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deadcactuswalking · 9 months ago

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REVIEWING THE CHARTS: 17/02/2024 (Beyoncé, VULTURES 1)

For a seventh week, Noah Kahan stays strong at #1 with “Stick Season” - but it’s Bey season and Ye season… no, those words don’t rhyme, and welcome back to REVIEWING THE CHARTS!

Rundown

Welp, as always, we start with our notable dropouts, songs exiting the UK Top 75, which is what I cover, after five weeks in the top 75 and a peak in the top 40, and this week, we bid adieu to: “HISS” by Megan Thee Stallion (that was quick), “Gas Me Up (Diligent)” by Skepta, “Feather” by Sabrina Carpenter, “When We Were Young (The Logical Song)” by David Guetta and Kim Petras, “Surround Sound” by JID featuring 21 Savage and Yung Baby Tate, “Northern Attitude” by Noah Kahan, “Runaway” by Ye featuring Pusha T, “Can’t Catch Me Now” by Olivia Rodrigo, “Is it Over Now?” by Taylor Swift, “Black Friday” by Tom Odell, “Agora Hills” by Doja Cat, “My Love Mine All Mine” by Mitski and finally, “Baddadan” by Chase & Status and Bou featuring IRAH, Flowdan, Trigga and Takura. Yeah, bit of a bloodbath here.

You know, we actually have barely any returns or gains as a result of the influx of 13 new songs, so we have some vague post-GRAMMYs impact and that’s kind of all, with it mostly being in our returns - “Coal” by Dylan Gossett at #73 (probably not GRAMMYs), “FE!N” by Travis Scott featuring Playboi Carti at #71 and on a much more positive note, Tracy Chapman’s classic original version of “Fast Car” all the way at #38. It first charted at 1988 and peaked at #5 (when Glenn Madeiros’ schmaltzy “Nothing’s Gonna Change My Love For You” was #1) and then returned in 2011 and peaked at #4, when… “Party Rock Anthem” was #1. This won’t last or peak nearly as high, but it improves the net quality of the chart for the time it’s here. As for the gains, “Anti-Hero” by Taylor Swift at #57 and “Home” by Good Neighbours at #34. Yup.

As for our top five, we see Mr. YG Marley creep in maybe in part to his grandfather’s documentary as “Praise Jah in the Moonlight” is at #5. Then “Lose Control” by Mr. Teddy Swims is at #4, “Beautiful Things” by Mr. Benson Boone is at #3, “Murder on the Dancefloor”by Sophie Ellis-Bextor breaks my gag at #2 and finally, Noah is building his seven-week ark at #1. Now our real stories, of course, are in our influx of new entries, many of which are pretty damn high and have exceedingly more to talk about than I wish they did, so I suppose let’s start rounding those off.

New Entries

#64 - “ONE CALL” - Rich Amiri

Produced by Rio Leyva and Zuko

Now, I am not familiar with Rich Amiri, which is a pretty generic rap name all things considered so for all I know, I’ve listened to his mixtape, but I am familiar with some of his producers. Rio Leyva has credits across a lot of recent pop-rap mainstays like Lil Tecca, The Kid LAROI and even Yeat, and he tends to produce in a style many would say is rage-adjacent… so it makes sense that this is a rage song, with some genuinely wiry, menacing leads in the synths and a dirty, factorial trap skitter. The song’s barely two minutes, so it doesn’t really give Mr. Amiri much time to even finish his one verse, which is full of personality-void Auto-Tune and mindless repetition, but he isn’t exactly derivative of any specific person, it just sounds like he hasn’t figured out his exact voice yet, which is expected with up-and-coming rappers. The content obviously isn’t worth speaking of - it’s just flexing and violence and sex all delivered pretty plainly - but he’s not the worst at it? I don’t know, this is great production but I feel like there are rappers who could make this pop out a bit more. Maybe 454, SoFaygo, someone with a high-pitched squawk to make this feel dynamic? If you still want to go for relentless cool, get Thouxanbanfauni on the remix and this could be a slam dunk.

#62 - “Made for Me” - Muni Long

Produced by Jermaine Dupri, Bryan-Michael Cox and JordanXL

“Hrs and Hrs” is not a song I remember much at all let alone fondly, but the voice behind Muni Long is Priscilla Renea, a very prolific songwriter, so I imagine that with Jermaine Dupri on the boards, there could be some R&B wizardry to make her chances at a second hit much more solidified. As for if I like it or not, well, I can see it being a hit considering the 2000s throwback sound with the classy (yet almost basic-sounding) pianos, even down to the groove and the incessant sound effect that’s a bit distractingly loud in the mix, but by the end of the song, you almost forget it’s there and think it would sound weird if it wasn’t. Even if I generally like this song, I don’t really think it fits the song too much, which is about finding your soulmate and… NOT losing them. There should be some grandiosity to this, especially with that powerful voice and chorus, but it feels a bit lost in its own attempt to be “cool”, which… I don’t know, will it be a theme this episode? Probably not, but the first two songs definitely share the element of just not going far enough with good ideas. This is still a solid tune, though.

#60 - “Dance Alone” - Sia and Kylie Minogue

Produced by Jesse Shatkin and Jim-E Stack

Sia. Kylie. Two pop stars of very, very different prepositions but ultimately in the same niche. I have no hopes for anything Sia does, pretty much, never liked her, but what else would I have to say at this point? Her songs produce so little analysis from me because a lot of the time, it’s just kind of immediately obvious what will happen and what I’ll think. There are painfully basic vocal melodies, very typical disco-house beats, and Sia tries to actually play down the hamming but lets her natural characteristic of her voice end up preventing her from doing so because, well, that’s just how her voice sounds. A “subtle” Sia is just an awkward fit, and she may be trying that on purpose so she doesn’t put off pop listeners, but it just results in her being completely outclassed by Kylie, who eats this up as expected. That little “woo!” in the pre-chorus is to live for, as is the “(dance)” ad-lib in the final chorus, but by the time we’re in the “bridge” (see: the post-chorus again, same phrase repeated ad nauseum), Sia’s clipping in the mix again and nothing sounds like it cares about me caring, so I’m not caring. It’ll go hard in the Mumsnet forum voice chats. Do they have those? They should have those.

#55 - “Birds in the Sky” - NewEra

Produced by Karl Durkan and Ben Williams

Okay, I’ll bite: Who are NewEra? Well, according to Genius, they’re an EDM production duo from Dublin and this track from last year is their only song to appear on streaming, yet it’s released on Warner interesting. Either way, it’s clearly blown the Irish duo up a bit, so there must be some merit and well, the sample - wherever it’s from, I genuinely can’t find it - is about as weirdly mixed as they always are on these piano-led EDM cuts, but it doesn’t stick out too much amidst the more typical trance grooves and very basic, almost preset-sounding drums that lead into a constant anticlimax, leading the pianos and barely impactful drop sound like they’re teasing you into a false sense of confidence that the song is at all moving. It damn well works though, it’s pretty hypnotising, so when I was lulled into the drumless glitching section where the cheap pianos actually build up to a pretty good pounding drop, I was thoroughly immersed. These guys have done something right.

#50 - “Make You Mine” - Madison Beer

Produced by Madison Beer and Leroy Clampitt

Madison Beer is one of those ostensible “pop stars” that don’t exactly make innovative, experimental or often even interesting music but still exist only on the peripheries of the mainstream, many of which eventually get some kind of breakout chart hit, and this might just be Ms. Beer’s… well, if this is supposed to convince me on the personality and character of Madison Beer, I am not impressed at all, she doesn’t sound interested in developing that. If it’s supposed to convince me on her production ability… yeah, I’m hopping on this train. This is incredible. My comment on her vocal performance is not a detracting remark of the song, her emotionally confused, at times static and always intimate vocal take adds a lot of depth to the intense, but more accurately hallucinatory sensuality of the song. There’s a lot of staccato repetition, sure, I mean, it’s deep house, but it’s all a luring act as you can “slip inside her mind” (sure), against the warped synth basses, echoed and fuzzy vocal production, mesmerising synths that are incredibly well panned and mixed - the sound design is immaculate, and that’s not even mentioning the incessant groove or one of the catchiest nonsense hooks in pop of recent years. The drop barely registers as such, it feels like a natural climax that the song just slides into, despite all the little intricacies in both the build-up and the catharsis that transform the song into a fizzling journey of sexy club-pop that goes a lot harder in the details that I expected it to. I mean, the overdubbing of synth leads and curious glitches in the outro - nothing’s going to go exactly “wrong” in this hook-up, but it’s not where either expected to be… and for that night, it’s life-changing. I didn’t think I’d like this as much as I do but oh, my God, please make this a hit. ASAP.

#47 - “Heaven or Hell” - K-Trap

Produced by Nathaniel London, Jester Beats and Godwin Sonzi

Well, K-Trap’s back, this time without Headie One, and I guess this is his song for the ladies. There’s a swash of R&B keys, a Central Cee acoustic guitar - or an *NSYNC acoustic guitar relistening - and an actually interesting choice in making the drill hi-hats and really the rhythm section in general a bit papery, with a bass that feels mixed a bit too low yet still being relatively busy. K-Trap is just rambling misogynistically over all of this, and not just in a typical rap way, it’s a bit distracting and groan-worthy, but his comical delivery of some of this as well as the female spoken interludes kind of explain away his hypocrisy a bit. Not too effectively, of course, but it’s worth pointing out that it’s somewhat of a two-way street. I still find the soft percussion resemblant of sample drill pretty refreshing and enjoyable, I just wish maybe there was a more melodic presence of a rapper on it. Still okay.

#44 - “16 CARRIAGES” - Beyoncé

Produced by Beyoncé, Ink and Dave Hamelin

So, Queen Bey released two country-influenced songs on the Sunday - one’s in the top 10, the ballad is at #44. I will wait until this act two of RENAISSANCE is actually out before making any statements on Beyoncé doing country outside of that I hope she ends up shouting out or giving chances and/or feature spots to other Black women in that field, as a way of propping up that community within an industry that pretty flagrantly prevents that instead of just doing a genre switcheroo because she can and convincing nobody about anything systemic in the meanwhile. Hell, that’s more for me, personally, because I’d like to know a lot more Black country artists, and given that I’m obliged to listen to this album, I mean if you care about the genre, Bey, it’d be cool to point me in some directions. Not that it’s her job, but it would be a worthwhile light to shine especially since Beyoncé is both a hitmaker and a bit of a tastemaker.

As for the first of her country efforts though, this is a pretty heartfelt southern soul track that could almost act as a campfire song if not for Bey just not being in that zone as a singer, but it definitely has the clapped rhythm of one and some compelling lyrics regarding her time touring with Destiny’s Child. Now it’s less smoky than I’d really want a song like this to be, it doesn’t sizzle as much as it stagnates, particularly with that crash into the guitars and church organs that doesn’t really surge the way I so badly wanted it to. I do find the vocals excellent, the narrative interesting and still surprisingly relevant to her as a modern touring act as well, and the rapping is surprisingly well implemented, it feels just like she’s shooting the shit in the middle of her country storytelling song. In that regard, I’d like there to be a lot less grandiosity to the presentation, maybe do without the soaring overdubs or horns, make this more of an explicitly acoustic effort. I know it wouldn’t fit Beyoncé and all her harmonies and belting, as her presence isn’t always fit for minimalism, but she could pull it off. The problem with that would be is it doesn’t emulate the theatrics of a stage performance and the abrupt shock of showbiz being put onto her at an early age, so there’s some great mirroring there that almost makes up for me not being greatly into the actual sound of these tracks. Regardless, it does have me excited for the more solemn moments on this album, but we won’t be covering that until the end.

#37 - “Abracadabra” - Wes Nelson featuring Craig David

Produced by Mike Brainchild and Rndm Beats

CRAIG DAVID?! And it doesn’t appear to be a sample? The crowd says “bo selecta” indeed. Whatever about this Wes Nelson guy, he sounds like an AI amalgamated what every R&B singer has sounded like since the planes hit, or realistically, just Jeremih, but the beat is a rough-around-the-edges 2-step jam with harder bass than you’d think and some blocky space synths. It’s all very rote but it’s also Craig David and man, you can put however many filters on his voice, it’ll still sound like Craig David, and I can’t even seriously critique him anymore. I’m sure he’s a complex, nuanced human being with flaws and feelings but to me, he’s just an unexplainable deity figure. Also, there is a moment during the drop of this song - and the outro - where the beat cuts out for Craig David to say “Bruh”, and I just needed to point this out.

#31 - “Forever” - Noah Kahan

Produced by Noah Kahan and Gabe Simon

The Vermont singer-songwriter has released what appears to be the final deluxe edition of his #1 album Stick Season, subtitled “Forever”, henc ethe name of its sole original song. I’m honestly surprised this didn’t debut higher, but there is a lot debuting above it, and Kahan tends to have sleepers. Speaking of sleepers, I’m not really feeling this one as much. It’s got the wistful acoustics but it’s a lot slower in its pace, especially for its first half, which makes Kahan’s frail, nasal vocal that I’m still not that big on not nearly as ignorable, especially as it punctuates the lyrics so exactly and ends up making the harmonies, especially in the pre-chorus, somewhat haunting, which given the deterministic lovelorn lyricism, doesn’t seem to be the intention? It eventually picks up a nice little bluegrass-esque groove but nothing too far from an average Lumineers track in terms of just lacking bite and punch, whilst forcing Kahan to strain more than he needs to, to sell pretty resonant content.

#18 - “BACK TO ME” - Adolf Hitler and Ty Dolla $ign

Produced by Hitler, Ty Dolla $ign, 88-Keys, Wax Motif, AyoAA, Feez, Nic Nac and James Alex Hau

88-Keys, huh? Now, I’m not saying that Kanye West is Hitler, I’m just doing him a favour and comparing him to his idol. There are a lot of things that he loves about him. In a perfect world, I have the choice to completely ignore this album, especially since two of the debuts from VULTURES 1 (debuted at #2 on this week’s album charts) are considered widely to be the best tracks by both me and a lot of the fans, though I am a sucker for the darker, problematic last quarter that people don’t tend to like that much. I don’t want to admit that, of course, and I’m kind of torn between not feeding into exhaustive discourse by not mentioning any controversy and then feeling bad for not doing so because I’d be supporting his cult of fans who supposedly only care about the music, regardless of how his music is constantly reminding you of his controversies. It’s also not easy when you have two pretty damn good tracks from an album that largely consists of the man embarrassing himself and, well, Ty Dolla $ign, who sounds wonderfully smooth on this track and many others. He stands out particularly well over the punchy breakbeats and bass that entrench the mix. Hitler does embarrass himself as usual, but the minute-and-a-half Auto-Tuned quoting of an old comedy movie that he probably doesn’t even remember the rest of is an almost poetic reflection of where he is as an artist and a man. Oh, and Freddie Gibbs shows up to steal the show so effortlessly with his tightest, rapid flows I think I’ve heard from him in years, some excellent, topical wordplay that feels like it’s what the album wanted to be: playful and effervescent in its hedonism. He steals the show so much in fact that the song just ends after he does, he takes complete ownership. Nice one, Gibbs, do it on someone else’s album, for the love of God.

#17 - “BURN” - Adolf Hitler and Ty Dolla $ign

Produced by Hitler, Azul, Morten “Rissi” Ristorp, Chrishan, The Legendary Traxster and Leon Thomas III

This is just what this guy’s album used to sound like. We have a mid-album reminder that he can still do it, but only for two minutes, and half of that is Ty the Tasmanian Tiger over here carrying the album with his sloppily-mixed but still incredibly passionate and incessantly catchy chorus - I’ve had it in my head for the whole damn week, pretty much - over a very conventional, punchy chipmunk soul beat that lasts less than two minutes and it just ends up on a bittersweet note. The Hitler verse is his most coherent during the whole album, it’s pretty fun, it’s pretty traditional, not worth the attention paid. And neither is…

#12 - “CARNIVAL” - Adolf Hitler and Ty Dolla $ign

Produced by Hitler, TheLabCook, Ojivolta and Digital Nas

Now, thankfully, there really is nothing of value to cover here regardless of how and where you slice it. The song is like 60% Rich the Kid, which should show you how inspired the former GOAT has been lately. Hitler spends most of his verse just being cheaply transgressive for attention, pretty much explaining why I’m not a fan of prominent critics covering this album, dignifying it as more than an ego trip surrounded by yes-men. That’s not to say transgression can’t be art, there’s a lot of discussion to be had about the value of transgressions against the audience. And Hell, maybe a rage song about riding dick featuring Rich the Kid and Playboi Carti warrants that level of analysis, but that’s exactly what Hitler wants me to do here, and I’m not taking instructions from Hitler! I’m not following orders!

#9 - “TEXAS HOLD ‘EM” - Beyoncé

Produced by Beyoncé, Killah B and Nathan Ferraro

Alright, this is just fun. I’m sure someone more equipped than me to talk about country than me will have a lot to say about this song, but I just got a kick out of Bey’s sultry voice, as always perfectly layered with energetic ad-libs and riffing, over that acoustic rolick and clearly programmed thumping production and generic country ambiance. You can tell that this isn’t produced by Nashville staples as much as it’s a semi-outsider attempt at fusing country with Beyoncé’s more natural pop and R&B territory, but it doesn’t detract from it being a sick groove about just having a lot of fun on the dancefloor, boogieing with somebody who makes you forget about everything that’s going wrong. That whistling post-chorus with all the traditional fiddle - if I’m getting that correct - in the background is such a cool little moment, especially with the panning that replicates the live hoedown feel. It absolutely feels much more like a costume party than “16 CARRIAGES”, but to be honest, I might prefer this one just because of how easily Bey dresses up in this particular set of clothes. That’s not derogatory either, she literally lists off “hoops, spurs, boots” in that gorgeous outro. I’m actually glad that such a large, potentially problematic but still full of music to discuss ends on such a delightful, carefree note. Love it.

Conclusion

It’s not getting the best, though, Best of the Week is going to… surprisingly enough, Madison Beer for “Make You Mine”, but Bey obviously grabs the Honourable Mention with “TEXAS HOLD ‘EM”. As for the worst, I mean… there is a song with Rich the Kid on this week. “CARNIVAL” is a shoe-in, but given this was actually a pretty great week in terms of overall quality, it’s difficult. I think I want to give it to K-Trap for “Heaven and Hell” but that’s really because it appears as the lazier, less interesting of the songs I wasn’t a fan of. On another day, it probably would have been Sia, but K-Trap doesn’t have a Kylie Minogue feature. Anyway, with all of that chaos out of the way, thank you for reading, rest in peace to country legend Toby Keith, and I’ll see you next week!

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popmusic101 · 9 months ago

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Praise Jah In The Moonlight - YG Marley

5th Feb 2024

Huzzah! A new #1, finally! Jack Harlow has thankfully stepped down from the podium after ten weeks on top and we have a brand new artist to take the reins.

This one's kind of cool - YG Marley's 'Praise Jah in the Moonlight'. It's Marley's debut single and New Zealand is the first country where it's reached #1.

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YG Marley is, as you can probably tell from the name and the music, the grandson of the inimitable Bob Marley, but less obvious perhaps is that he's the son of Lauryn Hill who he co-wrote 'Praise Jah in the Moonlight' with.

The song samples Bob Marley's 1978 song 'Crisis' which didn't make it onto the charts here (although he did score two #1's, both posthumously, and one of them with Lauryn Hill).

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'Praise Jah in the Moonlight' is a really nice interpolation and expansion of the original and YG Marley definitely stakes himself out as an artist to watch.

The song, despite hitting #1 in NZ, hasn't done massively well elsewhere so far. It's next highest chart position is #20 in the UK, and in other countries it's somewhat lower than that. But I don't think it's surprising that it's doing so well in New Zealand. Us Kiwis love some roots, rock, and reggae style music, and 'Praise Jah in the Moonlight' has the perfect vibe for a New Zealand summer soundtrack to backyard bbqs.

We'll see if YG Marley can hang around another week or two in the top spot. He's currently got Noah Kahan and Teddy Swims nipping at his heels, as well Benson Boone's new single and Sophie Ellis-Bextor's early 2000's flashback 'Murder on the Dancefloor' (thanks to it's use in Saltburn) racing up the charts. See you next week!

#praise jah in the moonlight #yg marley #lauryn hill #bob marley #crisis

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jentlemahae · 4 years ago

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You dont think blackpink will release something this year? 😔

im gonna be hopeful (and delusional) and say yes 😔🙏🏻

#tbh i think yg has 3 options this year if they want to have an ot4 cb and ls1: 1) do one in june and the other in autumn #2) viceversa and 3) both in the summer but rushed #anonymous #ask #sophie ask

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osborgs · 4 years ago

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iHeart Radio Music Awards: confira os indicados da premiação

A temporada de premiações continua com tudo! Nesta quarta-feira (07/4), foi divulgada a lista de indicados da iHeart Radio Awards, que acontece em 27 de maio.

Indicados do iHeart Radio Music AwardsGetty/Getty Images

The Weeknd, Ariana Grande, Billie Eilish, Harry Styles, Taylor Swift e Dua Lipa são apenas alguns dos nomes que dominam a lista de nomeações. As votações abertas ao público fecham em 19 de maio. Confira:

Música do Ano: “Blinding Lights” – The Weeknd “Circles” – Post Malone “Don’t Start Now” – Dua Lipa “Rockstar” – DaBaby featuring Roddy Ricch “Watermelon Sugar” – Harry Styles

Artista Feminina: Ariana Grande Billie Eilish Dua Lipa Megan Thee Stallion Taylor Swift

Artista Masculino: Harry Styles Justin Bieber Post Malone Roddy Ricch The Weeknd

Melhor Duo ou Grupo: BTS Dan + Shay Jonas Brothers Maroon 5 twenty one pilots

Melhor Colaboração: “Go Crazy” – Chris Brown & Young Thug “Holy” – Justin Bieber featuring Chance the Rapper “I Hope” – Gabby Barrett featuring Charlie Puth “Mood” – 24kGoldn featuring iann dior “Savage” (Remix) – Megan Thee Stallion featuring Beyoncé

Melhor Revelação Pop: 24kGoldn blackbear Doja Cat JP Saxe Pop Smoke

Melhor Música Rock Alternativa: “Bang!” – AJR “Bloody Valentine” – Machine Gun Kelly “everything i wanted” – Billie Eilish “Level Of Concern” – twenty one pilots “Monsters” – All Time Low featuring blackbear

Artista Rock Alternativo: AJR All Time Low Billie Eilish Cage the Elephant twenty one pilots

Revelação Rock/Rock Alternativo: Ashe Dayglow Powfu Royal & The Serpent Wallows

Música Rock: “Death By Rock And Roll” – The Pretty Reckless “Patience” – Chris Cornell “Shame Shame” – Foo Fighters “Shot In The Dark” – AC/DC “Under The Graveyard” – Ozzy Osbourne

Artista Rock: AC/DC Five Finger Death Punch Ozzy Osbourne Shinedown The Pretty Reckless

Música Country: “Even Though I’m Leaving” – Luke Combs “I Hope” – Gabby Barrett “Nobody But You” – Blake Shelton with Gwen Stefani “One Margarita” – Luke Bryan “The Bones” – Maren Morris

Artista Country: Blake Shelton Luke Bryan Luke Combs Maren Morris Thomas Rhett

Revelação Country: Ashley McBryde Gabby Barrett HARDY Ingrid Andress Jameson Rodgers

Música Dance: “Head & Heart” – Joel Corry x MNEK “ily (i love you baby)” – Surf Mesa featuring Emilee “Lasting Lover” – Sigala & James Arthur “Rain On Me” – Lady Gaga & Ariana Grande “Roses” (Imanbek Remix) – SAINt JHN

Artista Dance: Anabel Englund Diplo Marshmello Surf Mesa Tiësto

Artista Hip-Hop: DaBaby Lil Baby Megan Thee Stallion Pop Smoke Roddy Ricch

Continua após a publicidade

Revelação Hip-Hop: Jack Harlow Moneybagg Yo Pop Smoke Rod Wave Roddy Ricch

Música R&B: “B.S.” – Jhené Aiko featuring H.E.R. “Go Crazy” – Chris Brown & Young Thug “Heat” Chris Brown featuring Gunna “Playing Games” – Summer Walker “Slide” – H.E.R. featuring YG

Artista R&B: Chris Brown H.E.R. Jhené Aiko Snoh Aalegra Summer Walker

Revelação R&B: Chloe x Halle Lonr. Mahalia Skip Marley Snoh Aalegra

Música Pop Latina/Reggaeton: “Caramelo” – Ozuna “Dákiti” – Bad Bunny & Jhay Cortez “Hawái” (Remix) – Maluma & The Weeknd “RITMO (Bad Boys For Life)” – Black Eyed Peas & J Balvin “Tusa” – KAROL G & Nicki Minaj

Artista Pop Latina/Reggaeton: Bad Bunny J Balvin KAROL G Maluma Ozuna

Revelação Pop Latina/Reggaeton: Chesca Jay Wheeler Natanael Cano Neto Bernal Rauw Alejandro

Música Regional Mexicana: “Palabra De Hombre” – El Fantasma “Se Me Olvidó” – Christian Nodal “Sólo Tú” – Calibre 50 “Te Volvería A Elegir” – Calibre 50 “Yo Ya No Vuelvo Contigo” – Lenin Ramírez featuring Grupo Firme

Artista Regional Mexicano: Banda Los Sebastianes Calibre 50 Christian Nodal Edwin Luna y La Trakalosa de Monterrey Gerardo Ortíz

Produtor do Ano: Andrew Watt Dr Luke Frank Dukes Louis Bell Max Martin

Compositor do Ano: Ali Tamposi Amy Allen Ashley Gorley Dan Nigro Finneas

Melhor Composição: “Adore You” – Harry Styles “Before You Go” – Lewis Capaldi “Blinding Lights” – The Weeknd “cardigan” – Taylor Swift “Don’t Start Now” – Dua Lipa “everything i wanted” – Billie Eilish “I Hope” – Gabby Barrett featuring Charlie Puth “If The World Was Ending” – JP Saxe featuring Julia Michaels “Intentions” – Justin Bieber featuring Quavo “Life Is Good” – Future featuring Drake

Melhor Cover: “Adore You” (Harry Styles) – Lizzo cover “Can’t Take My Eyes Off You” (Frankie Valli) – Shawn Mendes cover “Fix You” (Coldplay) – Sam Smith cover “Heart Of Glass” (Blondie) – Miley Cyrus cover “Juice” (Lizzo) – Harry Styles cover

Melhor Fandom: #Agnation – Agnez Mo #Arianators – Ariana Grande #Beliebers – Justin Bieber #BLINK – BLACKPINK #BTSARMY – BTS #Harries – Harry Styles #Limelights – Why Don’t We #Louies – Louis Tomlinson #MendesArmy – Shawn Mendes #NCTzens – NCT 127 #Selenators – Selena Gomez #Swifties – Taylor Swift

Melhor Clipe: *Voto público “Blinding Lights” – The Weeknd “Don’t Start Now” – Dua Lipa “Dynamite” – BTS “Hawái” – Maluma “How You Like That” – BLACKPINK “Life Is Good” – Future featuring Drake “Rain On Me” – Lady Gaga & Ariana Grande “WAP” – Cardi B featuring Megan Thee Stallion “Watermelon Sugar” – Harry Styles “Yummy” – Justin Bieber

Social Star Award: Dixie D’Amelio Jaden Hossler LILHUDDY Nessa Barrett Olivia Rodrigo Tate McRae

Melhor Coreografia em Clipe: BTS – Son Sung Deuk “34+35” (Ariana Grande) – Scott & Brian Nicholson “Do It” (Chloe x Halle) – Kendra Bracy & Ashanti Ledon “Honey Boo” (CNCO & Natti Natasha) – Kyle Hanagami “Physical” (Dua Lipa) – Charm La’Donna “Rain On Me” (Lady Gaga & Ariana Grande) – Richy Jackson “Say So” (Doja Cat) – Cortland Brown “WAP” (Cardi B featuring Megan Thee Stallion) – JaQuel Knight “Bop” (DaBaby) – Coach Cherry & DaniLeigh

Hit do TikTok (Nova categoria): “Blinding Lights” – The Weeknd “Lottery (Renegade)” – K CAMP “Savage” – Megan Thee Stallion “Savage Love” (Laxed-Siren Beat) – Jawsh 685, Jason Derulo “Say So” – Doja Cat “WAP” – Cardi B featuring Megan Thee Stallion

Curtiu os indicados?

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voskhozhdeniye · 5 years ago

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Musical Obsessions 2019

2 Chainz’s Rule the World

21 Savage’s A Lot*

A Certain Ratio’s Knife Slits Water and Lucinda*

American Football: American Football (LP3)

Arcade Fire’s It’s Never Over (Hey Orpheus)

Ari Lennox’s Shea Butter Baby*

Ariana Grande’s breathin

Bat For Lashes: Lost Girls

Blood Orange: Angel’s Pulse

Bogdan Raczynski: Rave ‘Till You Cry

Brambles: Charcoal

Cardi B’s Money and Press*

Choir Boy: Passive With Desire and Sunday Light*

City Girls’ Twerk and Act Up

DIIV: Is the Is Are*

DaBaby’s Baby Sitter

Danny Brown: uknowhatimsayin¿

Drab Majesty: Modern Mirror

Dua Lipa’s Lost in Your Light

FKA Twigs: MAGDALENE

Flipp Dinero‘s Leave Me Alone

Flying Lotus’s Fire Is Coming

Fontaines D.C.: Dogrel

Gigi Masin’s Clouds

Girl In Red: Chapter 1 and We Fell In Love In October

Have a Nice Life: Sea Of Worry

Hiro Kone: A Fossil Begins To Bray and Love is the Capital

J. Cole’s MIDDLE CHILD

James Blake: Assume Form

Kilo Kish’s Bite Me

Labradford: Prazision LP

Lil Baby and Gunna’s Drip Too Hard

Lil Nas X’s Old Town Road*

Liquid Liquid:*

Lonnie Liston Smith’s Expansions

Mario Batkovic: Mario Batkovic

Matana Roberts: Coin Coin Chapter 1 & 3*

Megan Thee Stallion’s Cash Shit

Miguel: waves*

Mobilegirl’s Beaten Track

Moor Mother: Analog Fluids Of Sonic Black Holes*

Mos Def: The Ecstatic

Moses Sumney: Black in Deep Red, 2014*

Nick Cave & The Bad Seeds’ Hollywood*

Nils Frahm: Encore 2 & 3

Offset’s Clout*

Pan Daijing: Lack*

Pharmakon: Devour

Qual: Cyber Care

r beny: Still highly influenced by his patches from 2016.

Razen: Endryhmes

Rosalía’s Milionària

Saweetie’s My Type

Slowdive’s Losing Today and Albatross*

Solange‘s Almeda, My Skin My Logo and Jerrod

Sophie’s Faceshopping*

State Azure’s Starfall, Sunrise & Mist, IO and Titan

The Comet Is Coming: Trust In The Lifeforce Of The Deep Mystery

The Egyptian Lover’s Egypt Egypt*

The Field’s Everybody’s Got to Learn Sometime

Thom Yorke’s Dawn Chorus and Runwayaway

Toro y Moi’s Freelance

Weyes Blood’s Movies

YG’s Go Loko

Bold and italicized indicates a favorite released this year.

I listened to over 60 releases from this year, plus a lot of things from the past I had been meaning to listen to.. I over did it.

American Football and FKA Twigs get top honors.

As usual the asterisk means I’m going to expand my thoughts on the song below, but you should go check them out yourself.

21 Savage: Please go watch that music video. I liked the song before I saw the video, but the video elevates the song. Plus after what 21 went through with ICE earlier this year it just adds even more complexity.

A Certain Ratio: @knightofleo got me into Spotify years back, but I never really used it till last year. At the beginning of this year I remade a Last.fm account to keep track of what I was listening to. The combination of the two has lead me down different musical wormholes that I probably wouldn’t find without the two. A Certain Ratio‘s Knife Slits Water is one of those tracks. Groovy as hell.

Ari Lennox: I love her voice, and this song is beautiful. Is she getting play where you guys are? She’s from D.C., so she gets heavy airplay here.

Cardi B: DING DONG

Choir Boy: I was in the middle of writing my last set of writings when I came across this, and it fit my mood perfectly. You know queer longing, self-hatred and suicide, all that good shit. Please notice this is also on my favorite albums of the decade list too, it’s that good!

DIIV: I think that album is too long, but the songs on it I love I am obsessed with. I connect with it in a way that scares me a bit. The last eight songs are just emotionally draining, but in different ways. I liked the album they released this year, I believe the song Skin Game on there is what lead to this.

Lil Nas X: As I said earlier this year, I’m glad someone is playing around with those Nine Inch Nails multi tracks. Hopefully I will be doing the same soon.

Liquid Liquid: 2019′s award for THIS IS WHAT I’VE BEEN LOOKING FOR. Absolutely wild! Thank you Spotify!

Matana Roberts: Please check out her music, she has spent the last decade releasing a series of albums tracing black history from the days of slavery. And is working her way forward through time with each album. She released album number 4 in the series this year. I posted some of her songs on here earlier this year. She actually has a blog on here and was liking some of my posts. Take a listen to libation for Mr. Brown: Bid em in…, I Am, How Much Would You Cost?, jewels of the sky: inscription and in the fold if you do take a listen to her.

Miguel: Miguel is weird. His songs are so hit or miss with me. I either obsess over them, or feel nothing for them. Anointed from his last album was like that. I am madly in love with that song, and waves is another one. Those songs have no business being that good. If I may go back further, the bass on All I Want Is You………….

Moor Mother: Moor Mother! I found that post to be quite on target. A few weeks before I reblogged that some dude bro on Last.fm posted on her page how besides Death Grips, he finds most experimental rap to be trash. I just rolled my eyes. Besides the fact that her music is more noise than Death Grips have/will ever be, her roots are firmly planted in spoken word and slam poetry. Saul Williams makes an appearance on the damn album. She’s closer to Matana than Death Grips, but if you’re black and have a beat to your music it’s rap. Fuck out of here. In fact I wrote this in my 2017 list. “Moor Mother: I see myself exploring more of her work next year. This particular track of hers was apart of the Adult Swim singles series. It’s a three hour long ambient, drone, experimental reflection on race and America. Inspiring! Gas and Slowdive planted the seed of building the synth. Moor Mother and r beny who will be discussed later are carrying me to finish building it, and shaping what I want to do with it.”

Moses Sumney: Go listen to that if you haven’t heard it!

Nick Cave & The Bad Seeds: I don’t think I have the words to do that song justice. There are many songs about losing loved ones/children, but that one really capture it. That ending is horribly tragic.

Offset: I love that beat. That little piano loop.

Pan Daijing: When Spotify wasn’t introducing me to Liquid Liquid and A Certain Ratio, it was introducing me to a ton of women who make noise and experimental music. I am very grateful.

Slowdive: I’ve known these two songs for a while now, but for some reason they really hit me this year. I always joked that Slowdive were the greatest band ever before they reformed, but goddamn I might’ve been right.

Sophie: @knightofleo WHY THE FUCK DID YOU NOT TELL ME ABOUT THIS LAST YEAR?! That song doesn’t slap, it assaults!

The Egyptian Lover: YES, YES, YES!

The music of 2009 tag: This is my last year doing this. It’s become too depressing to watch time slip by. Swans reformed a decade ago in 2010. I can’t deal with this.

2018′s list

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huahsu · 6 years ago

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YEAR OF THE GHOST DOG

[TL;DR version for the New Yorker -- I loved many great short songs and became obsessed with (1) a very old, much longer one (2) and YouTube comments this year.] [links to previous year’s lists at the bottom]

A while back, I found myself in an extended funk. The reasons are uninteresting and honestly a bit dumb, a mix of everyday bummers and more existential stuff, all of which manifested in a kind of 360º sluggishness. I couldn’t really figure my way out of it but I believed that I would eventually stop feeling this way.

One night, I saw that someone online was selling a copy of the Emulations “These Are the Things,” a magnificent soul ballad 7″ out of Oakland. I wasn’t exactly homesick for the Bay Area, but something about the song’s roots, as well as its overwhelming feeling of optimistic yearning, resonated with (through?) me. There’s a moment when the singer’s falsetto peaks, and the piano starts cascading, and things feel like they’re going to work out after all. The copy for sale wasn’t in great shape, and it cost $100, an extravagant amount of money to spend on a piece of music. But I convinced myself that I’d feel better at some point, weeks, months, or years later, and I’d listen to my Emulations single, and recall that weird summer/fall.

As often happened with independently produced records of the sixties and seventies, “These Are the Things” was pressed on styrene, rather than vinyl. Styrene is a kind of plastic that’s lighter, cheaper and much more fragile than vinyl, and you can tell the difference by a kind of hollow plink when you put it on a turntable. Styrene also means that it has a limited life, and that each time the needle drags across its grooves, the record degrades a little bit. Over time, styrene records that get played a lot no longer sound as crisp or clear (or so it seems). I listened to it once it arrived, feeling a bit of regret at this wild expenditure, but also imagining my future self’s gratitude. I imagined entering into communion with everyone who had played this copy before me. I decided to only listen to the song once a year, if that--after all, each time I listened to the record, the song was changing, slightly.

A few months later, I felt normal (whatever that means) again, and the record became a marker of...I’m not sure what--maybe a kind of blind, stubborn optimism. Someone years later uploaded the song onto YouTube, which means I can listen to it whenever I want. This fall, I was trying and failing to spend less time on the Internet. But I decided that, instead of going on Twitter and Facebook, I would just read comments fans left on YouTube. I became obsessed with reading all the intimate histories people shared with one another--the chance encounters, the teenage dates and breakups, the seventies shop owners who recalled the days when stocking the right hit single could cover an entire month’s rent. I was listening to the Emulations when I noticed this comment, from Deric Jackson, who was apparently one of the group’s members: “I sung this song when I was 19yrs old. It was a pleasure to record and send this messageout into the airways. I have been with the women that God had given me to marry when I was 22yrs old. I did not understand at that time I was singing about my own life and the women who I had not met, but how wonderful it is to be with my wife fo 35yrs and life is still a breath of fresh air and wonderful. I would like to say to all real men love your wife, never worship her only one to worship is God alone.“ I’m pretty agnostic about most things relating to providence. But I felt as though I had been living in these words: “I did not understand at that time...” Jackson’s song was a prophecy, maybe even a conjuring, of his own path, and I wonder what he hears when he listens to it now. Sometimes you don’t know what’s coming next. But there’s always another song, and it doesn’t always sound the same as the last time.

(LATE 2017 BUT I REALLY DOUBT ANYONE NOTICED AKA THE FRENCH “MO BAMBA”) Junior Bvndo, “T’as ça #3 (Kylian Mbappe)”

I WILL LISTEN TO ANYTHING THAT USES DISTORTION Sheck Wes, “Wanted” OR OLD SCHOOL STABS Santi feat. Shane Eagle and Amaarae, “Rapid Fire” EVEN MORE THAN THAT, I LIKE THINGS THAT SOUND MESSY AND SLOPPY BUT ARE ACTUALLY PERFECT Caleb Giles featuring Cleo Reed, “Name” WOULDN’T HAVE BEEN AS GOOD AS IF IT HAD BEEN PERFECT, THE WARPED AND SMUDGED BEAUTY IS WHAT MAKES IT BEAUTIFUL Tirzah, Devotion Niagara, Apologia SAME, BUT SLIGHTLY OFF-STEP Blood Orange, “Charcoal Baby” THE BEST GENRE OF MUSIC REMAINS “SADE” Sade, “Flower of the Universe” and “The Big Unknown” Amber Mark, “Love is Stronger Than Pride” Bon Iver and Moses Sumney, “By Your Side” Kelela, “Like a Tattoo” 808s AND HEARTBREAK AND NEAR-OCTOGENERIANS Swamp Dogg, “She’s All Mind All Mind” I WASN’T AS ENAMORED WITH A LOT OF “NEW JAZZ” BUT DID LIKE Sam Wilkes, Wilkes Sam Gendel and Sam Wilkes, Music for Saxofone & Bass Guitar …WHICH REMINDED ME A BIT OF THIS FACEMELTING REISSUE (RIYL: ALICE COLTRANE, DON CHERRY, ETC ETC) John Tchicai, With Strings SPEAKING OF TERRIFIC JAZZ-ADJACENT STUFF Dos Santos, “Manos Anjenas” THE ORIGINAL “BIG MOOD” Okonkolo, Cantos THE YEAR I REALLY REKINDLED MY LOVE OF THE CELLO Clarice Jensen, For This From That Will Be Filled Oliver Coates, “A Church” …WHICH I DEFINITELY PREFER TO VIOLIN--ESP PIZZICATO--THOUGH THIS WAS QUITE GOOD Sudan Archives, “Nont for Sale” HARPS ALWAYS SOUND GOOD Leya, The Fool Meg Baird and Mary Lattimore, Ghost Forests ALWAYS HAVE TIME FOR WOODBLOCKS AND VIBES Kate NV, для FOR AS WELL AS MIAMI BASS SIGNIFIERS (KICKSTARTER FOR CITY GIRLS TO RAP OVER DJ BATTLECAT IN 2019) City Girls, “Act Up” AND BANJO DRONE...WHY NOT Nathan Bowles, Plainly Mistaken ALBUMS THAT I LIKED IN 2018, AND THAT I SENSE I WILL LIKE EVEN MORE BY THIS TIME NEXT YEAR Ben LaMarr Gay, Downtown Castles Can Never Block the Sun Neneh Cherry, Broken Politics AN ALBUM THAT I WISH WAS TEN ALBUMS Tierra Whack, Whack World AN ALBUM I WISH WAS JUST A LITTLE BIT LONGER Pusha-T, Daytona OF THE MANY REASONS I MOURN THE DEATH OF “THE ALBUM,” ONE IS THAT I ALWAYS LIKE TO HEAR WHAT PEOPLE DO WITH THAT LAST SONG YG, “Bomptown Finest” OR HOW ALBUMS, FULL OF SIGNS, ANGLES, FLEETING MOMENTS, CIRCULATE AND RE-CIRCULATE Angelique Kidjo, Remain in Light AND HOW THEY ARE LIKE WHAT NOVELS REPRESENTED IN THE AGE OF POETRY—OPPORTUNITIES TO LIVE INSIDE COMPLEXITY, SPACE, A DEMOS U.S. Girls, In a Poem Unlimited ONE OF THE BEST ALBUMS OF THE YEAR WAS A SOUNDTRACK... Kendrick Lamar et al, Black Panther AND TEASER FOR Jay Rock, Redemption AND ANOTHER WAS JUST SOME RAP SONGS Earl Sweatshirt, Some Rap Songs WHICH ISN’T TO SAY ARTISTS DON’T STILL VALUE AND HAVE FUN WITH THE FORMAT Vince Staples, FM A TWENTY-FIVE TRACK ADVENTURE INTO VIBES Pink Siifu, ensley AND SOMETIMES TWENTY MINUTES OR SO IS ENOUGH boygenius, boygenius ONE MORE ALBUM THING – FIRST SONGS HAVE ALWAYS FELT LIKE THESIS STATEMENTS, AND STREAMING HAS ONLY APPLIED MORE PRESSURE TO THE SOOTHING, BEWITCHING, PERFECT WELCOME Mac Miller, “Come Back to Earth” MAC MILLER AND THUNDERCAT LOOK SO HAPPY HERE whole thing, but esp six minutes in, and even more so about nine minutes in THE BEST VIBES Show Dem Camp feat. Boj and Ajebutter 22, “Damiloun” Koffee, “Toast” HAPPY-GO-LUCKY B/W DEVIL-MAY-CARE Shoreline Mafia, “Nun Major” I LIKE NEF AND EPs PERFECTLY SUIT HIM Nef the Pharaoh and 03 Greedo, Porter 2 Grape

RAPPING AS FAST AS YOU CAN OVER FREESTYLE/HI-NRG WILL NEVER SOUND BAD TO ME… SOB X RBE, “Paid in Full” SOB X RBE, “Carpoolin’” …ALTHOUGH THEY ALSO SOUND SICK OVER FAKE GHOST DOG BEATS, TOO, THIS WAS ONE OF MY SONGS OF THE YEAR SOB X RBE, “Paramedic!” SAME WITH MEDHANE Medhane, “The Garden” TRIPPIE REDD PUTS OUT A LOT OF MUSIC FILLED WITH TRANSCENDENT MOMENTS, BUT RARELY MAKES TRANSCENDENT SONGS, AND IT PAINS ME A BIT THAT MY FAVORITE SONG OF HIS THIS YEAR WAS Diplo featuring Trippie Redd, “Wish” TRIPPY-ASS DOO-WOP Cuco, “Sunnyside” A STRONG HARMONY IS A VISION OF WHAT LIFE COULD BE Ben Pirani, “How Do I Talk to My Brother?” WHERE WERE U IN 94 Young Echo, Young Echo SWEAR I'VE NEVER HEARD MUSIC THIS “GREY” ManOnMars, ManOnMars IF YOU ARE GOING TO MAKE A FAKE D’ANGELO SONG, IT SHOULD BE THIS GOOD Patrick Paige III, “Voodoo” LIKED THIS, BUT IT’S ALSO POSSIBLE TO BE A BIT TOO FAITHFUL TO THE PAST Teyana Taylor, “Hold On” NOT QUITE FAYE WONG DOING THE CRANBERRIES (RIP DOLORES O’RIORDAN) BUT STILL MEMORABLE Katherine Ho, “Yellow” LIKE THE BEST PARTS OF FEELS-ERA ANIMAL COLLECTIVE, BUT TAIWANESE Prairie WWWW

NEVER THOUGHT TO VISIT THE LOUVRE UNTIL The Carters, “Apeshit” video BROWN EXCELLENCE Humeysha, Departures "BROWN BEATS” FOREVER RIP Cameron Paul

MY FAVORITE DISCOVERY OF THE YEAR Pharoah Sanders playing “Kazuko” in a tunnel near the Marin Headlands LIKE NONE OF ITS INFLUENCES (FOOTWORK, AMBIENT), LIKE NOTHING ELSE OUT THERE, REALLY Foodman, Aru Otoko No Densetsu DARESAY SKI MASK WOULD NOT HAVE BEEN BOOED OUT OF THE CIPHER Ski Mask the Slump God, Beware the Book of Eli THE MOST FAMOUS PERSON I’VE SEEN ON THE BIG SCREEN AT THE PAST THREE YEARS’ NETS GAMES IS Young M.A., “PettyWap” DEMOS FROM A GROUP I HAVE ALWAYS ADORED, BEFORE THEY FOUND THE SOUND THAT I ADORE The Nonce, 1990 EXTREMELY GOOD AND LARGELY OVERLOOKED REISSUE Suzanne Menzel, Goodbyes and Beginnings FOUR TET IS GOING THROUGH HIS LIVE ARCHIVES, AND IT’S A TREAT TO STUDY HIS ARC/EVOLUTION Live at Hultsfred Festival, 18th June 2004 Live at LPR New York, 17th February 2010 Live in Tokyo, 1st December 2013 Live at Funkhaus Berlin, 10th May 2018 STRANGE TO LIVE IN A MOMENT WHERE BEING WEIRD SEEMS A BIT DERIVATIVE. STILL, THIS IS BLISSFUL SahBabii, “Anime World” HAPPY FACE Smino, “Klink” SAD FACE Drake, “In My Feelings” (especially this version) “JIM FROM THE OFFICE” FACE Pusha-T, “The Story of Adidon” STOLE YOUR FACE Sophie, “Faceshopping” FACE/OFF YG and Mozzy, “Too Brazy” Sammy Bananas feat Antony and Cleopatra, “Slow Down” Kode 9 and Burial, Fabriclive 100 GASSED FACE E-40 and B-Legit, “Whooped" ABSOLUTELY FACEMELTING Todd Barton and Ursula K. Le Guin, Music and Poetry of the Kesh VACATION AWAY MESSAGE SiR, “D’Evils” Bad Bunny x PJ Sin Suela x Nejo, “Cual Es Tu Plan” BEST OPENING DISCLAIMER TO A VIDEO 808INK, “Come Down” “TAGS: LATIN CHORAL CUMBIA GOTH LOS ANGELES” San Cha, “Cosmic Ways”

BEST USE OF “OOCHIE WALLY,” STILL ONE OF MY FAVORITE BEATS EVER Stefflon Don, “Oochie Wally freestyle” BEST USE OF “SUPERTHUG” Rico Nasty, “Countin’ Up” EVERYTHING ABOUT THIS--THE HEADBANG MINIMALISM, THE LAS VEGAS WALGREENS--BUT ESPECIALLY THE LINE ABOUT WELLS FARGO Rico Nasty, “Trust Issues” “ORGASM ADDICT” (RIP PETE SHELLEY) Victor Oladipo, “One Day” “I JUST TOOK A FLIGHT TO FRANCE TO COP CARDIGANS” Black Thought and Styles P, “Making a Murderer” “AT THE EMIRATES I MILLY ROCK” Manzo and Malachi Amour, “Lingard” DOPE TUNE, AND UNEXPECTED KELLYANNE CONWAY REFERENCE JPEGMAFIA, “1539 N. Calvert” YEAH YEAH YEAH (RIP MARK E SMITH) Travis Scott and Drake, “Sicko Mode” R-E-S-P-E-C-T (RIP ARETHA FRANKLIN) Rosalia, El Mal Querer REEL DEAL, “DRIPPIN’ DOPE (SAXAPELLA)” (1989) Gunna, “Top Off” WAMP WAMP (WHAT IT DO) B/W WAIT (THE WHISPER SONG) Vallee feat. Jeremih, “Womp Womp” SAD REGGAETON IS NOT BAD Bad Bunny, “Solo De Mi” SOUNDS GOOD TO ME, 2002-PRESENT Temani, “Power” Westerman, “Confirmation” REAL LIES, POET LAUREATS OF “YOUNG PEOPLE THINKING ABOUT BEING OLD” Tom Demac and Real Lies, “White Flowers” A SONG DESIGNED TO SOUND LIKE IT CAME OUT THIRTY YEARS AGO, WHICH ALSO FEELS LIKE IT CAME OUT A MILLION YEARS AGO (IT WAS JUST JANUARY) Bruno Mars feat. Cardi B, “Finesse (remix)” TAY-K WAS JUST A YEAR AGO Comethazine, “Highriser” FAVORITE 2 BRIDGES MUSIC ARTS “MIGHT AS WELL” RANDOM PURCHASE OF THE YEAR Kizaki Ondo Preservation Society and Clark Naito, 木崎音頭 Kizaki Ondo FEELS LIKE IT CAME OUT TEN YEARS AGO (IT WAS JUST JAN/FEB) BUT I NEVER GREW TIRED OF IT Rich the Kid, “Plug Walk” ODDLY REASSURING THAT PEOPLE STILL JANGLE Massage, “Oh Boy” Earth Dad, “Walter” ...AND DISCOVER WORLDS FROM WITHIN THEIR BEDROOMS Soccer Mommy, Clean ...AND EXPLORE THE CONTOURS OF GROWLING AND NAGGING Sada Baby and Drego, “Bloxk Party” ...AND CAN USE THE PAST TO MAKE SOMETHING SO VISIONARY AND FORWARD-THINKING Virginia Wing, Ecstatic Arrow Mitski, Be A Cowboy ...AND LOOKING FOR FOURTH WORLDS Arp, Zebra ...AND MAKE IMPOSSIBLE RHYTHMS Heavee, WFM ...AND THAT ARTISTS I HAD NEVER HEARD OF, WORKING IN IDIOMS I HAD NEVER HEARD OF, MIGHT STILL BLOW MY MIND Odunsi (the Engine), rare. JUNGLE LIVES X-Altera, “Blowing Up the Workshop” mix TOP THREE TIMES I SAW STANDING ON THE CORNER THIS YEAR 3 - The Merciful Allah Black Hole Theatre 2 - The Time it All Ended with Fireworks on Grand St. 1 - An Empty Storefront During a Blizzard

{HONORABLE MENTIONS -The Time They Brought a Monolith -THEME DE YE-YO [Respect to the Gods]} SONG OF THE SPRING, SUMMER, WINTER, YEAR, STILL UNDEFEATED ### A CHURCH AND JOHN LENNON’S “IMAGINE” :: 2017 SIKH DEVOTIONAL MUSIC :: 2016 SPOOKY BLACK :: 2015

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blackpinkbiased · 6 years ago

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Idol Life Ship for @kpoptookovermysoul

Company: YG Entertainment

Stage Name: Sophie

Position: Lead Dancer, Vocalist, Maknae

Group Name: Scene

Number and Nationality of Members: 10 members

- 7 Korean

- 2 Thai

- You

Fandom name: Play

Official Colours: Dark Brown (#675542) and Dark Gray (#9B9893)

Concept: Minimalistic/HipHop/Pop

Debut Album: Into It

Debut Song: Now

Sister Group: Blackpink

Brother Group: iKON

Best Friends: Jinyoung (Wanna One)

Yeri (Red Velvet)

Boyfriend: Q (The Boyz)

Ship Name: Qphie

Whose ideal type you'd be: Dino (Seventeen)

Other activities: Weekly Vlives

I hope you liked it xx

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anonil88 · 4 years ago

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Grammys liveblog part 2

Trevor is not wrong at all that even if you don't win best new artist you can have an amazing career. I.E. the rocket man himself.

Ayyy Lizzo! Let Lizzo curse. I love that Megan is down to earth to laugh at her friend for that.

Best new artist is???????

AYYYY MEGAN SIS HAVING A DAMN PANIC ATTACK.

Aw Doja hype for her friend.

I know Megan's momma is so proud of her even though she can't be with her.

I love that the cars loud as hell in LA but I'm glad that they did this safely in the open air.

We getting short films for each artist too? Oh Grammys really said we are gonna work with small artist and creators as an apology for all the snubs over the years. It isn't enough but it is nice to see.

These live performances are a bit more intimate like talk show performances. I wonder who is working on this from any one of the many late night shows production rooms. Probably someone from SNL.

The lead singer from the Black Pumas is so fine. His skin, perfect. His voice, perfect.

HE IS SINGING WITH A RETAINER. A RETAINER.

Instead of talking about Taylor swift and getting the swiftness mad, I am so hype for the new Spirit movie.

I guess I'm getting paramount plus to see these short films and watch Clarice. Y'all sold me on it.

I hate da baby's merch.

Him, YG, Lil Nas X, Playboi Carti, and Uzi Vert all are the definition of Rockstars and Popstars that happen to be rappers.

He is choir directing these old white people 🤣🤣🤣

Husband time, Benito and his space buns.

Puerto-rican Princess Amadala.

I really really like Dua Lipa's music and her aesthetic change. Her voice has a really nice sense of character with the rasp and tone. This album was so good I bought it on Vinyl (its sold out now). Her stylist is doing gods work out here and picking some amazing looks for her like this outfit is gorgeous. BUT I love how everyone who likes her looked at her during this pandemic like:

She was hopping and bopping her ass around the world like we aren't in a pandemic. She was traveling as if her world tour wasn't cancelled.

A 3rd outfit change? Another song? She still can't dance though haha.

The set is gorgeous. Yea you should have listened to your own lyrics sis, "Don't go out." 😒

Our first pre-recorded performance, it looks like it but its probably them doing live edits and pulling out the 70s production stops.

I am not a huge fan of this song but I am excited for this Silk Sonic collab project and the rest of the songs on the album. It just feels very Bruno Mars forward and Anderson is less of a front man.

Ooo this dual split looks super cool.

Yea I think that was pre-recorded.

I feel so bad for so many small venues man, one of the ones near me closed and another almost closed. Artist could always hold live virtual performances at these spaces so they get some life in them.

You see how all the country nominees are women. 😊😊😊

Yes Miranda get that grammy girl.

Ah so some people are on Zoom calls.

Here comes T.Swift, Now this is most definitely a set in their little concert space.

I'm really dissapointed in her response to her fanbase turning into a racist mob over misplaced outrage and I'm not even a fan of hers.

All of your teen favorites will experience non hurtful but light jokes as long as people make TV and movies. Especially since a lot of the writers are/were fans on the level of fanboy/fangirl behavior.

This set is gorgeous though.

Congrats tall British man, did he curse? Anyways I hate this boa with this outfit but I know this specific one is his staple boa.

Here comes the tribute, r.i.p Bill Withers.

Silk City, Anderson and Bruno, is a great choice for Little Richard's tribute.

God it is wild how much Bruno looks like Little Richard.

This piano player is fucking this piano up.

So many musicians and bts people passed this year. This virus just took a battle axe to the entire senior generation of artists. Some of them from it and others just shit circumstance. I hope and pray no one gets sick of these performers, I know some have been vaccinated.

R.I.P beautiful SOPHIE.

Over 1000 artists freaking insane.

Ay Brandi Carlile, she got one Grammy this afternoon.

Britney Howard Chris Martin, and this band are 🤌🤌🤌.

How sad.

Commercial break: lil nas x needs to show off his hat collection. Also I break this reaction up into 3-4 parts because this show doesn't end until 11:30 and Tumblr only allows a certain about of gifs each post.

Me looking at Canva AD talking about being a professional tool, which it is, but as a designer I'm like

Congrats to the first Black women nominated in this country category and her song is country but super pro Black. I know some of these country fans aren't happy about this, but maybe if they all are pushed out of the country concerts I will finally go see some of my fav country artists live.

The red carpet leads them inside and outside just like I'm about to head into part 3 of this liveblog and get dessert during this country section.

#grammys liveblog #grammys 2021 #grammys #live blog #grammys lb

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lung-worm2023 · 3 months ago

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Jessica and the Sophie’s!

Almost done the Yg!Classmates, just need to draw Dressy, Bo, And Stanley, then I’m done with the Yg!classmates.

#captain underpants #tetocu #the exhilarating adventures of the young gems #the epic tales of young gems #young gems tetocu au #Yg!Classmates #jessica gordon #Yg!Jessica #Sophie one #Yg!Sophie one #Other Sophie #Yg!Other Sophie

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katherinestvincent · 4 years ago

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. Hello booklovers!!! This month 𝐉𝐮𝐥𝐲 𝟐𝟎𝟐𝟎 𝐰𝐫𝐚𝐩𝐮𝐩 I read 27 books. Kalau melihat dari ratingnya sih, bulan ini saya kurang berjodoh dgn genre romance. Kadang mau nangis dan pindah genre aja. Just kidding, buku-buku romance gw masih bejibun yg mau dibaca koq, sepertinya agak sulit berpisah dgn genre yg satu ini. Here's my resume stars of the books: . 2 books of 🌟🌟🌟🌟🌟: - Qin: Kaisar Terakota (Michael Wicaksono) ---> 𝙣𝙤𝙣 𝙛𝙞𝙘𝙩𝙞𝙤𝙣 𝙝𝙞𝙨𝙩𝙤𝙧𝙮 - The Perfect Waltz (Anne Gracie) . 8 books of 🌟🌟🌟🌟: - Rumor Has It (Jill Mansell) - The School for Good and Evil (Soman Chainani) - Wedding Night (Sophie Kinsella) - Career of Evil (Robert Galbraith) - Queen, Empress, Concubine (Claudia Gold) ---> 𝙣𝙤𝙣 𝙛𝙞𝙘𝙩𝙞𝙤𝙣 𝙝𝙞𝙨𝙩𝙤𝙧𝙮 - A Man Called Ove (Fredrik Backman) - Six of Crows (Leigh Bardugo) - The School For Good And Evil: The Ever Never Handbook (Soman Chainani) . 13 books of 🌟🌟🌟: - Property of a Noblewoman (Danielle Steel) - Prince of Scandal (Annie West) - Caught in The Act (Samantha Hunter) - Christmas Cowboy (Diana Palmer) - The Great Gatsby (F. Scott Fitzgerald) ---> 𝙘𝙡𝙖𝙨𝙨𝙞𝙘 - Kiss Me in New York (Catherine Rider) - The Man She Loves To Hate (Kelly Hunter) - Madame Bovary (Gustave Flaubert) ---> 𝙘𝙡𝙖𝙨𝙨𝙞𝙘 - Winnie-the-Pooh (A.A. Milne) ---> 𝙘𝙡𝙖𝙨𝙨𝙞𝙘 𝙘𝙝𝙞𝙡𝙙𝙧𝙚𝙣𝙨 - Renegade (Diana Palmer) - Time Out (Jill Shalvis) - The Single Woman (Mandy Hale) ---> 𝙣𝙤𝙣 𝙛𝙞𝙘𝙩𝙞𝙤𝙣 𝙨𝙚𝙡𝙛 𝙝𝙚𝙡𝙥 - I Owe You One (Sophie Kinsella) . 4 books of 🌟🌟: - Norwegian Wood (Haruki Murakami) ---> 𝙝𝙞𝙨𝙩𝙤𝙧𝙞𝙘𝙖𝙡 𝙛𝙞𝙘𝙩𝙞𝙤𝙣 - The Scandalous Adventures of the Sister of the Bride (Victoria Alexander) - The Fall of Shane MacKade (Nora Roberts) ---> 𝙛𝙞𝙣𝙞𝙨𝙝𝙚𝙙 "𝙏𝙝𝙚 𝙈𝙖𝙘𝙆𝙖𝙙𝙚 𝘽𝙧𝙤𝙩𝙝𝙚𝙧𝙨" 𝙨𝙚𝙧𝙞𝙚𝙨 - Loving Evangeline (Linda Howard) ---> 𝙛𝙞𝙣𝙞𝙨𝙝𝙚𝙙 "𝙋𝙖𝙩𝙩𝙚𝙧𝙨𝙤𝙣-𝘾𝙖𝙣𝙣𝙤𝙣 𝙁𝙖𝙢𝙞𝙡𝙮" 𝙨𝙚𝙧𝙞𝙚𝙨 . Total pages: 10,331 . . . #julywrapup #julywrapup2020 #stayathome #book #bookgram #instabook #instabooks #bookstagram #bookstagrammer #bookstagramfeature #booksofinstragram #readingchallenge #goodreads #readingbooks #booklover #bookish #booknerd #bookstagramindonesia https://www.instagram.com/p/CDSeZ2Tg_hc/?igshid=19bb521k7n54u

#julywrapup #julywrapup2020 #stayathome #book #bookgram #instabook #instabooks #bookstagram #bookstagrammer #bookstagramfeature #booksofinstragram #readingchallenge #goodreads #readingbooks #booklover #bookish #booknerd #bookstagramindonesia

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deadcactuswalking · 9 months ago

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REVIEWING THE CHARTS: 10/02/2024

Noah Kahan’s “Stick Season” is still #1, it’s a short episode, you really probably should skip it - there's nothing of value discussed here... welcome back to REVIEWING THE CHARTS.

Rundown

This is not a good week. You could call it a stale week, it’s probably accurate, because there’s not much of interest and what is here is mostly utter garbage. Potentially, up there with the worst weeks ever in terms of new arrivals to the UK Top 75, which is what I cover, and speaking of what I cover, notable dropouts are songs exiting said top 75 after five weeks in the region or a peak in the top 40, and this week, we bid adieu to: “Skin and Bones” by David Kushner, “neé-nah” by 21 Savage, Travis Scott and Metro Boomin, “Practice” by Drake, “Pink Friday Girls” and “Everybody” featuring Lil Uzi Vert by Nicki Minaj and finally, “Paint the Town Red” by Doja Cat. One highlight of this dire week is that I’m not really complaining about any of that.

Lewis Capaldi’s “Someone You Loved” returns to #67, what a joy, as well as “Anti-Hero” by Taylor Swift at #62 and “Flowers” by Miley Cyrus at #51. Can’t help but think the GRAMMYs had some influence on these. As for notable gains, we see boosts for Taylor’s “Is it Over Now?” at #68, “MY EYES” by Travis Scott at #65, “What Was I Made For?” by Billie Eilish at #58, “Would You (go to bed with me?)” by Campbell and Alcemist at #52, “Perfect (Exceeder)” by Mason vs. Princess Superstar at #39, “Runaway” by Ye featuring Pusha T at #35, seemingly because well, there may or may not be an album coming because that’s what we needed: more discourse. Then we have “Scared to Start” by Michael Marcagi at #31, “Selfish” by Justin Timberlake at #29 (why are we doing this?), “exes” by Tate McRae at #23, “Alibi” by Ella Henderson featuring Rudimental at #16 (Christ), and we end with two positives at least, as YG Marley and Benson Boone both get their first top 10s with pretty damn good songs, in my opinion: “Praise Jah in the Moonlight” at #9 and “Beautiful Things” at #5, which brings us to that top five, which is otherwise completely the same as last week. Jack Harlow’s at #4, Teddy Swims at #3, Sophie Ellis-Bextor at #2 and for a sixth week, Noah Kahan at #1. You know the song names off by heart by now, and I need some time to let off a deep sigh before rattling off the new songs. Oh, boy, the new songs.

New Entries

#75 - “Out for Love” - Andrew Underberg, Sam Haft and Daphne Rubin-Vega

Produced by Andrew Underberg and Sam Haft

So, Hazbin Hotel was a web pilot by Vivienne Medrano or “ViziePop” that was later picked up by Amazon as a television series this year. It is a musical animated series hence has several soundtrack singles, and given the weak charts and viral nature of the show, some of them have ended up here. I watched the pilot and first four episodes of the series, and found it genuinely quite difficult to stomach - I love adult animation, I love musicals, I actually even like the art style - it was the narrative elements of the show that killed it for me, and this is not a TV review blog, it’s a music review blog. I knew at least one song would debut as the midweek update showed one song at #73, I figured that would be the only song and it could potentially not even appear, so I wrote a very tersely-worded review for that song in particular. It’s a bit… not all that useful anymore, for lack of a better phrase. So I’m largely not going to be covering these. This is from the seventh episode, which I haven’t seen. Song doesn’t make any Goddamn sense to me. Journalism.

#74 - “Thank You (Not So Bad)” - Dimitri Vegas & Like Mike, Tiesto, Dido and W&W

Produced by Dimitri Vegas & Like Mike, Tiesto, W&W, Bassjackers and Renze Michels

Okay, if you’re going to credit a grand total of five EDM producers, why not go the full mile and have all eight pick out a lead? Also, I would ask how eight people were involved in producing this if I had any doubts that it wasn’t just an uncredited guy who got paid to sell this lazy sample flip off to people with actual star power. A sample flip of what, you may ask? Sigh… well, if there’s anything vaguely positive I can say about “Alibi” is that it’s influential. This is somehow even lazier, however, so I guess let’s start with some kind of history.

First of all, Dido’s “Thank You” is a perfectly fine, honest song that peaked at #3 in 2001 - “Do You Really Like It?” by DJ Pied Piper & the Masters of Ceremonies rightfully took #1 that week - and whilst I’ve never been a big fan, I can definitely see why the melancholy downtempo ballad resonates with people, and on a bad day, I can definitely throw this on and feel a little hope. This is a bad chart day, and if “Thank You” were to chart in its original form, it could perhaps be a reminder that things are, despite everything, it’s not so bad. So I imagine rap fans will know one of if not both of the uses of this song in popular hip hop, the first being Eminem’s classic “Stan”, probably my second favourite of his. It actually did #1 for one week in 2000, before the original had charted. It’s a stark and incredibly clever recontextualisation of the song that I’m pretty sure has already been discussed as much as possible, there’s a reason why many consider it Em’s crowning moment. Rae Sremmurd, “Lean’s Gone Cold”… maybe not so much. That one didn’t chart, but it’s funny.

Now there is precedent for house remixes of “Thank You”, and whilst I’m willing to consider interpretations and reimaginings of practically any song as any different style, I feel like making “Thank You” more danceable than just a vague nodding of the head skews some of the narrative’s tone? It definitely makes for a weirder, more dissonant listen, and whilst the Deep Dish remix, actually a GRAMMY Award-winning remix, does its best to maintain the atmosphere in its nine minutes, turning “not so bad” into a faint, looping mantra under a constantly developing house groove, to the point where it is a genuinely pretty great house song production wise… it still doesn’t feel like a great adaptation of “Thank You”, just a different product entirely, which makes sense and honestly makes for a better song. It doesn’t try and be “Thank You”, despite not even registering itself as an original song, just a remix of the original still credited solely to Dido. In 2016, European electro house duos Dimitri Vegas & Like Mike and W&W made a song called “Arcade”, it’s a loud, compressed smorgasboard of cheap synth sounds made for a live festival setting and being practically unlistenable outside of that context. In 2020, German producers Felix Jaehn and VIZE made a much more conventional and, at least in terms of how much it cribs from the original, a more faithful rendition of “Thank You”, subtitled “Not So Bad”. It’s a flavourless tropical house riff that I think the world would be better off not hearing, it’s like “Thank You” by Dido if she was commissioned to make it by an advertising company looking for a soundtrack to gym commercials.

Somewhere across the line, I guess it must have been Tiesto who said, “What if we made a version of that Felix Jaehn song but basically in the soundfont of “Arcade”?” - the latter even being directly listed as a sample on Genius. I mean, otherwise, I don’t know what the Hell Tiesto is doing here but, generally, you have to be shitting me, right? This is two minutes and 20 seconds constructed out of bits and pieces of songs I may not like but had a lot more purposeful artistic intent to them, if that’s a correct way of phrasing it. This is a vaguely functional crap-shoot molded from genuine song ideas, starting with a gentle singer-songwriter track that actually means a Hell of a lot to millions of people. I’d believe that to many fans, that Rae Sremmurd rendition means a lot to them. What does this mean to anybody?

#63 - “Bandit” - Don Toliver

Produced by ReidMD

I don’t like Don Toliver, really, or Tame Impala for that record, but there’s a level of inherent quality here, right? Don can sing, Tame Impala can construct a vibe and the sample here is “One More Hour” from their 2020 album The Slow Rush, it’s completely serviceable, could make for a good song. So why the sample is rendered in such low quality screeching is beyond me, but hey, maybe a powerful beat could work? Oh, the trap skitter is not only completely rote and overdone, it’s really high in the mix and distracts from the bass, which could really help make this song work? Okay, well, what’s Don doing? Being basically a cartoon character with his flows and incessant ad-libs? Well, that could be fun - oh, he’s comparing himself to Marilyn Manson? Barely rhyming? Catching a good, intense flow only to mumble repeated lines mostly about having sex that make up much of the song, with a tiny verse in the middle? Well, maybe the outro can make up for it - oh, he’s doing a Cookie Monster impression. Welp, all hope is lost.

#55 - “Poison” - Blake Roman, Sam Haft and Andrew Underberg

Produced by Sam Haft and Andrew Underberg

This is an upbeat synthpop jam that soundtracks a sex slavery montage. It sounds like a song by The Weeknd covered by a SpongeBob AI voice model. Next.

#53 - “Loser, Baby” - Andrew Underberg, Sam Haft, Keith David and Blake Roman

Produced by Sam Haft and Andrew Underberg

This was the song that made me turn the fourth episode off in disgust. I had a massive review prepared, covering its treatment of sexual abuse, which probably gave it a higher degree of nuance and generosity than many others are willing to give it, but I’m not compelled to rant about cartoons in this series. I want to write about animation more often but preferably animation I like or actually find compelling. With all respect to those who enjoy it and power to them, Hazbin Hotel was not something I would like to grant any more attention than the brief necessity of my format. Thanks for understanding.

#40 - “Home” - Good Neighbours

Produced by Good Scott and Oli Fox

I was very much willing to give this one a good shake because, I mean, what else do we have? Scott and Fox teased this on TikTok months prior before releasijng this as their official debut single together, after malformed, quickly aborted solo runs a few years ago. Sounds like a recipe for chart success and oh, the song’s terrible. It has a whistle about as charming as the American Authors’ milennial whoops, really insufferably screeching vocal tones that remind me of Passion Pit more than anything - that isn’t really a good thing - and sentimental lyrics about what home means to him, which would be completely serviceable without the stiff, grooveless splodge of grey matter that calls itself a chorus. Oh, and you know those sentimental lyrics? They’re gone by this point, it’s an incredibly manipulative breakup song with some really gross attempts at poetry - “wrap my name across your mouth when I let my feelings down”? Ew, man, Charlie Puth is less contrived than this. Naturally, the song goes nowhere and sadly, that probably won’t be its chart trajectory. Yet, once again, this song is practically unlistenable.

Conclusion

…Don Toliver gets Best of the Week. Somehow. Thanks for reading, I guess? See you next whenever.

#uk singles chart

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blokmusik · 4 years ago

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2010ernes bedste internationale album

Da jeg startede denne side med Johannes tilbage i efteråret 2014 satte vi os for at lave “årtiets” mest ambitiøse årsliste. Summa summarum så blev listen aldrig udgivet i sin helhed, simpelthen fordi listen og arbejdet med den blev for tidskrævende. Slet og ret en alt for stor mundfuld. Vi startede ved plads 90 og fik skrevet frem til plads 25 over de bedste plader fra 2014. Udgangspunktet for listen var i grunden blot, at vi var nogenlunde enige i de 20 højeste placeringer. Så var der 80 resterende placeringer som var svære at udfylde. Favoritplader som Syro af Aphex Twin, Our Love af Caribou, Lost in the Dream af The War on Drugs blev diskuteret, men det blev ved snakken. Netop fordi listen aldrig blev udgivet, vil jeg nu råde bod på det der ikke blev udgivet dengang, og i stedet udgive en liste over de største, bedste, vigtigste og mest fremadskuende udgivelser fra dette årti, altså fra årerne 2010 til 2019. Her indgår året 2014 nemlig, og jeg kan allerede nu afsløre, at måske var 2014 ikke det mest altoverskyggende år, men stadig vigtigt takket være bl.a. The War on Drugs.

De efterfølgende musikår i 2015 og 2016 skulle til gengæld vise sig at være uomtvistelige, hvilket skyldtes flere kaotiske hændelser i det politiske (stadig) ustabile USA med udgivelser fra primært sorte artister som Kendrick Lamar, Frank Ocean, Solange, D’Angelo - for slet ikke at glemme YG og hans ligefremme budskab “Fuck Donald Trump”.

Mindst lige så interessante udgivelser kom fra britiske artister som PJ Harvey, Radiohead og ANOHNI, der fokuserede linsen omkring Storbritanniens krigsførelse, flygtningehåndtering og manglende humanitære perspektiv. Apropos flygtninge, så tag bare Jonathan Johansson og hans Lebensraum!, der på alle måder var et politisk wake-up-call ikke bare i Sverige, men til hele Norden om hvordan man raskt rejser på charterferie til Lampedusa i samme åndedrag som flygtningebåde kæntrede overalt i Middelhavet.

Det musikalske årti har i den grad været interessant ud fra sine politiske modråb, men der har også været plads til en stor bølge af indadvente og drømmende album, der har været mindst lige så store udgivelser som resten af spektret. Her tæller Sufjan Stevens, Joanna Newsom, Beach House, Jessica Pratt og Sun Kill Moon som nogle af årtiets indfølende højdepunkter.

2010erne var også det årti, hvor kunstneren fik lov at være her og der og alle vegne. Der blev skabt sociale medier som kunne kanalisere budskaber og skabe viralomtale fra ét sekund til et andet og pludeslig fylde hele sendefladen via medier som Twitter, Instagram, Facebook, Snapchat eller streamingsider som Youtube og Netflix - alle kæmpemedier som har gjort FOMO-begrebet til deres levebrød. Man skal følge med for at være med. Gennem årtiet kunne vi som de sociale mediers hungrende forbrugere følge kunstnere som Kanye West, Beyoncé og Rihanna i deres reklamer, tv-programmer, politiske budskaber og hverdagsliv, der fik deres egne menneskekroppe til blot at være en mikroskopisk del af den overnaturlige popkulturelle indflydelse de hver især afgav.

Der er altså tale om et årti, hvor forsvindende få popkunstnere har haft proportionelt mere indflydelse end nogensinde før, også selvom der aldrig har eksitseret flere kunstnere før eller flere typer af genremixes, identiter, fankulturer og undergrundsbevægelser. Et tiår, hvor vi omgav os med en popkultur, der har ændret vores forståelse af os selv og vores omgivelser. En udvikling, der i en eller anden grad har gjort os mere narcissistiske end nogensinde før, fordi vi alle har fået muligheden for at spejle os i alle og enhver - selv vores idoler til et punkt, hvor persona, image og udseende nu fylder mere end noget andet.

Med disse ord, så er det vist tid til at løfte sløret for de 100 bedste plader fra 2010erne. Hvis nysgerrigheden pirrer yderligere, så er der her sammensat en playliste med de bedste sange fra årtiets bedste album plus singler, ep’er og andre mere eller mindre faste og løse udgivelser.

100. Jessica Pratt - On Your Own Love Again

Listen starter med et stemmebånd af en anden verden. En kvinde der bruger det sparsommelige som en kreativ ledesnor. På hendes anden skæring visker hun sagte originaliteten frem i små kærlighedssange, der lyder som hjemmeoptagne kreationer. Ikke desto mindre uundværlige og kun fortsatte med at brillere. Årtiet bød på mange stærke

99. Angel Olsen - My Woman

98. Fleet Foxes - Helpnessless Blues

97. Gold Panda - Lucky Shiner

96. Jessy Lanza - Pull My Hair Back

95. Objekt - Flatland

94. Neon Indian - Vega INTL. Night School

I 2015 skete det endelig for Adam Palomo. Den krølhårede pop-dandy med de mexicanske aner skulle kun bruge 5 år før et decideret hovedværk skulle se dagens lys indenfor en helt genre. For på den kryptiskbetitlede Vega INTL. Night School ramte mastermind og hjernen bag Neon Indian nemlig plet, dér hvor genren. Hans særlige bidrag til den udsyrede synthpop fra slut 00erne, den såkaldte chillwave, skulle tage en drejning, og i stedet valgte han at tage nye inspirationskilder i brug. Og dette var ikke så lidt fængende.

Der er sket meget siden den overkitschede Nintendo-blippende synthpopgenre, chillwave, for alvor tog fart med debuten Psychic Chasms fra Palomo tilbage i 2010. Knopskydninger havde allerede fundet sted med navne som Small Black og Memory Tapes, men chillwaven bed sig for alvor fast med trekløveren Toro Y Moi, Washed Out og den omtalte neonindianer.

Gennem 10erne gik hvert navn i sin retning. Washed Out forblev i det drømmende, mens Toro Y Moi gik den let psykedeliske vej, og Neon Indian drejede af ved vejen mod skvulpende fuldblods synth. Første forsøg efter debuten Psychic Chasms var året efter med Era Extrana, hvor 80ernes absolutte supergenre blev taget i brug på - rendyrket dansepop.

På Vega INTL. Night School mener jeg, at bredden i lydbilledet blev mere elastisk - der blev plads til flere krumspring. Dermed gjorde Palomo også et mere kvalificeret forsøg på at gøre genren mere alsidig. Han tilføjede dance, reggae og funk. Han gjorde det ikke bare for at implementere flere genrer, men også for at give lyden mere luft og plads til at udfolde sig i det udsyrede, kaotiske. Han kreerede en mere substansfyldt lydbund. Eksemplevis var “Annie” et vaskeægte summeranthem, der lagde sig mellem reggaevibes og en feeling af cocktailparty ala Whams Club Tropicana kørt gennem en synthmaskine. Synthdryppende “Glitzy Hive“ var et dansetrip uden lige og “Slumlord”, pladens uomtvistelige omdrejningspunkt, gav Palomo os pop fra øverste hylde - en mor(o)derisk hyldest til Giorgio Moroder.

93. Hundred Waters - The Moon Rang Like A Bell

92. A Tribe Called Quest - We Got it From Here.

91. Fiona Apple - The Idler Wheel

90. Chairlift - Something

89. Jessie Ware - Devotion

88. David Bowie - The Next Day

87. Kaytranada - 99.9%

86. Lowly - Heba

85. St Vincent - St Vincent

84. The National - High Violet

83. Iceage - New Brigade

82. Beyonce - 4

81. Aphex Twin - Syro

Som lyden af en hyperintelligent rumalien, der vist kommer med fred, men uden tvivl har intentioner om at erobre os med sin virtuose sammenkobling af genkendelighed og blødende IDM.

Vulnicura fra alletiders avantgarde-dronning havde samme følelse, men Syro forlod samtidig al selvkontrol og på forunderlig vis forbandt elektrisk pladetektonik med smooth jazz - fuldkommen idiosynkratisk vrøvl? Ikke helt overbevist endnu? Du kan næsten kun blive klogere af at lytte til hvad dette overmenneske har at byde på fra sin primate genialitet.

80. Moderat - Moderat II

79. Daft Punk - R.A.M

78. Courtney Barnett - Sometimes I Sit and Think, Sometimes I Just Sit

77. Regina - Soita Mulle

76. Shabazz Palaces - Black Up

Åbenbaringen skete nok allerede i 2011 med Shabazz Palaces, der uden tvivl bidrog til at hviske tavlen ren og skabe plads til ny inspiration for hiphoppens altædende tag på populærkulturen. Shabazz skabte et metafysisk landskab af ubekvemligheder, hvor naturen fik næring fra pulserende hyperjazz og dikterende hypotetisk fremtidsdystopi.

75. Robyn - Honey

74. Joanna Newsom - Have One On Me

En vokal sukkersød som en gennemsmeltet skumfidus, men stadig med en kompleksitet og frygtindgydende vibrato som kun hun besidder. Joanna Newsom i egen høje person. Hendes stædige fravalg af moderne musiks hjælpemidler og tilvalg af den amerikanske sangbøgers arnested, nemlig folkemusikken, har sammen med hendes tro føljesvend, harpen, og førnævnte sangstemme til sammen forvandlet hende til en musikalsk fe, der befinder sig i et luftlag som meget få andre besidder. På den over to timer lange vandring gennem temaet kærlighed finder man både intimitet og hjerteknugen fra sine absolutte lykkestunder til dets kælderdybe afgrund. Have One On Me er ikke ulig det ubeskriveligt ambitiøse mesterværk Ys, et tapet af næsten uendelig skønhed, der dog alligevel har sløjfer og skyggebilleder og strofer nok til at efterlader flosser i mønstrene. Hun skabte senere på Divers et endnu mere tilgængeligt udtryk, men bedst var Have One On Me, hvor perlerne er flest og skinner allermest igennem på numre som In California, Baby Birch og 81 fremaner hun en svær og usammenlignelig åre af musikalsk perfektionisme.

73. Beyoncé - Lemonade

72. The Radio Dept. - Clinging To A Scheme

71. Beach House - Bloom

70. King Krule - The OOZ

69. Sun Kill Moon - Benji

68. Jenny Hval - Apocalypse Girl

67. The War on Drugs - A Deeper Understanding

66. Run The Jewels - Run The Jewels 2

65. Christine & the Queens - Chris

64. Kurt Vile - Smoke Ring For Halo

63. Bon Iver - Bon Iver

62. Kamashi Washington - The Epic

61. FKA Twigs - LP1

Denne multikunstner har ikke bare på den musikalske, men også på den visuelle side fundet et lege hun egenhændigt regerer helt for sig selv. Med en overjordisk sans for at fange de iboende kompleksiteter som eksisterer i den menneskelige seksulatitet blev LP1 et fyrtårn som få andre, samme liga som Arca og SOPHIE, der rammesatte en ny standard for hvor erotik og frygt kan mødes. At disse to yderligheder kan sammenstilles i et kreativt krydsfelt mellem musik og visuel kunst som ikke ved særsyn er set før (ja okay, Björk er afgjort en forgænger). På opfølgeren MAGDELENE viderefører hun samme tematikker til en artistisk stenkløft, hvor de produktive kræfter blander sig med seksualitet til nok et mutationsniveau. Men på LP1 var udgangspunktet, en kanonisk mælkebøttebombe, der skulle bane vejen for en hel generation af nye syntetiske familiære stjernefrø som spiser metervare R&B til morgenmad.

60. Todd Terje - It’s Album Time

Så længe jeg husker, har jeg aldrig fulgt diskoen i samme grad som da jeg opdagede singlen “Ragysch” fra en nordmand ved navn Terje Olsen. På samme tidspunkt som denne single udkommer er jeg begyndt at vende plader som DJ forskellige steder rundt i det aarhusianske. Kort fortalt, så bliver Todd på kort tid mit idol både foran pulten og på hjemmeanlægget. I 2012 ændrer han sit udtryk fra det mere strikst inciterende og giver plads til en gemt legesyghed med det altoverskyggende superhit “Inspertor Norse”. Selvsamme nummer ender også med at komme på debutalbummet med den påfaldende titel It’s Album Time. På en paradoksal måde beviser han i løbet af en times længdes hitparade, at hovedstrømmenes overenskomstsbeats kan modarbejdes ved at slå hul på fortidens ideer om fremtiden og discolektioner og transformere dem ind i et nyt realitetsbillede. En morale som ikke er ulig det oppotionelle tankesæt som dansemusikkens tidligere revolutionære har gjort sig i med navne som Daft Punk, Mr. Fingers og Giorgio Moroder bare for at nævne nogle få.

59. Future Islands - Singles

58. Beyoncé - Beyoncé

57. Rhye - Woman / Quadron - Avalanche

56. Gorillaz - Plastic Beach

55. Blood Orange - Cupid Deluxe

54. Arcade Fire - Reflektor

53. Weyes Blood - Titanic Rising

52. Caribou - Our Love

51. ANOHNI - HOPELESSNESS

50. Janelle Monaé - The ArchAndroid

49. Vampire Weekend - Modern Vampires of the City

48. Bill Calahan - Apocalypse

47. Mac Demarco - 2

46. Jonathan Johansson - Lebensraum!

45. Amen Dunes - Freedom

44. Julia Holter - Have You In My Wilderness

43. Four Tet - There is Love in You

42. Father John Misty - I Love You, Honeybear

J. Tilman elsker os. Og ikke mindst sin kone. Den universelle kærlighed til det omkring os og den jordklode vi bliver født og dør på. På I Love You, Honeybear der er hans anden studieplade siden Fear Fun fra 2012, begiver han sig ud på en lang personlig rejse ind ham selv, der som - han har udtalt - er klaustrofobisk nok for ham at spille for nære bekendskaber. Teksterne er indimellem paradoksalt nok en helt anden snak, hvorfor mange af numrene virker mere ironiske end ærlige. Pudsigt nok forholder det sig nærmere sådan, at hans tekstunivers gemmer sig i feltet mellem dyb sandfærdig hengivenhed, der samtidig kaperer sin omverden gennem ironi og sarkasme. Og den opskrift har jeg lappet i mig lige siden. Og for det skal det lyde: Jeg elsker dig, Father John Misty.

41. Kendrick Lamar - DAMN

40. Vince Staples - Summertime ‘06

39. Kanye West - Yeezus

38. Dirty Projectors - Swing Lo Magellan

37. Danny Brown - xxx

Den markant herre Danny Brown må siges allerede at have flere nyskabende mesterværker på samvittigheden, herunder Old og Afrocity Exhibition bare for at nævne de mest markante. Xxx føltes alligevel som milepælen, der gjorde det hele muligt. Geniet bag er stadig intakt og derfor fortjener Danny Brown en hæderlig placering i top 40.

36. James Blake - James Blake

35. Disclosure - Settle

Popmusik lød utvivlsomt ikke meget bedre end på Settle. Denne kløgtige blanding af musikalsk opdragelse og forståelse i dance-historiens udvikling på den ene side og samtidige bevidsthed om udvikling af samme er slet og ret ikke gjort bedre i løbet af årtiet. Og så var de altså kun 18 og 21 år gamle, da denne luksuriøse kavalkade af popperler udkom. De gjorde house demokratisk og levende for en større skare af mennesker. Tak for det!

34. Jamie xx & Gil Scott Heron - We’re New Here

33. Caribou - Swim

32. D’Angelo - Black Messiah

31. Robyn - Body Talk

Lorde, Carly Rae Jepsen, Miley Cyrus og Taylor Swift var alle blandt de absolut største, mest interessante og genreudvidende popstjerner årtiet kunne byde på, Men én gjorde det med en sådan ynde og bramfrihed, der italesatte ensomhed og alienisme som kun hun kunne. I løbet af 2010 udgav Robyn så meget kvalitet på én gang, som ingen af ovenstående stjerner kan måle sig med. Body Talk var alletiders følelsesrus, der mærkedes ligeså meget som en puls som et minde. En følelse, der ufravigeligt var værd at dele med andre. Som når en god ven ringede til dig for at kun du skulle føle dig interessant og værdsat. Som et hjertevarmt venskab. Kollektionen af gåsehudsfremkaldende eskapisme befandt sig på et niveau, hvor du selv kunne slippe jordforbindelsen og bare tage Robyn i hånden og svæve afsted.

30. Grimes - Visions

29. Grouper - Ruins

28. Drake - Take Care

Inderlig som aldrig før, der ikke er hørt magen til siden fra manden bag.

27. David Bowie - Blackstar

26. Chromatics - Kill for Love

25. Kanye West - My Beautiful Dark Twisted Fantasy

24. Tame Impala - Innerspeaker

23. Erykah Badu - New Amerykah

22. Grimes - Art Angels

Clair Bucher har immervæk trukket forståelsen af state of the art et sted hen, hvor den ikke altid har kunne bunde. Men slutproduktet har indtil videre på samtlige af hendes alber endt med at føre forestillingen om musik ind i fremtiden. Der hvor vi må lægge vores idé om popmusik og fremtidsfusioner af samme på hylden - for Grimes har allerede skabt det. Vores visioner må vige for hendes diamantklare talent. Hun kom dog på dybt vand, da hun samarbejdede med produceren Blood Diamonds på nummeret “Go”, der både blandt fans og anmeldere blev anklaget for være for mainstream. Ikke underligt var nummeret også oprindeligt skrevet til Rihanna, der om nogen er en radioyndling. Selvsamme kasse passede nummeret, “Entropy”, også i, der blev udgivet i marts 2015 i forbindelse med fjerde sæson af tv-serien Girls. Samme år inden hendes andet album skulle se dagens lys.

På Art Angels blev poppen evident for enhver. Eksperimenteringen havde givet pote, hvilket især førstesinglerne skulle bevise. Fra “Go” og “Entropy” udgav hun nemlig en demo “Realiti”, der er endt med at blive ét af mine absolut favoritnumre fra det forgangne årti. Herefter kom de officielle singler “Flesh Without Blood” og “Kill V. Maim”. To numre, der viste vejen for et nyt kapitel i Grimes’ karriere. Hun skabte bro mellem poppen hun idoliserede (som kunne anes på et nummer som “Go”) og det hun yderste potens var i stand til selv at kreere. Så kan det godt være, at hun fra tid til anden forsøger sig med midlertidige udforskning udi ting, der ikke helt passer ind i publikums kram. Ikke desto mindre bevirker nysgerrigheden til rendyrket popmusik som en kilde til den klareste originalitet og egenartethed som popkulturen har kunnet mønstre fra en kunstner, der emmer af integritet og selvrespekt. En frontkvinde for poppens fremtid. En popstjerne, der laver punk. En bannerfører for det vi endnu ikke vidste vi vil komme til at elske lang tid før det er blevet mainstream.

21. Sufjan Stevens - Carrie & Lowell

20. Radiohead - A Moon Shaped Pool

19. Kendrick Lamar - Good Kid, M.A.A.D City

18. M83 - Hurry Up, We’re Dreaming

17. Tame Impala - Lonerism

16. PJ Harvey - Let England Shake

15. Jamie XX - In Colour

Når man som anmelder skal beskrive en ung kunstners eller bands’ lyd ligger det altid for at trække tråde tilbage til deres inspirationer. Ofte kan man forestille sig hvordan den kunstner man skriver om, har absorberet musikken fra deres tidlige ungdom. Ofte kan man endda næsten se det for sig: R’n’B sangerinden, der som teenager synger med på et Aaliyah nummer foran spejlet, mens hun drømmer om fyldte koncertsale og rejser i privatfly til det caribiske øhav. Indie rock guitaristen, hvis øjne og øre spærrede op, da hans far en dag spillede ”Voodoo Child” for ham. Men det er noget andet med Jamie Smith. For den unge elektroniske musiker, som langt de fleste kender under navnet Jamie XX dyrker tråde af inspiration, der trækker i et virvar af retninger og han bruger sin sampler til at vise os dem. På hans dengang længeventede ”rigtige” solodebut, In Colour, tilbage fra 2015 åbner den engelske wunderkid os ind i hans verden af klubber oplyst af blinkende neonlys, vibrerende bas og mørke hjørner af mystik og storhed. På monsteråbneren “Gosh” rammer Jamie dig lige i solar-plexus med himmelstræbende bas, industriel sirenesang, spektakelpercussion og et in-your-face “Oh my gosh”-sample. Lyden af varme og kulde, der helt uvirkeligt føles mere menneskeligt og ærligt end selv de mest inderlige folkballader.

Det er som førnævnt svært at give en kort og klar beskrivelse af Jamies lyd. Udover at være lydarkitekt i det hæderkronede The xx, så er genrebetegnelser som future garage, post-dubstep og trip hop blevet brugt om de singler han har udsendt gennem årene. Det vil være lettest og sandest at sige, at han er det hele og mere til. Hvor bas-konger som Avicii, Krewella og til en vis grad Diplo hylder festens klimaks, drejer Jamie xx lyden over imod en underspillet eufori og de længsler som pladens skikkelser bærer på. Her kommer ingen for at poppe champagne eller være festens konge, men i stedet vil han give plads til at festen kan være et tidsmæssigt mellemrum, hvor man glemmer hvem man er. Han giver os mulighed for at søge trøst som på numrene “SeeSaw”, “Loud Places” eller Stranger In A Room”. Undtagelsen er “I Know There’s Gonna Be (Good Times)”, der er en lang glædes rus. Popcaan og Young Thug lyder gladere end nogensinde før og tilføjer udentvivl en ekstra dimension til pladens farvestrålende palette mellem dansegulvsbasker af de helt store og nattemelankoli, der lyder som dagen derpå. Og denne vekselvirkning er nok i virkeligheden pladens overskyggende appel og grunden til, at jeg stadig finder pladen frem 5 år efter og stadig synes, at det er et mesterværk, som ingen rigtig har kunne måle sig med.

14. Jenny Hval - Bloodbitch

Tilbage i 2016 opnåede Bloodbitch topplacering på min årsliste. Og det med god grund. Jeg skrev dengang:

"Bloodbitch er et konceptalbum med den saftigste blanding af kvindelige vampyrer og menstruation, hvor blodet kan forstås ud fra gysergenrens forgudelse af den rødelige væskes effektive ekstremitet, men også menneskets biologiske trafikkryds, der aldrig formår at gøre kvindekønnet fri fra sin medfødte reproduktionsevne. Og det måske mest inciterende ved pladen er netop lyrikkens mange poetiske tigerspring mod en særlig sfære af metaforer. Billedliggørelser på blodets tveæggede sværd. En romance og kamp mellem kvindens eget selvbillede indadtil som udadtil, hvilket gør pladen til et stærkt personligt portræt af menneskelig tvivlen på sig selv.”

Jeg sidder stadig med samme følelse i munden omkring denne plade. Sikke en kraftpræstation.

13. Arcade Fire - The Suburbs

Dette er hverdagsportrættet som jeg aldrig kunne komme mig over. Jeg husker stadig første lyt som en følelse af, at jeg blev præsenteret for en slags evident bevisførelse af, at dit liv kan ende med at repetere sig selv. En kold klud i ansigtet, der paradoksalt nok føltes opløftende og akut vedkommende. The Suburbs var som at træde 15 år ind i fremtiden. At blive teleporteret til et canadisk forstadsmiljø, som jeg øjeblikkeligt kunne sætte mit liv i relation til. Eller på samme måde som når mine forældrer taler om at slå tiden ihjel med endeløse timers cowboy og indianer i forstæderne tilbage i 70erne for samtidig at være havnet tilbage i selvsamme form for bebygget område. Kliché-alert - historien gentager sig selv. The Suburbs mærkes som en universel følelse af desperation over ikke at kunne flygte. At være fanget. Ikke kun fanget i bogstavelig forstand, men også i minderne selv. At man er fanget i de samme nostalgiske billeder man har af fortiden som man ender med at videreføre. Disse udforskninger af følelsers stilstand, udbrud og genkald har været symptomatisk for hele Arcade Fires diskografiske udvikling. Lige fra begyndelsen, hvor angsten for fremtiden føltes helt ud til fingerspidserne på Funeral til den seneste Everything Now, hvor det storladne endte med at kamme over. På The Suburbs blev vi præsenteret for en enkelt idé om det universelle vi alle gennemgår. At vi bliver ældre. At udviklingen af vores eget verdensbillede måske ikke ændrer sig sådan som vi troede.

12. Flying Lotus - Cosmogramma

11. LCD Soundsystem - This Is Happening

10. Solange - A Seat At The Table

Et stykke uundgåeligt medmenneskelighed fra et tidspunkt i musikhistorien som aldrig vil være af helt samme kaliber.

9. Beach House - Teen Dream

Teen Dream føltes som det tungeste og smukkeste et menneske kan forestille sig, det pureste og reneste guld. Smeltet om til guitarfigurer, rundgange på trommemaskine og af en vokal fra et vist menneske med runde brune lokker og det borgerlige navn Victoria LeGrand.

8. Ariel Pink - Before Today

Meget kan siges om den kære mand, men det har sjældent været mere appellerende og legesygt som på Before Today. Pladen har fungeret som ledetråd og pejlemærke for en helt generation af musikere, så selvfølgelig fortjener pladen i top 10 plads. Klichéerne og den musikalske griner lød aldrig rigtig lige så god i 10erne som hvis de kom fra Pink. Og det er i sig selv en bedrift, der skal hæderkrones og prises med stor fanfare.

7. Frank Ocean - Channel Orange

Hvordan en mand før og efter en udgivelse kan ændre så meget på ikke bare sig selv, men så i den grad også sine omgivelser her fra og til evighed for R&B og hele popmusikkens forståelse, er da fuldkommen ufatteligt. Av for den. Frank Ocean skabte slet og ret et før-og-eftermæle af musikkulturen, der med numre som “Pyramids” og “Thinkin Bout You” skar hul til poppens hellige graler.

6. Tame Impala - Currents

Man skulle ikke tro, at Kevin Parker kunne bibeholde det tårnhøje niveau som på de foregående udspil. Men nej, hans ambitionsniveau ville så uendeligt meget mere end bare at skubbe til egne ambitioner. På Currents cementererede han sin position som syrerockens genskaber.

Som tidligere skrevet, så var dette rockopus lyden af alt den gode musik jeg fik fra min barndom. Dette indbefatter 70ernes bombastiske og udsyrede rocksymfonier, 80ernes kitschede disko og selvfølgelig 90ernes hæmningsløse filterhouse. Samtidig indeholdte mange af pladens trommebeats en pudsig snert af 00ernes overflod af cremet og catchy R&B-lyd. Sammenblandigen blev en kalejdoskopisk regnbueraket, der med lynets hast blæste igennem stratosfæren og videre ud i universet.

For det hele starter med den oscillerende sprængning “Let It Happen”. Et nummer, der som førstesingle og pladeåbner viste vejen for hvordan straight-out orgelsynth, velnæret R&B, loopguitar og stortromme masterering af en anden verden tilsammen dannede rammen om en (gen)tænkt udgave af rockperfektionisme. Det her var ikke Innerspeaker eller Lonerism. Det føltes ej heller bare som en musikalsk kolbøtte i dets genreudhviskning mellem pop og rock. Dette var en manifestation af, hvor stor en musiker han var blevet.

Pladen er et sandt tagselvbord af lutter lækkerbiskener, der veksler mellem de allestedsnærværende og mastodonttunge stor- og lilletromme slag som på “Love/Paranoia” til overblærede synthstykker som på rumudforskningen “Past Life”. Særligt på “Past Life” bliver den narrative førstepersonsfortæller tydelig, hvor han nærmest fremstiller en posthumt fortælling om livet efter breakuppet gennem en ganske almindelig dag.

Og eksakt koblingen mellem en mand i fuld nedsmeltning og fuldkommen musikalsk overskud gør dette album til en særlig skabning. Den gør dig i stand til at du selv ønsker at komme ud af din egen ensomhed.

5. The War On Drugs - Lost In The Dream

4. Frank Ocean - Blonde

3. Destroyer - Kaputt

2. Deerhunter - Halcyon Digest

Kan man bo inde i et album? Inde i en sang? Et tætpakket vakuum af minder om de tidlige præ-voksne kapitler i mit liv gennem én bestemt periode af mit liv spillet gennem 11 gennemmagiske sange? Er det muligt? Dén lektion har jeg erfaret med Halcyon Digest. Med albumanslaget på “Earthquake” flår Bradford Cox følelsesmembranen op. En pirrende guitarhvirvel. Et genfærd fra engang i tresserne opstår på “Desire Lines” og bliver blæst op i skyerne på “Helicopter” om en pornoskuespillers livskamp mod en tilværelse i prostitution. Det er anekdoter, der skaber permanente billeder tæt fastnet på nethinden. Om eksistenser og deres færden gennem livet. Både dem der har eksisteret og om dem, der meget vel kunne have gjort det. Halcyon Digest er uden sammenligning det tætteste bandsammenslutningen Deerhunter er kommet på et fuldkomment værk, som har og stadig kommer til at leve langt ind i eftertiden.

1. Kendrick Lamar - To Pimp A Butterfly

10erne har på alle måder været det mest stjernefunklende musikårti i lang tid med streamingen, sociale medier og internettets millioner af knopskydninger som de mest omvæltende nyskabninger for musikverdenen. Som jeg har haft det flere år gennem årtiet, så har det været umuligt at følge med i alle udgivelser, nogle gange har jeg måtte gå tilbage i et forsøg på lige at få det oversete med. For årtiet har grundet disse uoverskueligt mange musikalske platformes indtog gjort det snart sagt umuligt at følge med i alt og alle. Så selvom det har været et gudsbenovet musikårti, hvor jeg aldrig rigtig nåede at få det hele med, så er der alligevel nogle udgivelser, der ikke har været til at komme udenom. Og især én udgivelse bør i denne sammenhæng fremhæves som det uomtvistelige musiktestamente for årtiets bortgang. Det drejer sig om en musikbegavelse, der har formået at overgå sig selv eller på anden måde ramt noget helt særligt, som simpelthen ikke kunne være lavet før nu. En mand, der om nogen vil kunne kalde sig for den absolut dygtigste raplyriker overhovedet, navnet er Kendrick Lamar. Netop Lamar tog hånd om et af vigtigste spørgsmål i USAs relativt korte historie - racediskriminationen. Dette emne blev så pakket ind i et tætmasket kludetæppe af mesterlige produktioner, hvorfor To Pimp A Butterfly uden tvivl er ét af de absolut bedste rapalber i nyere tid og samtidig ender med at toppe listen over bedste udgivelser fra årtiet 2010 til 2019.

Af Jens Bjørn Grelck, 2020

#top2010

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