#barryorchestra

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barryorchestra presents...2020: A Playlist - #47.

#47. “start” by Ellie Goulding & serpentwithfeet

I can’t even remember the first song that made me an Ellie Goulding fan.  All I know is I caught on to her very early...before “Lights” became a massive global hit, and definitely before she got any attention over here in the United States. What made me a fan was her willingness to throw her optimism and yearning into pop music that not only danced, but also cried and felt every other emotion that humans feel. This made some of her most commercial songs still retain that warm and imperfect touch of humanity (something that many pop artists can lose sight of in search of a hit). That coupled with her ear for just the right touch of experimental production and vocal manipulation gave her a fresh sound. After the one two punch of her first two albums, she lost me with her 3rd release, “Delirium” which contained some strong singles but mostly felt like a generic pop album anyone could’ve released to me. So my expectations were low going into her most recent album “Brightest Blue”. But dammit, she came through! Some of the songs on this record are up there with her best, and “start” is my favorite.

On the song “start”, Ellie finds herself at the end of an emotional breakup and trying to pick up the pieces of her ego and identity. Part of her still wants everything to remain how it was before, but she recognizes the only way is forward. What I love about this song is the movement. It’s a ballad, but the attitude and mood shifts over the course of 5 minutes. We go from vulnerable confessions of insecurity to her exclaiming at the end, “You fuck with me, I’ll start a war.” 

In the midst of this she brings on serpentwithfeet (also known as Josiah Wise), a queer artist who takes folk & R&B and contorts it into his own sound, to speak his truth. Unlike many other queer artists have opted to do in the past, Josiah doesn’t obscure gender pronouns in order to make his subject matter more accessible. He’s a gay man, and when he gets on the mic, he lets you know he’s singing about men, and just because he’s got the green light for a feature on a pop star’s album doesn’t mean he’s about to compromise now! Josiah speaks on the fact that he has trouble letting go, but this is the moment where that ends. He’s cutting his ex off, and his moving on. Even his friends don’t believe him. He’s asserting his own will and agency and changing the narrative. It’s fascinating to see these two completely different stories come together at the climax of what was already an emotional song. This record sets the tone for what ends up being a damn good pop album, and it also sets Ellie Goulding back on the course she was in the beginning of her career that made her stand out from her musical peers.

[barryorchestra]

barryorchestra presents 2020: A Playlist - #49.

#49. “Your Turn” by Ty Dolla $ign featuring Musiq Soulchild, Tish Hyman, & 6lack

Ty Dolla $ign has proven to be one of the most prolific collaborative artists and songwriters of the past decade. While he is perfectly capable at cranking out the ubiquitous hits like “Work From Home” with Fifth Harmony, or “Pyscho” with Post Malone, he can hold his own with the more artsy crowd like Jacob Collier, Thundercat, and serpentwithfeet. On top of all of that, Ty can hold his own as a producer and guitarist, creating these unique soulful moments that sit somewhere between the vibes you���d get during special music at church & a raw freestyle on a street corner. “Miracle/Wherever”, a tribute to his brother who has wrongfully imprisoned, still ranks as one of my favorite songs ever. On Ty’s 3rd project, “Featuring Ty Dolla Sign”, he manages to ground his sound without allowing the features to dominate the record. He has the hip hop bangers he’s known for, but he digs back into his soulful bag, and that makes me happy.

“Your Turn” is a song that reflects on the nature of love and the fact that love is not synonymous with ownership. The refrain exclaims, “Nobody’s truly yours, it’s just your turn baby..”, which goes against the grain of all the love songs and ideals we’ve seen that hold up the “you are mine” sentiment. What does it mean to fall in love? Can you fall in love with more than one person at the same time? At different times? Who came up with the concept of a soulmate? Or that there’s a predestined person that you have to meet? Why does love HAVE to be jealous? Is any of that true or is there a way of looking at love that’s less black and white and makes more practical sense? This song explores that in a very honest way. The blend of vocals from the featured artists, in addition to Ty’s vocals that drive the whole piece backed with an intimate funk band sound bring the message home with spiritual fervor. Love is bigger and wider than we think it is.

[barryorchestra]

barryorchestra presents Top 50 of 2019 - #12

#12 - Hozier - Movement

Hozier dropped one of the best singer-songwriter, folk rock albums of the 2010s with his self titled debut in 2014. “Take Me To Church” was his initial claim to fame, as the song discussed love within the metaphor of religion. This song also doubles as a critique on God, religion, and the concept of sinful human nature. The contrast between the thought provoking lyricism matched with the organic, yet catchy sense of melody and song structure put Hozier on the map, and the consistency with which he delivered on his debut record gave him the ability to build a strong fan base that still rocks with him even though it took him 5 years to follow up with another record. “Wasteland, Baby!” probably needs more time to potentially grow on me...after the first 4 tracks I start to lose attention. However, the good tracks on here are more than enough to warrant me giving this album another shot.

Movement is a smoother turn of events than usual for Hozier, as the slow groove and subdued nature of the verse sections seem very reminiscent of quiet storm R&B before moving into an expressive chorus. One of the things I love about this song is the build. Rather than exploding on the first chorus, we get a slight elevation in energy before returning to the subdued nature of the second verse, another chorus that hits just a little bit harder, before retreating to a bridge that sets the song up for the climax. That resolution of release is so satisfying after over 2 minutes of tease. We’re also treated to a background choir of Hozier’s vocals weaving in and out of the instrumentation and anchoring the final chorus. The slow jam R&B vibes we got in the beginning of this song have given way to an emotional moment of clarity. Lyrically, the song describes desire and attraction and matches it with the passion and love he has for his lover. The idea of movement, coupled with the structural movement of this song take it over the top for me.

[barryorchestra]

barryorchestra presents Top 50 of 2019 - #18

#18 - 21 Savage - A Lot (ft. J. Cole)

I know I’m getting old now, cause the ignorant rappers are starting to get lyrical. 21 Savage’s calling card has been delivering the most icy, gangster, or ridiculous lines with a deadpan unenthusiastic flow. This plays off like extreme sarcasm, but the catch is 21 really did grow up in the streets, and it affected his life in many ways. What makes this song special is that it takes what you would expect from a rapper like this, and throws it all out the window, giving him the chance to rise to the occasion. And surprisingly, he does. 21 Savage tells his story, and talks about what it was like to just survive in the hood, how his brother going to jail changed him as a young man, and how he made it out through rapping. All of this sounds textbook, but he sounds uncharacteristically engaging. The simple call and response hook marries itself to the beat instantly, and just like that...a classic was born.

Also, can we talk about this production? We’ve got an old school soul sample of The Fuzz’s “I Love You For All Seasons”, laced around this bass heavy, slow drag, Houston chopped-and-screwed banger of a beat...and damn, does it knock...even without sub woofers, if I drop this record in my Honda, I feel like the man still!

Does J. Cole kill his verse? Of course he does. J. Cole takes this song over the edge, as he directly calls out the fake tricks that artists in the music industry pull for relevance in the game, and also that he recognizes that he devoted himself for years to being all about the music, but the average listener cares more about viral moments and drama, and that’s more likely to keep their attention. J. Cole just goes OFF on this verse, which began a new run of collaborations for him at the time. J. Cole has always been an artist that collabs with few and produces everything himself, so it’s been nice to see him listen to the people, and really prove himself (also see his excellent song “MIDDLE CHILD”, where he takes this same substance-filled banger formula, and handles it on his own). All in all, this was one of my favorite joints of 2019, and even after hearing it at least hundreds of times, it still hasn’t gotten old yet. It IS possible to have fun rap songs that you can bop to that aren’t about a bunch of foolery. More of these in 2020, please!

[barryorchestra]

barryorchestra presents Top 50 of 2019 - #10

#10 - Halsey - Without Me

This song grew on me. I know it’s been out for a while, but the emotion of it hits different when you can relate to it on a personal level. Halsey went through a very public pairing (complete with a hit song to document them coming out as a couple and everything) and breakup with a certain rapper, ultimately pushing her into a more personal songwriting space. Halsey has been known for her alternative pop concept albums that have tight contextual narratives (even many of her hit songs previously have only been part of a larger story within her albums). After what she went through, she decided to write a straightforward album about her emotions, and this song was the cornerstone of the entire record. It also happens to be a killer pop song, despite Halsey’s previous animosity with the label of a pop artist (she considers her music to be alternative), she appears to have finally embraced it...as she should, because she’s great at it.

“Without Me” describes what it feels like to be taken advantage of in a relationship that you have committed yourself to. The other person moves on and you’re left to deal with your feelings alone, knowing you’ve given your all. Halsey lays it all on the table on this track. Her voice cuts through the spacious, yet minimalist production like a knife. There’s a groove, but it doesn’t overtake the track. This feels like the closest thing we’ll get to an R&B song from Halsey, and I’m here for it (the bridge even interpolates one of Justin Timberlake’s early 2000s hits).

I can relate to this song now much more than I could when I first heard it. At first it was just a song. Now, it’s a lived experience.

Sidebar: The Grammys definitely missed the ball in not nominating this for anything. Not only was it a smash, but it’s got merit...

[barryorchestra]

barryorchestra presents Top 50 of 2019 - #17

#17 - HAIM - Summer Girl

I tend to prefer female singers in general, so a female fronted rock band would’ve been up my alley even if they didn’t sound as good as HAIM. HAIM has the tight harmonic stylings of a country trio, but their sound is often brighter and smoother than the average rock band. They’re all sisters, and they play all their instruments and produce their own music. They have consistently made feel good music, and “Summer Girl” is no exception. Interpolating Lou Reed’s “Walk On The Wild Side”, this song captures the feel of what it means to be in love and the freedom that comes from it...especially in the summertime. Lead singer Danielle Haim, said this song was inspired by her boyfriend’s battle with cancer. While he was undergoing treatment, she wanted to write a song that captured what he meant to her in a way that was light-hearted and could bring joy to him during his struggle (he’s since recovered). I feel like the song achieves that. It’s a song I jammed all last summer, and it’s a song I’m happy to share with you all. If you need an easy going tune that brings a smile to your face...this is the one right here!

[barryorchestra]

barryorchestra presents Top 50 of 2019 - #24

#24 - Njomza - No One Is Spared

I was slightly confused on the meaning of this song for a significant amount of time. I thought this was about a bad breakup and the death of a relationship. As it turns out, the song is really about the death of a friend, specifically deceased rapper Mac Miller. Mac Miller discovered Njomza on YouTube and helped her get a record deal. Through him, she met Ariana Grande and ended up scoring writing credits on two of her biggest hits in 2019. At the end of the day, the jump start her career has gotten began with Mac Miller. So when he passed away from a drug overdose back in September 2018, I can only imagine how hard she took it.

It’s interesting how this song can easily embody both narratives of a lost love, and the death of a friend. Neither narrative is mutually exclusive. Losing someone even if they are still alive feels like a death. Perhaps for her, there was a little of both (after all you can’t have friendship without love). When’s it’s over, it’s over...and you just have to carry on regardless. The idea that “No One Is Spared” resonates with me very much. You can’t escape pain, suffering, and loss. That’s life. Life is also many other things, but humans have a tendency to run away from the negative and constantly chase the happy. Sometimes life just hits you and it fucking hurts. Bad. But everyone gets it, not just you or I. Everybody eats. No One Is Spared.

At the time when I heard this song, I had lost a friend (not by death), but the pain was the same. The song digs into those painful emotions of vulnerability and strength in the face of loss, with Njomza singing her heart throughout the minimalist track. There’s a slick bass line, a slow groove percussion wise, and some light synths here and there, but everything revolves around her voice. The passion gives way during the final minute of the song, where her vocals are layered over the chords of the song creating a dream-like atmosphere. It almost feels like while listening to it, I’m falling into an calm abyss somewhere. It’s hard to describe, but I have gotten lost in the closing minute of this track. It also calls to mind perhaps the backing music for a funeral procession. This is the moment of near silence where you let go of that pain and accept that you can never get that person back.

This is an emotional track, and it’s not unlike much of her other released work. If this speaks to you, I definitely recommend that you check out her “Sad For You” and “Vacation” EPs. If you’re into moody R&B, she’s got you covered.

[barryorchestra]

barryorchestra presents Top 50 of 2019 - #34

#34 - Lana Del Rey - Doin’ Time

What more can I say about Lana Del Rey that I haven’t already said in the past? Lana is easily one of the top 5 artists/vocalists of the past decade, and her progression from album to album has never slowed down or faltered. She’s always been a great songwriter. She’s incorporated sounds from the present and past in an interesting way. She’s created characters and narratives in her albums. She’s paid attention to what’s going on politically and socially and has written songs about that. I’m not even going to mention her extensive catalog of unreleased material that I still love to this day (well, OK I just mentioned it, but anyway). Her records during the earlier part of this decade got me through some rough times, and upon revisiting them again recently, they still hold up.

Over the last two album cycles, her albums have gotten brighter and happier in perspective, as well as self aware. “Lust For Life” was the album where she almost went pop (but not really), and collaborated with other artists for the first time. It was the album I had been waiting for from her for a long time. 

With “Norman Fucking Rockwell”, I wasn’t sure what to expect, but when I listened I marveled at 2 things. 

1: How much better she sounds vocally right now than she has in her entire career (although she has always been a good singer).

2. The quality songwriting. If ya’ll know me, ya’ll should know I have to be in the mood for a ballad or a slow song. I need the hits! I need the tracks that slap me upside my head! Lana chose to sing primarily ballads and folk rock tunes on this album, but it’s composed so well there aren’t any skips on this record. I also think we’re getting a true glimpse at who Lana is on this record, without the drama and much less enigma. This is up for Album and Song Of The Year at the Grammys, and it’s about damn time.

With all that being said, I had to pick the one song that wasn’t a ballad. “Doin Time” is originally a song by rock band Sublime that samples “Summertime” by George Gershwin (specifically the Herbie Mann version). It’s a song that gives shouts out to the Los Angeles area...specifically Long Beach, as well as incorporating hip hop elements in the production, and discussing a cheating girlfriend. Lana takes this song, makes it jazzier, makes the hip hop elements slightly more prominent, and layers her velvet vocals all over this song, while flipping the perspective to a female’s. It’s genius, and it sticks out in the middle of the album as a sort of olive branch to the fans that need a little something more than the slow jams from Lana, and believe me, I’m taking it. Everything from this album is a 10/10. Check it out for yourself.

[barryorchestra]

barryorchestra presents Top 50 of 2019 - #38

#38 - Lizzo - Juice

What’s the big deal about Lizzo? Why is she so popular all of the sudden? Why does she have so many Grammy nominations? Why is she dominating in the music scene across the board? The answer is simple. She’s got it. She’s got the strength and the power of an old soul singer. She’s got the flows and the charisma to spit raps right on par with legends like Missy Elliott. She’s a classically trained flute player. She’s a dark skinned, plus size woman who’s personality is larger than life, and she’s preaching acceptance and self love...and doing it her way. She’s just too good to overlook anymore. She’s been making music for years and grinding as an underground artist, and all that work is paying off this year in a big way. Her witty lyrics and her infectious presence take over every song she puts her vocals on. “Juice” was my personal favorite on the record, as it juxtaposes 70s disco and dance music with hip-hop and funk in a way that feels timeless and energetic. “Cuz I Love You” is easily the best pop album of the year...but it doesn’t feel like pop. It feels like going out with your friends and laughing and dancing until you collapse. Being able to capture that feeling in a musical form is a real talent, and also happens to be Lizzo’s calling card.

[barryorchestra]

barryorchestra presents Top 50 of 2019 - #11

#11 - Aquilo - Human

Technically, I’m cheating with this one. I’ll own up to it. Sure, I give myself a 2 year window backwards. This album came out in January of 2017 (which is already stretching it), but the song itself was released as part of an EP back in December of 2015. But you know what...I’ll take my own loophole and make it work for ya’ll, because every single last one of you needs to hear this song.

Aquilo is a England based duo that makes ambient, dream pop. Their songs range from heartbreak, to inspirational, as well as reflective. Their style is perfect for the late night drive home, or a lucid moment of revelation, and it certainly has accompanied many of those moments for me. Songs like “You There”, and “I Gave It All” have spoken to me, but “Human” is on another level.

“Human” is an encouraging message to a friend that in spite of the pain they are experiencing, things are going to get better. It may feel like you can’t continue to go on, but you can. One day you will be whole again, and your dignity as a human being will be restored. The lyrics are simple, and the tone of the song is somber, yet hopeful. There’s a live version of this with a choir that takes the ethereal nature of this song to an even higher level.

I know what’s like to be broken down. It doesn’t matter whether or not we believe it then, in those moments, we need to hear that it’s going to be OK. If you don’t have anyone to say those words to you, this song can stand in the gap. There’s a healing quality to this song, not just in the lyrics, but in the way the song builds and contrasts from beginning to end. This might be one of my favorite songs I’ve heard in my lifetime.

Also: If you need a version of this that slaps, Marian Hill has an excellent remix that’ll get you going.

[barryorchestra]

barryorchestra presents Top 50 of 2019 - #19

#19 - Billie Eilish - bury a friend

I’m not a big fan of hype. I distrust marketing, and I hate it when music and artists are shoved down my throat. If everyone likes it, and it’s getting a million spins around the clock, I’m less likely to enjoy it. However, if I do enjoy it, it doesn’t matter if they’re the biggest artist on the planet, the most critically acclaimed, or the most critically panned, and with a much smaller or even non existent fan-base. I’m the best kind of music fan, because I will follow an artist through until they stop releasing work completely if I ever fell in love with their art at any point in time. With that being said, I’m not going to talk about all the smart ways that Billie and her team have managed to subvert the pop music and social media climate and engineer the biggest debut of a new pop star since...I dunno...Lady Gaga? While Billie is hardly comparable to Gaga (she’s a completely different kind of pop star), she does have the goods to back up the hype at her core...it just might not be what you are looking for.

When I heard Billie’s “Don’t Smile At Me” EP, (she was 15 when this dropped) I’m not going to lie...I wasn’t impressed. She sounded like a copycat of Melanie Martinez, with a good mix of Lana del Rey and Lorde for good measure...but especially Martinez. She had some songs I enjoyed, and she had a bit of a darker edge to her stylistically than her peers, but I forgot about her after the EP dropped. Fast forward to 2019, and she arrives with her debut album, “When We All Fall Asleep, Where Do We Go”. The album maximizes in minimalism. There are few big moments on this album, and her vocal performances are soft and understated, even more so than on her first EP. There’s experiments in production, mixing, sound design, song structure, that stand alone on this album. As much as this album embodies current sounds, it takes them and makes them unique for Billie. I could give a well thought out review to this album, but I don’t have time for that, and we’re really to talk about “bury a friend”. What I will say about the album as a whole is that as deserving as it is of all the critical praise and award nominations (I see no reason why she’s not going to clean up at the Grammys this upcoming weekend), I wish she was giving more when it comes to her vocal performances. I really want to hear her sing.

“Bury a Friend” is a song completely shrouded in metaphor. Billie has described the song as the personification of one’s fears a la ‘the monster under your bed’, but I don’t buy this as the only metaphor for the song anymore than “All The Good Girls Go To Hell” is supposed to ONLY be about climate change (particularly with all the subversive religious references). Often when Billie and her brother Finneas write songs, they take on multiple perspectives. So what is Billie getting at with this song?

Our fears become who we are. We take them on for different reasons, and we have strange relationships with them. We become the the very things we are afraid of and run away from. What if the monster under your bed is you? What if you are your own worst enemy? What if no one can hurt you more than the pain you can cause yourself?

I don’t know if I’ve ever heard a song grab with these uncomfortable truths in such an thoughtful and abstract way. It’s also a bit alarming and uncomfortable (the pre-chorus is simply “I wanna end me”) sonically and lyrically. Upon first listen I wasn’t even sure what the hell I was listening to. The music video takes the whole “monster under your bed” theme to horror level personification. There’s all sorts of noises within this track: screams, the whizzes of dental drills, knives being sharpened...it’s almost like the sounds in the production mirror common fears...perhaps even Billie’s. This doesn’t sound like any genre...not because it’s so bland that everything washes together, but because it’s so distinct that there’s very little you can put this next to where it won’t stand out. That seems to be proving true for Billie as an artist as well, and that’s why she’s thriving in a sea of boring pop artists that can’t seem to stick the landing anymore. The kids want to hear something different, and Billie is not only ready to deliver that, but she’s also one of them. I can’t think of a better recipe for world domination.

[barryorchestra]

barryorchestra presents Top 50 of 2019 - #45

#45 - Lucky Daye - Roll Some Mo

There’s something timeless about classic R&B. I don’t know if it’s the chords, or the bass, or the emotive vocals...but the combination brings a warm feeling  Lucky Daye taps into the feel of a Marvin Gaye or A Stevie Wonder record, complete with a string section, tight percussion, and some sweet guitar licks to back it up. I’m not going to lie, I don’t have much to say about this one. This is a vibe. This is a mood. This is what you put on with your lover to set the mood. This is windows down with the wind in your hair, and your arm in their lap. Some songs you don’t overthink or analyze. You just feel. Stop reading this and press play.

[barryorchestra]

barryorchestra presents Top 50 of 2019 - #21

#21 - Nas - Al Jarreau Of Rap (ft. Al Jarreau & Keyon Harrold)

Nas is my favorite rapper, poet, lyricist of all time. I love the way he delivers his rhymes...always smooth and clear no matter how fast or measured he’s rapping. I love the way he takes things he’s learned about history, business, life, culture, religion, etc. and translates those things into his lyrics. Occupying the position of being a conscious rapper who is from the streets, he’s seen it all, and connect the dots more so than those who never lived the street life and never had to struggle from the bottom. Nas may not have the biggest smash hits, but when it comes to hip hop, he’s a legend.

On “Al Jarreau of Rap”, an homage to the legendary soul and jazz singer Al Jarreau featuring prominent samples of his Dave Brubeck cover “Rondo a la Turk”, Nas flexes with some slight braggadocio, but also reflects on his position in hip hop and music culture after almost 3 decades in the game. As this is a very unorthodox track to rap on, Nas matches the flow of Al Jarreau’s vocalizations, keeping up with the cadence effortlessly as the beat progresses. Throughout, but especially towards the back end of the track, we get treated to some excellent trumpet playing from Keyon Harrold, who brings the track’s strong jazz influences to a full blown celebration.

I’ve never heard a rap record like this, and it speaks the artist that Nas is that after all this time, he’s still trying new things and experimenting with new sounds. There’s some storytelling, and great socially conscious tracks on his last record, but this one stands out as a unique piece of work unmatched by anyone else in hip hop in my opinion.

[barryorchestra]

barryorchestra presents Top 50 of 2019 - #49

#49 - Noah Gundersen - Lover

I was put onto this album by a dear friend of mine who insisted I’d like the production...and I did. I haven’t dove deep into his catalog yet, but from what I know of his early work, he was more of an acoustic artist who thought deeply about life and poured that into his songs. Fast forward to the “Lover” album, and all of that core stuff still translates over to it, but the sonics are experimental in a way his early albums didn’t even touch. There are all sorts of sound effects, big drums, larger than life snares and claps, as well as some well placed autotune here and there. I say all that to say...this is a very modern take on the singer-songwriter album...without Noah having sacrificed his integrity or sold out to go pop on this record.

“Lover” is about that place that sits right in between the walls you build up to protect your heart and complete vulnerability. Listen to the way he sings the verses. It sounds like a whisper in the middle of a good cry. Despite the fact that much of the song he exclaims that he doesn’t need a lover, or a father, or anyone...you can hear him break back down at the end of the chorus again when he exclaims “I’ll try not to let you down.” 

How do you learn to love when you’ve spent your entire life protecting yourself from heartbreak? How can you love when you refuse to let anyone in? And what do you do when somebody finally gets behind those walls that you’ve built for so long?

That’s what this song is about.

[barryorchestra]

barryorchestra presents Top 50 of 2019 - #32

#32 - HONNE - I Might

HONNE is an band from England that doesn’t really have a genre. It’s sort of pop, it’s sort of EDM, it’s sort of R&B...you mix all of these different flavors up and you get HONNE. While I don’t think the lead singer is the greatest vocalist ever, he knows what to do with what he’s got, and once you combine it with the tasteful production...the results are pretty dope. I struggled for a long time between whether or not to pick “Me & You” or “I Might” for this list. “Me & You” has this sweet retro funk groove that doesn’t quit. It’s a glorious feel good tune, but I chose “I Might” because it stands out even more. What starts out as a jazzy piano solo, turns into an EDM/R&B trap beat, and devolves into an offbeat organ-styled synth solo (I don’t think it’s a real organ, but it feels like it) before slowing back down into piano. All of this while lead singer Andy muses on the idea of faking his death in order to be with the one he loves. It’s a blissful fantasy of pulling away from the obstacles of the real world and starting over with someone. The idea that you just might love this person enough to completely throw your life away and reset isn’t a practical idea, but I’ll be damned if this track doesn’t make it sound like the best decision ever!

[barryorchestra]

barryorchestra presents Top 50 of 2019 - #39

#39 - Ava Max - Sweet But Psycho

So let’s talk about pop music. I love it.

No, seriously. That’s it. I know there’s a lot of people that don’t like pop music, or feel better about their taste by hating on it, and that’s just not me. I love pop music as a genre. I love big choruses, catchy melodies, songs about love, rushes of emotion, songs about having fun...all the cliches. I love it. Now I don’t just swallow everything that comes down the top 40 industry pipeline. I know what I like and I know what I don’t like. 

Ava Max is a fairly new face on the scene, who has about 6 or 7 singles to her name right now, and that’s about it. Most of her music sticks to a similar pure pop formula from the early 2010s, which I love, and she’s even flirted very slightly with R&B (albeit the most pop version of R&B, but still). What I like about this song is that it reminds me of what pop sounded like 10 years ago (which goes to show you how quickly the sound of music changes). I miss the days of Katy Perry, Lady Gaga, Dr. Luke, Max Martin-produced bangers that were silly, sugary, and mostly harmless. In recent years, generic trap rap tends to dominate the charts, and the rest of pop tries to suck as much life out of hip hop as possible to stay relevant. Sometimes I want a song that I can blast at maximum volume that’s fun and catchy (with only moderate levels of cringe). With that being said, I think Ava Max sounds good. The lyrics aren’t very deep. We’ve definitely heard the “I’m crazy, but I’m also sweet at the same time” shtick before. But the hook is catchy as hell, and I always have fun whenever this comes on, which is more than I can say for a lot of the music that’s supposed to be technically better than this.

Again, YOU don’t have to like pop music. But I do, and this slaps.

Sidebar: I don’t think this song mocks mental illness at all. I think women are often told they are crazy or insane when they ‘feel too much’, or ‘overreact’, and this song takes that character and plays it up ironically.