas chart-topper, Michael Jackson’s “Earth Song”. A version by “Alien Voices” and “the Three Degrees” - genuinely no idea - hit #54 in 1998, when “Goodbye” by the Spice Girls was #1 and “Chocolate Salty Balls” was #2. The same year, there was a cover by “Le Groove” featuring Gwen Dickey, which hit #82 - was there a competition for worst-charting Wham! cover that year or something? We then had Latvian house duo Bth cover the song - pretty well, honestly - but just for a measly #93 peak in 2001 - the #1 that year was also a cover, “Somethin’ Stupid” by Robbie Williams and Nicole Kidman. Probably the most well-known cover of the song, at least for people like me, is the 2007 version by Cascada, but the Eurodance version of the song to actually be a hit - yes, the Cascada cover didn’t even chart - was the Crazy Frog’s, whose 2006 “rendition” hit #16 for two weeks. The #1s were “Patience” by Take That and “A Moment Like This” by Leona Lewis respectively and suddenly Crazy Frog is actually sounding like a fitting replacement, Jesus.

Since the original started to return on a yearly basis, we have not seen as many versions - mostly because not a single one even compares to George Michael’s powerful original - but there have been some attempts, like a version by the cast of reality TV series The Only Way is Essex reaching #31 in 2011 - Gareth Malone and the Military Wives took home that year’s #1 with “Wherever You Are”. Ariana Grande hit #92 with it in 2013, when Lily Allen’s cover of “Somewhere Only We Know” topped the charts - always debatable to whether that’s a Christmas song - and finally, in the first chart week of this very year, or the last chart week of last year, depending on how you see it, Lauren Spencer-Smith’s version hit #70. I even “reviewed” it - it’s an Amazon original so I reviewed suggested songs instead - but the more interesting thing is that on that same week, it all came full circle, because at #1 was the original “Last Christmas”. Also, Spencer-Smith’s version is on Spotify now and it is terrible. Other big artists lik e Taylor Swift, Carly Rae Jepsen and the Backstreet Boys have covered the song but they have yet to chart in the UK with their versions. For the record, my favourite renidtion apart from the original is by pop punk band Jimmy Eat World.

Rundown

Oh, yeah, there’s 99 other songs on this chart, or 74 because of course, as you’d get the jist by now, I cover the UK Top 75, and particularly the notable dropouts, songs exiting from that region after five weeks within it or a peak in the top 40. This week, we bid a very temporary farewell to “Angel Numbers / Ten Toes” by Chris Brown, “Murdaside” by Mazza_l20, assisted by his revolving door of guest stars, “Now and Then” by The Beatles, “Lil Boo Thang” by Paul Russell, “One of Your Girls” by Troye Sivan, “Agora Hills” and “Paint the Town Red” by Doja Cat, “My Love Mine All Mine” by Mitski and finally, “Baddadan” by Chase & Status and Bou, who just got a Wikipedia page, featuring IRAH, Flowdan, Trigga and Takura. I’m sure most of these will be back in no time so save your tears for the January chart.

Now our gains and returns of course look quite minimal, but we may as well mention the Christmas songs that are only coming in this week - and perhaps the next - like the original “Stay Another Day” by East 17 at #75, also a former Christmas #1, “Mary’s Boy Child / Oh My Lord” by Boney M. at #71, “Little Saint Nick” by The Beach Boys at #69, “Lonely this Christmas” by Mud at #66, “Blue Christmas” by Elvis Presley at #65, “2000 Miles” by the Pretenders at #58 - high placement this year - and “Santa Baby” by Eartha Kitt matching its peak of #55. A few newer festive tracks reach new peaks like “Jingle Bells” by Meghan Trainor at #67, “Winter Wonderland” by Laufey at #31, ���DJ Play a Christmas Song” by Cher at #20, “Stay Another Day” by Jorja Smith at #18 and Hell, even the classic “Let it Snow! Let it Snow! Let it Snow!” by Dean Martin at #16. The highest-charting non-Christmas song is Noah Kahan’s “Stick Season” - which honestly almost counts - at #4, with the rest of our top five being pretty expected: Ed and Elton at #5, Mariah at #3 and Wham! at #1. Oh, and Sam Ryder’s Amazon original track “You’re Christmas to Me” is at #2 but really, it’s best we all ignore that.

As for notable non-Christmas gains, Teddy Swims is at #49 with “Lose Control” and that’s genuinely it. Aside from the Christmas #1, this is a pretty uneventful chart week: usually on these episodes I don’t have to pad it out with “Last Christmas” facts: there’s just enough there in the arrivals or the race to the Christmas #1 that it can get really hectic. We only have three new songs to talk about here and none of them are even particularly interesting, with absolutely none of them having a shot at the seasonal #1. Only one of them even tried, so let’s run through what will actually be the shortest part of the episode: our new arrivals.

NEW ARRIVALS

#73 - “FTCU” - Nicki Minaj

Produced by ATL Jacob

Okay, so two things: firstly, this isn’t exactly a cop-out week for me. If I were to review outside of the top 75, I’d have the same amount of songs to review, just replacing the next one for a song that, honestly, I don’t want to talk about but will probably appear come January. Secondly, we have two Nicki Minaj songs, both from Pink Friday 2, as whilst the big features showed up on the first week, the second grants us the songs with more longevity that the Barbz (is it with a Z?) want to go viral and all power to them because I’d be hard-pressed to find anything I’m a fan of in this album. Thankfully, the songs they chose are far from the worst, but also far from the most interesting. On this one, Nicki takes a very obvious sample from the Waka Flocka Flame of the same name featuring Pastor Troy and the late Slim Dunkin, taking isolated Flocka vocals and placing them under a barraged bass beat that feels very minimal. She’s lyrically better here than much of the album, with some well-written disses, even if that combined with the outro about giving her “her 10s”, alongside another reference to 50 Cent and the reassurance that Spotify doesn’t have to fudge numbers and that they are REALLY streaming her music… it sounds a bit desperate, doesn’t it? I probably wouldn’t notice that if there was anything else to this beat but there isn’t. Not much to this at all.

#60 - “Pink Friday Girls” - Nicki Minaj

Produced by J. Reid

You know, at least these rushed, sample-reliant songs that didn’t even make the physical version of the album only have one producer, it’s not like that Travis Scott album where it takes eight people to make some of the most joyless music imaginable. Anyway, I feel like you know where this is going - Cyndi Lauper’s classic song “Girls Just Want to Have Fun” - I always preferred “Time After Time” - peaked at #2 in 1984, just missing out on the top spot thanks to another undeniable classic of that year, “Relax” by Frankie Goes to Hollywood. Here’s Nicki implementing that song, which has charted a couple times after in various forms and covers, so it’s not like this is new, incredibly liberally with a silly cowbell and trilled hi-hats, as well as British accents, hyper-feminine lyrical content and an on-the-nose reference to the song that it’ll remind you the most of, “Super Bass”. Listen, the song is completely fine, aside from the outro from Lourdiz that proves Dr. Luke had his greasy mitts here somewhere, but it’s also barely a functioning song, more just a vehicle for Nicki to try and relive the good old days, which isn’t awful on principle or anything but again, it’s a bit sad.

#29 - “I Wish it Could be Christmas Everyday” - Creators Universe

Produced by Jamie Sellers

“I Wish it Could be Christmas Everybody” by glam rock band WIzzard, fronted by one of my favourite “oh, man, he’s still alive?!” moments, Roy Wood, is one of my favourite Christmas songs ever. Even with the children’s choir and it fitting just about every cliché possible of a Christmas tune, its unbridled joy has never failed to make me smile, though a lot of that’ll be chalked up to nostalgia. The song peaked for - get this - #4 for four weeks ending in 1974, during which another glam rock band’s Christmas hit, “Merry Xmas Everybody” by Slade, was #1. It’s been re-recorded, was re-released and re-charted many times, and it’s returned every year since 2007, even reaching the top 10 again in 2020. There’s been riffs on it before, like a mashup with the long-forgotten “Wombling Merry Christmas” - yes, that’s a third British children’s programme named in this episode and also, yes, I was considering doing another rundown of its many versions, before realising I could have done that for damn near every song debuting because they’re all in some way plainly derivative - but this new version is charity attempt at the Christmas #1… that as you can see failed tremendously, but it still made money for charity so who cares, right? Well, who are “Creator Universe”? I didn’t know either, but it seems to be a Band Aid-esque ensemble of social media influencers so time to make myself feel incredibly old. This band consists of, ahem, Alex Dodman, Alfie D Sajir, Aman Sanghera, Amy-Jo Simpson, Ann Russell, Anttix, Clara Batten, Gavin Wren, Jammidodger, Jess and Norma, John Reynolds, Joshua Morris, Lafay Williams, Lawrence Choto, Lee Chapman, Liam Dixon, Lucy Edwards, OSHU, Phil Carr, Pia Blossom, Richard Franks, Rob Colfer, Rosie McClelland, Rossi D Woods, Shaaba, The Familegh, The Nursery Nurse, Tommy Moore and Yorkshire Peach. If you recognise a single name on that list, then congratulations, you’re more qualified to review this song than I.

Conclusion

…What is there even to conclude? I mean, Christmas wasn’t in this tracking week so next week will be the dregs of the holiday cheer anyway, and it’s not like anybody seemed to care about what was the Christmas #1 this year, despite the fact that Christmas music went earlier and harder than it ever has before. This is the most anticlimactic end to a year on this show that I think I’ve ever heard… maybe LadBaby really was the saving grace, at least he gave me something to talk about. For now… merry Christmas or Festivus to all who celebrate and happy holidays in general, I will actually see you within the year again because the weeks just turn out like that, so no need for sentimentality just yet. Thank you for reading, I’ll be here again next week.

[ryandebbanmusic]

GET TO YOU - SINGLE

Portland, OR

[married-to-a-redhead]

I like this cover band hahaha.

[clivechip]

October

I’m a bit later than usual with this review of my previous month, but I think other posts got in the way: I posted fifteen times in October, which is the biggest month so far this year. That means there is a lot for us to catch up on. Ready? Here we go… It wasn’t the first post of the month but I did my usual review last time too. The post was My September and, as ever, it gave a full recap and…

[trendynewsnow]

New Music Fridays: Notable Tracks from The Weeknd, Champion, and The Black Keys

New Music Fridays: This Week’s Notable Tracks Every Friday, music critics at The New York Times share their insights on the week’s most remarkable new songs. You can listen to our curated playlist on Spotify (find our profile: nytimes) or on Apple Music (link here). Don’t forget to subscribe to The Amplifier, your go-to guide for discovering both new and classic tracks, delivered twice…

[eseomo]

Click here to listen to #ASSMIX5000 on your preferred platform.

I’m having a Bandcamp listening in less than 1hr. I’ll be there talking to myself if anyone wants to join.

Click here to join the listening session.

[heartsleevemag]

A Journey of Self Discovery: A Conversation with Deadbeat Girl

Photos by Jada Solèy Rodriguez

For many artists, music serves primarily as catharsis, a way to explore your experiences and express what you’ve learned. Deadbeat Girl, also known as Val Olson, is no stranger to this. They released their new catharsis-infused EP What Will It Take? last Friday, crafted over Olson’s coming of age and serving as a soundtrack to it.

As a queer person growing up closeted in South Florida, it makes sense that Deadbeat Girl wrote their debut EP from a personal perspective, using the process of writing, recording, and producing to work through their experiences. “Music is definitely my number one outlet to process my emotions. No better way to articulate the way I feel in certain situations than with both lyrics and sounds to evoke emotion,” they shared with Heartsleeve. “In South Florida I was extremely repressed, and even when I felt like I was being authentically myself, I hadn’t even reached my full potential because I had no queer people around me to introduce me to different ways of self-expression.” As part of their creative process, Olson moved to New York City, and they shared that it exposed them to a community and allowed them to discover more about themselves. “After moving to a place completely free of judgment with so much artistic influence, I have expanded my artistry in so many ways when it comes to my sound, artist image, physical appearance, and even the way I approach things as a person outside of my music. I write with so much more honesty, artistry, and unapologetic authenticity.”

We asked Deadbeat Girl why they chose What Will It Take? for the title of the EP. Their answer? “I originally saved it in my phone as a tattoo idea. I really resonate with it because I consider myself someone who’s very driven when it comes to things that I care about and at the start of my career that quote felt important. I changed the quote from “what would it take,” to “what will it take,” because that one word change felt more willing and eager. When coming up with the EP title, I then remembered the quote and I felt like it was very true to how I was feeling at the time.”

What Will It Take? opens with “Take Me Home,” which immediately feels open and vulnerable, a preview of the authenticity that Deadbeat Girl strives for. Olson sings about relying on another person for her sense of safety – “When I see you, all I feel is bliss,” they confess – while acknowledging the attachment might not be healthy. It holds a self-awareness that stays present throughout the EP. Olson has cited Girl in Red as one of their influences, and it’s apparent with this kickoff that they’re interested in that same kind of rawness with the audience. The following song, “She Loves Me,” continues this theme, up-front lyricism discussing two sides of a relationship Deadbeat Girl can’t help but compare. The layered guitar melodies blend well with Olson’s vocals, creating a serenity that makes the lyrics feel even more unsettling. The self-awareness is back in full force, Deadbeat Girl finding herself in a relatable situation: to stay, or to go?

“She Loves Me” flows seamlessly into the next track, “These Walls.” The vocals take a backseat to the instruments in this one, a muted echo adding to the despondency felt in the lyrics. “I grew up feeling like I could never be myself,” Olson shared when discussing the track. “I was violently closeted through high school. When I did have a relationship and people found out, I got so much shit for it. It was a nightmare.” The lyrics reflect Olson’s experiences – “Feeling trapped inside these walls, does anyone understand me at all?” she asks, letting the audience feel and understand that hopelessness. The repetition in the chorus only adds to it, making the listener feel trapped in the cycle. But there’s always someone who’s on your side, and Olson explained to Heartsleeve who that was for them.

“At the end of “These Walls,” you hear a voicemail of my guy best friend from home. The song has aged interestingly… the voicemail was originally supposed to be a female voice, but I ended up getting him to do it because I was scared of raising suspicion. I did not know that by the time I would be releasing it that I would be out to the world and to the people around me. Additionally, it’s funny because he is my ex-boyfriend who I dated two years prior to making the song (before I knew I was fully queer). Having him do it was also very true to the situation at the time because, just like I talk about in the message of the song, I was extremely closeted and he pretty much saved me at that point in time. We rekindled our friendship two years after our breakup, I came out to him before I came out to anyone at my school, and he was there for me at the really difficult point in my life that I wrote about in my EP.”

Acknowledging the pain will pass seems to be a theme on the EP, as the next track, “Another Day,” expresses blame and heartache, but is clear that “Life is worth the living.” The lyrical changes in the first and second chorus make the song more hopeful as it progresses, and as the heaviest song on the EP it feels punk-inspired and defiant. The last song, stripped back “More” could not be more different in tone, but holds a similar theme of putting yourself first; it discusses falling in love with someone you can never have. “I’ll let you go, I guess I’m better off alone,” Olson sings, asserting that even though the experience hurts, it’s for the better.

If you’d like to listen to What Will It Take?, you can stream the EP wherever you listen to music. If you’d like to keep up with Deadbeat Girl, you might want to follow them on Instagram, as they’re keeping pretty busy. “I’m celebrating my EP release by booking shows for the first time and by spending time with my close friends and family,” they shared with Heartsleeve. “Up next, I am working hard on developing my next project, promoting my music, booking shows, and honestly anything to put myself out there.” We’re excited to see what Deadbeat Girl has in store, and to witness where their journey of self-discovery leads them next.