#i love this trend i’m glad it’s making a lil comeback!!!!

[obtusemedia]

Top 25 songs of 2020: Honorable mentions

2020 was not a good year in many respects. But despite the world collapsing around us, there was a shocking amount of great new music.

Some of 2020′s best songs were a good fit for this terrifying year — we’ll get to those ones much, much later in the countdown. But 2020 also gave us gorgeous folk ballads, euphoric dance music and infectiously fun pop and hip-hop that had nothing to do with COVID-19 or any other awful aspects of the year.

Before we get to the proper list, here are 15 nearly-as-good songs that juuuust missed the cut, listed in alphabetical order by the artist’s name.

“Shimmy” by Aminé

Oregon’s most prominent rapper — okay, fine, Oregon’s only prominent rapper — came out of the gates blazing this year with “Shimmy.” 

Aminé may have heavily sampled Ol’ Dirty Bastard’s classic “Shimmy Shimmy Ya” on his second album’s leadoff single, but he replaces ODB’s chaotic vibes with a cold, snarling precision. He almost evokes Pusha T in his gleeful takedown of his rivals over the ice-cold beat. Pair this banger with one of the year’s best music videos, and there’s no doubt it would sneak onto this list.

“Dakiti” by Bad Bunny and Jhay Cortez

I am all about this nocturnal, new wave-y style of reggaeton. The melody is catchy as hell, yet the production has a sinister, chilly vibe that wouldn’t sound out of place on an Italians Do It Better complication. 

Megastar Bad Bunny’s husky vocals and Jhay Cortez’s more nasally voice make for a fun contrast as they trade verses. It’s a winning and charismatic combination!

“Boomer” by Bartees Strange

When you hear the phrase “rap-rock,” you’re likely shuddering at the thought of Limp Bizkit. But that style can work, as promising new artist Bartees Strange — stage name of D.C. alt-rocker Bartees Leon Cox — proves on “Boomer.”

Cox spices up a solid mall-punk banger with some rap verses. And unlike the Fred Dursts of the world, he can actually, you know, rap. 

But it’s the song’s explosive chorus, where Cox unleashes his howling vocals over charging guitars, where “Boomer” goes from an interesting song to a great one. If there’s any justice, he’ll be rising up the indie ranks very soon.

“Kyoto” by Phoebe Bridgers

I think I might be the only music nerd who didn’t adore Phoebe Bridgers’ new album, Punisher. For me, her mix of hushed, mostly-sincere singer-songwriter ballads with snarky lyrics just came off as tonally awkward. Her quips about Scientology and outlet malls in otherwise-sad ballads left a sour note for me.

But Bridgers’ unique songwriting style shines most on the few uptempo songs on Punisher, particularly “Kyoto.” Her goofy non sequiturs fit much better in a driving, anthemic song. And I’m immediately primed to enjoy any tune with a strong resemblance to Sufjan Stevens’ “Chicago.”

“Dynamite” by BTS

I’m not sure what it says about me that I didn’t learn to love BTS, the insanely-beloved South Korean boy band, until they finally recorded a song in English. 

It’s not that I dislike their earlier, Korean-language stuff — “Boy With Luv” in particular is a banger. And BTS’ English-language lyrics on “Dynamite” don’t really have any meaning (they’re basically just a bunch of random catchphrases jammed together ... but they do sound good).

But there’s something immediate and pristine about “Dynamite” that makes it impossible to not adore. It’s a little too cleanly produced to be on the level of the Bruno Mars hits BTS were clearly aping, but the sense of fun is infectious. At the very least, it’s on equal footing with Taio Cruz’s classic of the same name.

“Comeback” by Carly Rae Jepsen feat. Bleachers

Carly Rae Jepsen can knock out wistful synthpop nuggets like this in her sleep. So can Jack Antonoff, who produced the track and provides some backing vocals. 

But just because this isn’t anything new for the duo doesn’t mean the winning formula’s gone stale. “Comeback” is a worthy addition to both of their catalogues.

“Hollywood” by Car Seat Headrest

I can’t, in good conscience, put this song in the top 25. It’s an intentionally abrasive misfire from the Seattle indie rockers, who’ve done much better. Complaining about the vapidness and sleaziness of Hollywood is an overplayed topic, and letting side members of the band rap some of the verses (in goofy voices, no less) was maybe not the best call.

...but at the same time, there’s something to this objectively bad song that I keep returning to. Maybe it’s the embarrassing bluntness of the lyrics. Maybe it’s the forceful guitar riff. Maybe it’s because the aggro, visceral nature of “Hollywood” makes it a perfect workout song. Maybe it’s the goodwill left over from Car Seat Headrest’s last two albums, which were both stone-cold indie rock classics. I’m not sure! 

But even though I know it’s not a good enough song to make the proper list, I can’t lie to myself and leave it out of the honorable mentions. It’s a banger in spite of itself.

“24 Hours” by Georgia

"24 Hours” is the best possible version of a left-of-center synthpop club banger. 

What makes it great — the pulsating energy, Georgia’s yearning vocals, the “whoo!” vocal samples — are obvious on immediate listen. But perhaps what makes “24 Hours” worthy of this list is its replay factor. It came out in January, and it still sounds great 11 months later.

“1985″ by Freddie Gibbs and The Alchemist (song starts at 1:35)

We already knew — thanks to his two collaborative albums with Madlib — that Freddie Gibbs’ gruff flow sounds incredible over dusty samples. So why not team up with another producer who does something similar?

“1985″ is a prime example of knowing one’s strengths. The Alchemist’s production is stunningly gorgeous in his typical style, with a soaring guitar solo and a shuffling, dreamy beat. Gibbs pounces on it with the same ferocious street-life verses he’s been spitting for years. I’m glad to see Gibbs has figured out exactly which production sounds best for him to make Tiger King jokes and tell coke-dealing stories.

“Say Something” by Kylie Minogue

Aussie icon Kylie Minogue has been at it for 33 years at this point, reminding us every decade or so exactly why she’s stuck around.

“Say Something” is one of those reminder tracks — a burbling, irresistible, futuristic-yet-retro disco banger. The production is stellar, from the clanging guitar riff to the bouncy synth bass, and Minogue has a winking confidence on the track like she’s been doing this for decades (which, of course, she has). It’s exactly what you want out of a bubblegum pop jam.

“Right Round The Clock” by Sorry

With their very-British boy-girl dueling vocals, new London indie rock outfit Sorry definitely have more of a whiff of The xx. But instead of hyper-minimalist, whispered tunes, “Right Round The Clock” has a thundering, droll swagger that grabs you by the throat when the chorus comes slamming in.

The thumping, piano-based sound of “Clock” has a bit of a jazzy flair, thanks to the flecks of sax that pop in here and there. And Sorry interpolates Tears For Fears’ classic “Mad World” in a gloriously tongue-in-cheek way on the chorus (at the very least, it’s far superior to that awful gloom-and-doom Donnie Darko cover).

“Brooklyn Bridge To Chorus” by The Strokes

In a year FILLED with improbable comebacks from ‘00s and ‘90s artists (we’ll get some of to them in the top 25!), The Strokes may have been the least likely. The early ‘00s indie rock standard-bearers had been in sharp decline for nearly 15 years before their new album, The New Abnormal, dropped and the group returned to form.

“Brooklyn Bridge To Chorus” is a prime example of The Strokes’ invigorating comeback. It’s a killer new-wave jam that could’ve been been written by The Cars, with its jittery keyboards and impossibly catchy chorus. And of course, The Strokes’ most valuable asset — lead singer Julian Casablancas’ impossibly cool vocals — is here in full force. 

It’s not quite Is This It, but “Brooklyn Bridge To Chorus” is still The Strokes’ best song in 14 years.

“Spotlight” by Jessie Ware

After a career making increasingly dull ballads, “Spotlight,” and Ware’s new What’s Your Pleasure? album, is a refreshing change of pace into sleek dance-pop. 

I don’t know if “classy” has ever been used to describe disco, but that’s the best way to describe “Spotlight.” It’s undoubtably a dancefloor filler, with a funky groove and ‘70s string stabs, but there’s also a stateliness to it. It could fit equally well at Studio 54 as it would at a black-tie affair. I credit Ware with that, using her breathy vocals and charisma to strong effect here.

“Lilacs” by Waxahatchee

Any time you can write a song that sounds like an outtake from Tom Petty’s Wildflowers, I’m on board. 

That’s a bit of a reductive way to describe “Lilacs” — Katie Crutchfield’s vocals are much more fiery, for starters. But there’s something nostalgic and welcoming about this southern-fried folk-rock song with oblique lyrics and catchy hooks for days.

“Mood” by 24kGoldn feat. iann dior

Much of this new wave of emo-influenced rap isn’t really my thing. Maybe I’ve grown out of super-angsty and blunt songs about depression? Although I still love Smashing Pumpkins, so maybe that’s not the case. I can’t really answer why I don’t adore Juice WRLD or Lil Peep like so many others seem to.

But “Mood” — an unabashed sell-out, watered-down version of that sound – immediately clicked for me. I know 24kGoldn is trend-riding here, and that this is essentially a wildly shallow pop song. BUT! It’s a really catchy wildly shallow pop song! With bouncy pop-punk production that sounds like trap-ified Blink-182! (okay, it’s much better than that sounds, but you get the point)

I allow myself a guilty pleasure or two on my lists. “Mood” is one of those guilty pleasures this year. As the kids (presumably still?) say, it’s a vibe.

[betterthinkaboutittwice]

Andrew’s Top 10 Kpop Title Tracks of 2018

Hello again, it’s me. Yes, I’m still trying to make this a thing. Nobody cared in 2015, then my 2016 list got a decent amount of notes, then that dropped off by a lot for my 2017 list, so we’ll see what happens this time. I hope there’s even a couple folks out there that enjoy reading this, but even if there’s not, I still enjoy putting it together and writing it, so here we are. Quick refresher on how this works, I limit myself to title tracks (and/or songs that have a MV and were promoted), link their MVs, and then give a quick write-up of why I picked them, all listed in descending order from 10 to 1. I’ve changed the name from “Top 10 Songs” to “Top 10 Title Tracks” because I’m thinking of doing a separate list for b-sides or non-Korean releases. On that note, let’s get it; list under the break~

10. KHAN - I’m Your Girl?

The tenth spot on my list is always a dogfight, and my honorable mentions list is always long. This year, the debut song for KHAN (composed of former The Ark members Jeon Minju and Euna Kim) won the fight, and I’m not gonna lie, a solid part of why is based in the gay undertones of this song and MV (and honestly, they’re really not undertones, the lyrics are pretty frank about it). Honestly, though, I just really adore the chemistry Euna and Minju have always had together, and I’m so happy they’re back making music together. I’m Your Girl isn’t the fanciest song out there, but it is a bop and a half and will definitely be one of the songs I think of in future when I remember 2018.

9. gugudan - Not That Type

At spot nine, there was another fight, but it was between songs by the same group. The loser of that song will appear in my honorable mentions later. As for the winner, Not That Type was something I’d been hoping gugudan would do ever since they debuted. Their Produce 101 trio (Sejeong, Mina, Nayoung) have always had a certain sass and badassery about them, and even in previous comebacks you could see the other members had it in them, too. This is the song they needed to let it out, and boy did they. This track and MV had an attitude we don’t see much as of late, and the song managed to have that attitude without seeming try-hard or having an overplayed sound. One particular thing it did that I really liked was how it never entered the chorus the same way or on the same beat, keeping the listener on their toes. All in all, a breakout song for gugudan that had to make my list.

8. IZ*ONE - La Vie en Rose

This song, at number eight on my list, took some growing on me. When it came out, I never pictured it being on my Top 10 of the year. In fact, I didn’t even think I’d listen to it much at all. However, there’s just something about it, something about the chorus, that made it unforgettable to me. It worked its way into my brain and wouldn’t leave. Still to this day it won’t leave. It’s quickly become one of my most-played songs of the year. I followed Produce 48 all the way through, and while I wasn’t entirely satisfied with the final lineup, I must say they’ve really grown on me. Whoever produced this song did a brilliant job, because each member has a part that fits them like a glove, and no one really feels either over or under-exposed (though I could certainly ask for a couple more lines for Nako). Just a very solid song from a dynamic group that deserved to make my list.

7. Sunmi - Siren

Dropping in at spot number seven for the second year in a row is everyone’s favorite lesbian and best follow on twitter, Sunmi. Does she release anything other than bops? I think not. She revealed recently that this song was actually originally a Wonder Girls production, and released a quick snippet of the original recording from WG as a band in 2016. While I most definitely wish we could’ve heard the full group’s take on Siren, I’m glad Sunmi revisited the track and made it her own, ‘cause it’s really a stroke of catchy genius. Get away outta my face! More like get away outta my head. I just could not justify keeping this song off my list, not with how often I find myself subconsciously singing or whistling it.

6. WJSN - Save Me, Save You

Another artist that released multiple jams this year, WJSN comes in at number six. While I loved Dreams Come True, there was just something very special about Save Me, Save You. It felt like they finally nailed their sound again. The last time they truly hit it on the head was with Secret, and it feels like they’ve been trying to get back there ever since. Well, they did it here. This track has exactly that dreamlike quality to it, that beautiful cosmic sound that their name would lead you to expect. Add in nearly properly balanced line distribution (except for Dawon, #JusticeForDawon), and a particularly interesting choreography, and you’ve got a recipe for one of the best songs of the year. With their next comeback on the horizon, I’m hoping they can continue the trend.

5. (G)I-DLE - Hann

IDLE really leapt onto the scene in 2018 with their debut, but it’s their followup effort that makes my list at spot number five. The main thing I can say about IDLE is that, as rookies, they have no business being this good. They’re all incredibly talented, their stage presence is off the charts, and both of their title tracks thus far are certified bops. Rookies don’t do that! Yet, here they are. The chorus of Hann is simply unforgettable, both musically and visually. Vocals, raps, visuals, choreo, this song has everything you could ever want and it has them in spades, which is why it leads off the top half of this list.

4. GFriend - Time for the Moon Night

It wouldn’t be a kpop Top 10 without GFriend on it, and here they are at number four. If you’ll recall, I was probably the world’s biggest fan of their first “different” release, Fingertip, naming it my Song of the Year in 2017. TFTMN arrived as their second effort at a more mature concept, and I think they really killed it here. Not only is this track a more mature GFriend, but it is also still very distinctly GFriend. For their entire career, these girls have had a sound all their own, and TFTMN proved unequivocally that they can maintain their signature sound while striding into new conceptual territories, and for that alone it would make my Top 10 of 2018. It certainly isn’t hurt by the fact that the chorus is incredibly memorable, the melancholy-yet-upbeat tone is right up my alley, and the choreo is dope as hell.

3. fromis_9 - Love Bomb

The song that made me fall all the way in love with what is now essentially my second bias group comes in at number three. Honestly, I was actually expecting this to be my Song of the Year for 2018, but a couple other songs reminded me who’s boss. That’s to say nothing against Love Bomb, of course. I mean, imagine a single song making you fall head-over-heels in love with a group whose names you didn’t even know! Going into this release, I legitimately only knew Gyuri (from Produce 48) and Jiwon (way back from SIXTEEN). Now, a couple months later, I know them all better than I ever thought I would. As for the song, this is honestly one of the happiest songs that came out this year. By that I mean that it never fails to put me in a good mood. There’s just something truly special about this song. Moreso even than the song, it’s the girls’ singing; they have a way about them, where they always seem to put feeling into how they deliver lines. I can feel this song, and it wouldn’t change that even if there were no instrumental included; their singing is so incredibly emotional, it’s just special.

2. Chungha - Roller Coaster

The earliest release to make it on my list this year, coming in at number two is one of the bops of a great month of January, Roller Coaster by Chungha. I’ll be honest, this song really had a good argument for being #1 on the list. If producers went into the studio and said “we need to make the perfect song for Andrew,” this is what would’ve come from it. It’s funny, actually, because if you go back to when this was first released, I was lukewarm on it, but now it’s one of my most-listened to songs. The song has nearly every musical element that I love; it’s got that retro sound, those good synths, a gorgeous voice, upbeat, catchy, great choreo. I couldn’t ask for any more, other than to have her do more songs in this style because she absolutely kills it.

1. Red Velvet - Bad Boy

January was truly a great month for kpop songs, and Red Velvet’s Bad Boy has stood the test of time, making it all the way from January to year-end to claim the title of my Song of the Year for 2018. As I said when Bad Boy dropped, “Well fuck. Good luck, literally everyone else. I don’t see this being passed up as my song of the year for 2018.” Here we now stand, and that holds true. I said that Roller Coaster is the perfect “me” song, and it is. Bad Boy, though, is the perfect “me” song for my other main love in kpop; laid-back R&B. Everyone always seems to love the Red side of their music more, but I’ve always been about the Velvet side, and Bad Boy really gave me the perfect Velvet song. It’s everything I ever wanted from Red Velvet, and I’m not sure they’ll ever pass it up for me.

We’re at the end! As always, if you’ve read to this point, I love you, I thank you, and bless you. I’m not a professional writer or music critic, but I love putting together this list every year, and even if only one person reads it and finds it truly interesting, then it was worthwhile. I’m very proud of this list and the work I put into it, and I just hope y’all enjoy it. I began this list on January 1st, but it is now the 2nd (this seems to be a theme for me with this). That said, I wish you all a happy new year, and here’s to another great year of kpop!

Honorable Mentions

MOMOLAND - Bboom Bboom, gugudan - The Boots, CLC - Black Dress, Jeon Soyeon - Idle Song, J-Hope - Daydream, NCT 127 - Touch, DAY6 - Shoot Me, TWICE - Dance the Night Away, SNSD-Oh!GG - Lil’ Touch, Oh My Girl - Remember Me, TWICE - Yes or Yes, Yubin - Thank U Soooo Much, MAMAMOO - Wind Flower

[dailyironwing]

Is it just me but I was sooo impressed by s2 iron fist. Im asian american, and i totally understood the criticism danny and iron fist faced, but i held out for the show cuz i just loved the characters so much. I think they really came back and killed it with every aspect of the show and responded to every complaint they faced in s1. Like first: the fight scenes were soooooooo fucking fantastic, like i can tell they went 9999999% harder for this season cuz last season's fight scenes were eh (1/?)

(2/?) and like second: the writing was soooooo good like I was continuously drawn in and it never felt dragged or slow (like last season) and the way they balanced the cute/funny casual scenes with the characters with the intense plot-heavy scenes I feel was executed so well. Third: the charcter developement that everyone had was. just. phenomneal. Imma start with colleen cus MY GIRL GOT THE ARC AND DEVELOPEMT SHE DESERVED. like i screamed when she got the fist cuz it was so unexpected but so..

(3/?) it was so unexpected but at the same time so perfect, that i ended up being like duh??? why wouldnt she get it?? which is impressive cuz i feel the defender's and marvel shows have a bit of trouble with being predictable, but with iron fist i was shocked and so satidified. With Danny, my precious golden boi, I was so happy too. The way they handled his character, the white washing, the white savior trope, and his obvious white billionaire priviledge was the biggest hhmmmm for me in S1 ...

(4/?) But the fact that they continuosly pointed out and commented on his privilege, and how they explored the idea that he shouldn't have the fist and and that he had to work to earn it, I felt was SOO important. I love danny, and his sunny kind of child like personlaity is what drew me in, and I hope with S2 ppl can really appreciate him as a complex character that you can leanr from. Like for me personally, i relate to him and his tendency to be emotional and how he handles it, for me it...

(5/?) ... was so comforting to watch and to relate to. PPl gotta stop witht the quick assumption and hate and learn to rlly appreciated stories and characters that dont fit to the perfect mold of what ppl want or think is correct. As for the other characters, I felt the same satisfaction. Davos, although scary and extremist, a part of me cared for him and understood him, and seeing sucha complex antagonist was so refreshing considering the other villains in marvel...

(6/?) also with ward and joy, seeing them part from one another and seeing who they are as individuals was so great to see. I love ward now and his character developlment is sooooo good. also his new relationship with danny makes me cry and evertime he called danny his brother my heart swelled. Also with mary walker, i was a little scared that she would feel out of place in the show, but the way they integrated her storyline I felt was rlly creative, and im rlly excited to see where they go...

(7/?) ... with her character in the future. Overall, the show just felt perfect, which was a releifi cuz personally for me the 2nd seasons for Daredevil, Jessica JOnes, and Luke Cage felt a lil dissappointing. Like I saw the trend with destroyed relationships among the defenders and hated it. Ik colleen and danny arent together for now, but the relationship was nt unneccassarly destroyed, and i still feeels like they'll be canon and that this is just for them to grow as indivifuals.(8/8) Im praying to god w get a s3 cuz th potential for iron fist just fucking tripled in my opinion. With the new first powers, character dynamics, and plot lines, Im sosososososo excited for wats to come. Im just begging that it doesnt get canceled cuz ppl be sleeping on season 2's fantastic comeback from was was admittedly and mediocre season 1.

Hello anon! What can we say, thank you for sharing your thoughts with us! We were very satisfied with this season too, possibly in ways we didn’t expect we would. Every character development was very on point and Colleen getting the fist managed to be both surprising and inevitable for reasons that weren’t just in-universe. It’s a brilliant move to give Danny the chance to start from scratch, find himself and earn his powers back knowing full well what it is about and how to use it. At the same time, Colleen gets to be the Asian IF so many people asked for and while I’m baffled at the idea that heroes have to be super-powered I certainly won’t complain if she of all people has a glowing fist of her own. It was very well thought out and I think it made a lot people very happy. I know some thought Danny was undermined in the process but I’ll disagree because it was, after all, his choice.

We agree, Danny is a sunshine puppy who deserves the best. We were never on board with the harsh criticism he’d been getting, but we were always aware that he needed to grow up and we trusted that the writers, whichever he got, would do him justice. And while I’ll concede that he’s privileged and there’s some undertones of white saviourism about him, I also thought he was sometimes unfairly attacked both on and off screen. It’s certainly more convenient to be born rich and powerful, and anyone can call him out on that if they will, but I don’t think anybody has mentioned enough how traumatized, abused and mistreated he has been for 15 years. He is a billionaire, but he’s also a 26-year-old who lost his parents at 10 and lived in terrible conditions ever since, and yet he manages to be kind, decent and hopeful. Harry Potter taught us that it’s ultimately our choices that define us, and I think Danny’s make up for his privilege pretty well. I acknowledge his flaws and faults, but I wish someone would also aknowledge the good in him.

Davos, then. I couldn’t wait for the show to be back to see what he had in mind: my guess is he did what many abused children do, repeating the pattern they themselves lived. There’s also a hint of fanatism to him that I find interesting, it feels very real and sometimes scarily so. Joy’s observations about him were very on point. I still hope he can be redeemed and he and Danny can be friends again, it was a beautiful relationship I wish I’d seen more of.

Ward is a fan fave with very good reason (I liked him with Misty a lot, with Bethany.... not so much) and Joy proved to be an asset for the show this year, I’m very happy with that! Her dynamics with both Mary and Walker were very interesting and I’m glad they’re not over (though Joy probabily isn’t). For the Meachums in particular, but for everyone, this seaso has been about finding purpose. Ward’s arc was possibly the most relatable, but really every character was out there trying to find themselves, which is very important for a show that targets, I assume, younger people than any other Marvel/Netflix does.

Last but not least, we too are optimistic about Ironwing! They did break up, but definitely not in a way that seems impossible to fix, and frankly that’s already more than we were expecting! It’s been a very strong, tight and entertaining season and we can’t wait for more.

[exos-prteam-blog]

How Kpopmeetblackwomen/kmusicblackwomen Got Popular

Omg so I always said I'd make a post regarding the history of that controversial tumblr and so today is the day! I was there when ole girl first made the tumblr and dipped when things got a little weird to me but I know why she got fans in the first place and how she's kept them. This is gonba be long so get Ready for some bulletpoints and tea!! (Cold old tea lmao)

* 2014-15 kpop tumblr was....rough...especially for black fans. Like kpop was as problematic as ever but people were coming for each other's throats for liking problematic idols, like people were acting like parents and police when it came to this. You reblogged a picture of Chanyeol??? You had atleast 2 people in your inbox wanting to know why you reblogged his picture. There were these headass "most unproblematic member in each group" lists going on lmao and there was this one person who said you were a "Baekhyun sympathizer" if you still liked the problematic lil fellow. Baekhyun has said some trashy shit HOWEVER making that parallel was doing the absolute fucking most, when someone says sympathizer you know you automatically think of Nazis. Oh! And there was also this trend of people subposting other people, telling them they don't love themselves and when they'd get called out on it, they'd backpeddle. Those people are just now admitting that the shade they threw was towards specific people.

* With that being said, the dominant black kpop tumblr was blackkpopfans and during that time it became less of a place where you could find out updates on comebacks and such and more so a place where people could list out their justified grievances towards antiblackness in kpop. The issue with that however was, it came to the point where people where beating dead horses and the environment there was very negative. Like it was multiple anons going on about how they hate gdragon or zico, which is fine, but it was 80% anons like that and 20% actual kpop content. And I think it got to the point where people were thinking like....well why are we even into kpop if it's gonna be like this???

* So that was the state of blackkpopfans and some reached out to the admins to say they didn't think the atmosphere was right and that it was really negative to which the admins replied it's not negative here, this is what our anons have to say. Which is where I side eyed the admins cuz they weren't being genuine nor truthful and they acted like the atmosphere was something they couldn't help which they most certainly could especially since they were the ones responsible for posting information about comebacks which for a while they hardly did and they often posted anons daily that literally said the same thing, like I'm telling you people were running over dead horses:old, old receipts. Also the black and teal or green color scheme was depressing and just made everything worse, it was so not appealing lmao but maybe that was just me. I personally think, if the tumblr was a black kpop fans anonymous tumblr, like the one we have now I believe, I'd cut the admins alot of slack but they called themselves a place where black fans could gather, get information on debuts and comebacks, and discuss a multitude of things good and bad, so that's why they get a side eye.

* So overall, things weren't "fun" over at blackkpopfans. It was actually getting boring too cuz like I said all the repetitiveness and lack of new information. And so guess who toostie rolls onto tumblr in 2015??? That's right, Kpopmeetblackwomen. And guess what, people FLOCKED to her why? Cuz it was like a breath of fresh air.

(THE IMPORTANT STUFF LMAO)

*Now in the very very beginning, Kpopmeetblackwomen wasn't "bad" persay. The admin, at the time, like I know she's a lil dust bunny now, but INITIALLY, admin came across as very very sweet. She was nice to all her visitors and when people asked her why she created the tumblr she said she just wanted another resource/outlet for blackkpopfans to have. She didn't think it was good that blackkpopfans was all there was especially considering what was going on over there. I think, in the beginning, she wanted black kpop fans to still have a place to enjoy themselves, cuz in the beginning she didn't bother blackkpopfans at all. So you know, everything was innocent and nice enough in the beginning. The theme was pink, white, and a lil bit of yellow? Nice and bright, the layout was attractive, things were tagged properly. People talked about how excited they were for certain groups comebacks. Comeback info for groups was actually posted. It was just a welcoming place. Along with discussions of new releases there were also fans submitting legitimate fanaccounts, and alot of them came with video or footage. And that aspect was fun too, it was nice seeing black fans interact with their favorite groups, especially at the time where I think alot of us were kinda scared due to the known antiblackness and the subsequent environment on tumblr. So people posted how they met so and so at the airport or restaurant and posted selfies and I swear no one was being cringe, we, the fans, were just enjoying thus exchange of information. Also, there people actually were still discussing the problematic behavior of some idols, some people said outright they didn't like a certain person and it was cool, so it felt like a good balance. Though there were one or two situations in the beginning that made me sideye a follower, I brushed it off cuz the comment seemed silly and extra at most..lmao if only I knew.

*So where did things go wrong? From my point of view...I'd say after like the first 6 months???? Maybe, but after a while the fanaccounts dried up, naturally so cuz groups don't come to the u.s or Europe that frequently anyways. But when the submission of legitimate fanaccounts dried up, the admin and some of her followers began to act a little weird. Not only that but she stopped talking about new kpop and I think that's when the atmosphere legitimately shifted for the worse. Yes were there some people I sideyed before it yeah but I can pinpoint exactly when that space went to a point of no return: when the fan submissions were few and far between and the discussions became less relevant to kpop and more so to how (insert kpop idol or group) just looooves him some chocolate. Yeah it got really messy really quick.

* So after that shift I kinda bounced cuz I just wasn't comfortable interacting with her or her tumblr when I saw what it became and I actually think a good bit of us left after a while. Lmao after I left tho, everytime I popped my head in to see what was going on, things just kept getting worse and soon the admin and her minions started attacking not only blackkpopfans admins but also girls who contacted her requesting their fanaccounts and/or pictures be removed due to the blatant fetishism going on. One prominent incident was when those two sisters, can't remember their names, but they were being harassed after they asked the admin to take down their video or pic of them meeting Zion T.

* I haven't checked on her at all really after those incidents that happened but I still see that she's still up to no good and she's as delusional as ever. Oh! Wait another thing she'd do is write fanfic fanaccounts but then not tell people it was fanfic so people were being tricked to believe those were actually fanaccounts until someone made her clarify. Whew chile. Now I see she's still busy with making bad photoshop edits.

* Overall I really hope she snaps out of it but I don't think I can truly forgive her for preying on the insecurities of young black girls and women who obviously were/are in need of validation. While I understand the desire to be desired, that's not the way to go and it ultimately ends up with hurt feelings and an even worse self esteem. I am glad black kpop tumblr is in a better place now where there's room and acceptance for laughter and lighthearted fangirling or what have you while also room to have tough discussions.

**side note- okay lil shade, not directed to any of my mutuals though, but lol some of yall who be dragging sis be knowing ALOT about what's going on over there lmao and I'm always wondering how you stay up to date on a person who's content you don't fuck with. Like I don't like ole girl and I hardly hear about her unless something really extra goes viral. Do you though, it's all love, I'm just teasing you lol**

[deadcactuswalking]

REVIEWING THE CHARTS: 24/04/2021 (AJ Tracey, Young Thug/Gunna/Drake)

On this week on the UK Singles Chart, we get a well-deserved break after last week’s chaos but we still have seven or so new arrivals – half of last week’s amount. Lil Nas X’s “MONTERO (Call Me by Your Name)” is unfazed by any of it as it spends a fourth week at #1, and welcome back to REVIEWING THE CHARTS.

Rundown

So last week was busy but a lot of what debuted and returned didn’t actually sustain so we have a plentiful amount of drop-outs and returning entries this week as well. For notable drop-outs – as in songs that had peaked in the top 40 or spent at least five weeks in the chart (specifically the UK Top 75, which I cover) – we have “Anyone” by Justin Bieber, Drake’s “What’s Next” after only six weeks, “What Other People Say” by Sam Fischer and Demi Lovato, Taylor Swift’s re-recorded version of “Love Story” and “Headshot” by Lil Tjay featuring Fivio Foreign and Polo G as well as the late DMX’s “X Gon’ Give it to Ya” off of the return last week.

We do have an oddly large amount of returning entries as a result of this because I guess there’s not enough new stuff to fill in the cracks, as “Watermelon Sugar” by Harry Styles is back at #75, “Heat” by Paul Woodford and Amber Mark at #69, “Anxious” by AJ Tracey at #68 off of the album boost, “Another Love” by Tom Odell at #67 and “Cover Me in Sunshine” by P!nk and Willow Sage Heart at #62.

Then we have songs actually on the chart that are moving about – first off, let’s start with our notable losses, falling about five spots or more on the chart. We don’t have an excess of these, but we do have “Calling My Phone” by Lil Tjay and 6LACK getting ACR’d at #23, “Latest Trends” by AI x JI and remixed by Aitch at #33, “Mercury” by Dave and Kamal. off of the debut to #47 (good!), “Black Hole” by Griff at #48, “All You Ever Wanted” by Rag’n’ Bone Man at #49, “Mr. Perfectly Fine” by Taylor Swift at #50 off of the debut, as well as “Anywhere Away from Here” by Rag’n’Bone Man and P!nk also off of the debut at #51. Oh, and again, falling after last week’s debut, we have “Way Too Long” by Nathan Dawe, Anne-Marie and MoStack at #52. Other fallers that actually lasted at least one more week on the chart include “6 for 6” by Central Cee at #57, “Paradise” by MEDUZA and Dermot Kennedy at #63 and that’s about it. Also, somehow “Lemon Pepper Freestyle” by Drake featuring Rick Ross is sticking to the charts at #71 despite all of the more pop cuts off of that EP – and by that I mean the songs that aren’t six long minutes of pure rapping – dropping out. How that is I have no idea but it does bring us to our gains.

Our gains are always more interesting and we do have a fair few of them this week, like “Starstruck” by Years & Years at #56 off of the debut, “Marea (We’ve Lost Dancing)” by Fred again.. and the Blessed Madonna somehow surging up to #55 off of the debut, “Beautiful Mistakes” by Maroon 5 featuring Megan Thee Stallion at #54, “Summer 91 (Looking Back)” by Noizu at #53, “Last Time” by Becky Hill at #46, “Don’t You Worry About Me” by Bad Boy Chiller Crew at #45, “Medicine” by James Arthur at #44, “Head & Heart” by Joel Corry and MNEK at #41, “Blinding Lights” by the Weeknd rebounding at #40, “Runaway” by AURORA making the top 40 at #34 (six years late), “Levitating” by Dua Lipa bizarrely rebounding at #32, “Didn’t Know” by Tom Zanetti at #31 and that’s pretty much it other than big gains for Olivia Rodrigo’s “deja vu” up big to #12 and “Let’s Go Home Together” by Ella Henderson and Tom Grennan breaking into the top 10 at #10. A lot of these new entries are concentrated towards the bottom of the chart, so let’s start with something that’s actually pretty great.

NEW ARRIVALS

#74 – “How Does it Feel” – London Grammar

Produced by London Grammar and Steve Mac

London Grammar are an indie pop band from Nottingham that just scored their second #1 album with Californian Soil, one I found genuinely promising but absolutely meandering. For all of the great, swelling and powerful tracks there were – many already on the pre-album EPs and singles – there were pointless, time-consuming ballads that feel if anything underwritten and dull. My personal favourite track, “Baby it’s You”, was the lead single and it actually charted, though this cut is the highest-peaking track from the record and also, thankfully, one of my favourites. Hannah Reid has a smoky, unique voice and it always swells over these atmospheric, reverb-drenched instrumentals, full of subtle bass and those infectious guitar links before it drops into the borderline vocaloid drop in that distorted synth-pop chorus that... okay, is pretty anti-climactic and there for no reason other than to give an excuse for the band to incorporate that 80s production into the rest of the song. Regardless, it’s still a damn good production and that chorus is unreasonably catchy, even if she’s hitting falsetto notes I’d never be able to sing along to. It’s not a song that ends too early so it can stream well either; this is a pop song constructed like one of old, and is just as intricate, especially with those twinkling keys in the final chorus. This isn’t the best on the album by far but it’s understandably the one that’s the most accessible and upbeat so it makes sense it’s here. I don’t expect it to stick around but I wouldn’t mind if it did.

#73 – “Sunshine (The Light)” – Fat Joe, DJ Khaled and Amorphous

Produced by Cool N Dre and Amorphous

So, Fat Joe might be back? I’d be hard-pressed to find out way until I look at this... comeback single of sorts and realise that the chorus is just straight-up taken from a Rihanna song, that being the verse of “Kiss it Better” from 2016 layered over this almost disco-sounding sample of Luther Vandross and that’s pretty much the song as far as the beat is concerned. In that way, I guess it’s kind of fun and harmless but Rihanna’s vocals are mixed pretty horrifically on this instrumental without any attempt to cover it up with some backing vocals, which would have been a really good touch. DJ Khaled is only here because he finishes Fat Joe’s punchline and he contributes literally nothing else. In fact, Fat Joe is a waste of time here as well, especially in that really odd bridge and second verse. Admittedly, I guess his first verse has one clever line but it’s all clearly so unfocused even when the sample gives you a lot to work with in terms of content. By the time the Luther Vandross vocal sample is oddly dribbling over the beat, I’m out of this.

#72 – “Ski” – Young Stoner Life, Young Thug and Gunna

Produced by BabyWave, Outtatown and Wheezy

Slime Language 2 was a project I thought was actually fairly enjoyable given its runtime and content. I mean, it’s 23 tracks running at about an hour and a half of just mindless flexing, sex and gunplay from Young Thug and YSL affiliates but it has an energy and camaraderie that I rarely find is all that noticeable during these label or collective albums, and whilst not any particular rapper shines on more than one track, we still hear a lot of voices on the record that are far from unpleasant and can hold their own against Thug, one of them of course being Gunna. I’m surprised the songs with Travis Scott or Lil Uzi Vert didn’t debut but this Thug-Gunna cut did, but I guess that video pushed it over the top and I’m glad because this is by far one of my favourites on the album on pure, stupid and mindless energy. That camaraderie that I mentioned is in full force here as Thug and Gunna trade bars over this basic watery beat with some catchy strings and, of course, awkward bass mixing. The first intelligible words are “Spider sex” and then Thug just goes into yelling “Yeah!” because, sure, that’s a chorus. Thugger delivers his typical flow-switching charisma with a lot of loud, fun energy and whilst not anything of lyrical standard is said here, I love how he and Gunna trade each other’s names on their versions of the post-chorus. It’s a clever, little touch that makes songs like this feel just that bit more fun, if the manic ad-libs didn’t already show that. Gunna’s verse might be the best of the two here as he actually comes with some unexpected energy over that beeping synth loop that sounds great finally coming from Gunna, and, yeah, what can I say? It’s a mindless trap banger that will be out as soon as it was in – both for the charts and your ears – but it’s so much fun and with Thug’s poppier projects, that’s all that matters.

#66 – “You” – Regard, Troye Sivan and Tate McRae

Produced by Regard

The Kosovan DJ that brought us that great remix of Jay Sean’s “Ride It” as well as original song “Secrets” with RAYE is back and bringing... Troye Sivan and Tate McRae with him. Okay, I mean, sure, maybe Regard can pump up the production to get either of these singers to sound enthused. The content is pretty basic, with the “coming back to an ex” story we’ve heard before and not much interplay between Tate and Troye – not that there can feasibly be but that’s beside the point. This isn’t all that important to a song like this, though, but it can be done so it always feels anti-climactic when these EDM songs don’t have good lyrical content anchoring its groove and catchy hooks. That said, this song is actually pretty good, trading much of the more fast-paced house grooves and minimal deep house drops for a pretty slick, almost synth-funk production with some hard-hitting 909 bass and Troye’s laid-back mumbling falsetto actually sounding pretty great over electro percussion and this blend of really cool, retro synths that aren’t afraid to sound jerky and out-of-tune in that post-chorus. They almost remind me of Plastic Beach if this isn’t that ludicrous of a comparison. Tate McRae barely exists here but that’s fine – sadly she has the only verse and her voice just doesn’t mesh that well with Troye’s outside of some of the chorus harmonising, and on its own just sounds kind of unwarrantedly raspy on pretty clean, smooth production. Regard’s addition of those distorted backing vocals and the lenient vocal manipulating in that bridge make sure you know this is intricately produced to every detail and I just love that ramping of intensity even if the final chorus doesn’t really act as that impactful climax so the song ends on kind of a low note where I can tell Regard didn’t know where to go from there. Otherwise, this is a pretty great synth-pop track and I really hope it sticks around. I knew Regard had an ear for more unique EDM production since he came onto the charts for the first time with “Ride It” so I hope to hear what’s next from him as well. For now, oh, God, please make this a hit.

#61 – “Kukoc” – AJ Tracey featuring NAV

Produced by Yung Swisher and Pxcoyo

This is our first of two songs that debuted this week from AJ Tracey’s album Flu Game, which I decided not to listen to on the basis that it was nearly an hour’s runtime with a NAV feature. It’s just my luck then that for whatever reason, the British public decided the NAV song was the second most important track to listen to when the album dropped. Well, I guess this beat isn’t bad, especially with that synth flashing over the acoustic guitar inflections and the Pop Smoke-esque rattling drill percussion creating an oddly-mixed and cluttered beat but one that I guess still hits pretty hard. NAV sounds more enthused than ever over a drill beat – maybe he should stick to that – but I still feel like this is just a pointless song. The content is primarily just flexing and AJ Tracey’s energy is there but not in a particularly likeable, charming way or in an intimidating, menacing way so he just ends up out-shined by NAV’s cheaply Auto-Tuned and simple, basic flow in his verse where he emphasises how he’s a grown man at 30 years old – yet still not showing any sign of maturity, seemingly. This is listenable for sure but at best it’s a mildly amusing drill track and at worst it’s sensory overload. The build-up is only in the intro here and it’s just full force for the next two minutes making it kind of aggravating to even listen to and keep up with. Oh, and “Kukoc” is some Croatian basketball player mentioned once in the chorus. That’s about as interesting as this content gets.

#36 – “Solid” – Young Stoner Life, Young Thug and Gunna featuring Drake

Produced by Foreign Teck, Elvas, Wheezy and OZ

It’s an unwritten rule that if you release an album, the song with Drake on it will always debut on the charts, and often particularly high. Okay, I guess it didn’t work for Drakeo the Ruler – sadly – but it did work for Slime Language 2. “Solid” which absolutely did not need the four producers it has is pretty much just the trio being as uninteresting as possible as they slide over a synth-based trap beat with, say it with me, odd bass mixing. I guess Drake’s hook is mildly catchy and the steel pans in the verses are kind of fun even if they’re there for pretty much no reason. Gunna probably delivers the best verse, if not the purest as he brags about having solid friendships, and boasts wealth over the beat which gets a lot more eerie and downbeat with Gunna over it for whatever reason, even when he’s spitting ridiculous sex bars. The best part of this as with most of the YSL label projects is the interplay between Young Thug and Gunna, as over an increasingly badly mixed beat and some slick organ licks, Thugger ends off the track with an effortless verse and... well, it sure is a trap-rap song by Young Thug, Gunna and Drake. That’s for sure. It’s not bad at all and this beat could be a lot better if there were more steel pans and better mixing, it’s just that none of these guys deliver as well as they can and like most things he’s on nowadays, Drake is the worst part of it.

#29 – “Little More Love” – AJ Tracey

Produced by Venna, Mark Raggio, RyFy and Yoz Beats

I’m surprised there’s little fanfare about this song and the album in general, especially given how big songs like “West Ten” and “Bringing it Back”. Sadly, I think this might be a case of waiting too long to get the record out or just AJ’s star fading away and towards – unfortunately – Digga D. This cut got the music video treatment and hence debuted the highest of any entries this week but it was set for a top 10 debut from the album and video boost, but just seems to have stalled. I actually think that’s pretty unfortunate as this is a great song, with that tropical guitar lick that sounds cheap when drenched in the reverb and especially when the beat comes in and it’s mixed too loudly, but that doesn’t really obscure the trap knock and groove, particularly in that chorus with AJ’s expected dead-beat delivery. That delivery really works for this song, though, as it’s about the paranoia that comes with unexpected fame and success for someone from a background of poverty. I wish the beat gave AJ more room to breathe but he still flips the typical UK flows on his verses so they’re a lot more catchy and smooth, particularly over those soulful vocal loops that come in at the same time. That second verse is pretty excellent too, as whilst it’s short, it runs through some pretty excellent flows and some interesting lines, like about how he sees himself as Che Guerava, represents his Trinidadian identity and how he’s “got God” so he and his crew don’t need to wear a bullet-proof vest, which is actually kind of profound for Tracey. The horns at the end of this beat deserve some credit for making this song great too, and with all the sounds packed into this song, I think I understand why this one has four producers, even if this cluttered mix could use halving that total.

Conclusion

This is a pretty solid week all things considered, with a lot of good to great songs, so much so that it’s difficult to give out titles. I guess Best of the Week is going to “Ski” by Young Stoner Life, Young Thug and Gunna but I’m convinced to give a three-way tie for Honourable Mention. I think I’ll just stick with giving it to Regard, Troye Sivan and Tate McRae for “You” but it was close. Worst of the Week ends up going to “Sunshine (The Light)” by Fat Joe, Amorphous and DJ Khaled almost by default, with a Dishonourable Mention to AJ Tracey’s “Kukoc” featuring NAV, even if I still kind of like the song. Here’s our top 10 for this week:

Hopefully next week will keep this quality going, but in terms of new arrivals I can’t really make any concrete predictions other than a boost for “Save Your Tears” and hopefully an impact from Jorja Smith and Little Simz. I guess time will tell however, so thanks for reading and I’ll see you next week!

[deadcactuswalking]

REVIEWING THE CHARTS: 15th September 2019

This is a pretty damn busy week all things considered, especially in comparison to the last few weeks which have been incredibly dry, by that I mean “No new arrivals” dry, so without further ado, let’s review the charts.

Top 10

Now I’m puzzled, why hasn’t “Take Me Back to London” by Ed Sheeran featuring Stormzy, remixed by Sir Spyro with additional verses from Jaykae and Aitch (Yes, I’m saying that whole thing every time) been dethroned yet? It’s its third week at #1, and I understand that it’s Ed Sheeran making watered-down white-washed grime music which follows somewhat of a UK hip hop trend with pop sensibilities and riding off the waves of a late 2000s grime/UK garage nostalgia phase, it’s essentially the perfect #1 for late Summer-early Autumn 2019 in Britain, but come on, this isn’t a great song and it’s been so close to stepping down from this spot in the past three weeks, in fact...

Aitch may as well have dethroned himself by technicality this week, since the release of his AitcH20 mixtape (I don’t like the dude’s music but I respect the pun) has propelled his lead single “Taste (Make it Shake)” up a spot to number-two, which is a new peak but not the #1 spot as I very much expected, and dreaded, this week.

Potential #1 “Higher Love” by Kygo and the late Whitney Houston is down a spot to number-three thanks to Aitch’s impact, which fortunately, isn’t notable enough for an Album Bomb feature; neither is Post Malone’s Hollywood’s Bleeding but we will see some of that later on.

“Ladbroke Grove” by AJ Tracey is staying still at number-four.

Meanwhile, we have a humorous blunder on the BBC’s part, who said that Post Malone’s “Circles”, at number-five this week, is “down 6”, implying that Post Malone reached the impossible: A #0 spot on the UK Singles Chart. Pretty impressive. This song has grown on me, especially in album context, but I’m not bothered about it all too much still and I do think “Goodbyes” with Young Thug is miles better.

Joel Corry’s “Love Island anthem”, “Sorry” featuring uncredited vocals from Hayley May, is at number-six this week, which isn’t a change at all from last chart.

Unfortunately missing its chance of #1 now is “3 Nights” by Dominic Fike, down two spots to number-seven. I predict Fike’ll be a one-hit wonder because of his general apathy for promotion and performing live, especially since none of his other singles seem to have matched the success of his breakout song, but that debut album will be what decides it, I suppose.

Lil Tecca is down one space to number-eight with “RAN$OM”, which still isn’t plummeting fast enough – I did a UK Top 40 ranking on my Twitter @cactusinthebank and this just barely missed the bottom of that list, so if you wanted any insight on how I feel about that track, there you go.

Young T & Bugsey ride off the Aitch feature as “Strike a Pose” is up another chart position to number-nine.

Finally, we have a gain I’m ecstatic about, as “Goodbyes” by Post Malone featuring Young Thug gains a second wind, up four spaces to #10 thanks to the album release. More on that later, but I’m glad this returned to the top 10, it is a near-perfect pop song.

Climbers

I’m ecstatic about this gain too as Regard’s Jay Sean remix, “Ride It”, is up 10 spaces (or “down 10” – thanks, BBC) off the debut to #15, becoming Regard’s first ever UK Top 20. Congratulations, but man, who cares? Jay Sean has another hit. It’s his ninth UK Top 20 hit overall and first ever since 2010, I hope this guy makes a comeback. Speaking of people getting their first UK Top 20 hits, “Dance Monkey” by Tones and I had an unexpected boost 12 spaces up to #19, becoming her first ever as well. There are no other climbers but there are a ton of fallers, so...

Fallers

I think I need for the first time in months to separate these fallers by genre, so...

In reverse order of how high up these songs are on the chart unless noted, and starting with pop, EDM and rock(?), “bad guy” by Billie Eilish (Featuring Justin Bieber, kind of) is down six spaces to #37 as this one’s definitely on its way out. Skipping two songs for the sake of the writing to flow, “Ritual” by Tiesto, Jonas Blue and Rita Ora is down four to #28, “Someone You Love” by Lewis Capaldi is down six to #27, “Castles” by Freya Ridings is down six as well to #26, “Beautiful People” by Ed Sheeran featuring Khalid is down five to #24 and “boyfriend” by Social House featuring Ariana Grande is down five to #22.

Our second genre is Taylor Swift, as “You Need to Calm Down” has an end to its second wind thanks to the Lover album release, down eight spots to #36 (It’ll be out pretty soon), and the title track (That’s “Lover”) is down nine positions to #31.

Our third and final genre category worth noting is hip hop and R&B, starting with MIST and Fredo dropping a whopping 26 spaces to #35 with “So High”, just as I start to actually like this song, thanks to what are probably streaming cuts... and that’s actually all for that genre. Huh. Maybe I shouldn’t have split this in the first place.

Dropouts & Returning Entries

Our drop outs seem to all be songs from the last stretch of the charts, in fact all of last week’s #36-#40 have been replaced this week, mostly some songs barely holding onto the UK Top 40, specifically in the realm of hip-hop seemingly, with “I Spy” by Krept & Konan, K-Trap and Headie One dropping out from #39 and “Location” by Dave featuring Burna Boy out from #40, as well as “Wish You Well” by Sigala featuring Becky Hill from #38, while some recent debuts are also out of the chart. “The Man” by Taylor Swift is out from #36 but won’t be back and is probably the result of a combination of a busy week and Lover hype dying off, while “Lalala” by Y2K and bbno$ is out from #37 off of the debut, but will re-enter next week at even possibly a higher position actually. It’s just because it’s a busy week and it happened to break in late, it’s not losing in performance.

There are no returning entries so let’s get into the most EPIC part of the show:

NEW ARRIVALS

#40 – “Slide Away” – Miley Cyrus

Produced by Andrew Wyatt and Mike WiLL Made-It – Peaked at #11 in Slovakia and #47 in the US

You’d be hard-pressed to find a Miley Cyrus song I enjoy, even in eras people seem to praise like Bangerz and... well, just Bangerz. I don’t think I’ll ever be a fan of Cyrus to be honest, I’m definitely not a fan of the slight country twang she has in her voice and I never think her production is any good or even worthwhile, usually provided by Mike WiLL. It’s either completely misguided and cringeworthy like SHE IS COMING or to an even worse extent, Miley Cyrus and Her Dead Petz, or generic, country-influenced pop slush like her Disney efforts and once again to an even worse extent, Younger Now. I did see a lot of buzz about this track in particular that seemed pretty positive, and I’ve got to say, it took her 16 UK Top 40 hits and a music video being released recently, but she’s finally got a charting song that I like, in fact, I might love this. Those slick guitar riffs that start the song off as well as soulful pitch-shifted vocals set a really sombre atmosphere, propelled by the trap percussion with 808s that really dig into the centre of the mix, and an odd scatting and incoherent vocal sample, which is actually an interesting addition and probably Mike WiLL’s contribution. The chorus here is insanely powerful, with Cyrus’ country twang being more subtle and overall, her performance here is a lot more bearable than normal. The swell the airy synths have here especially in the hook is less non-descript than most modern pop and doesn’t present any grandiosity like you’d expect, especially backed by the strings. It sounds more like acceptance, which is incredibly fitting for the subject matter, which as a result from Cyrus’ split with one of the Hemsworths, is focused on how she wants to safely move on rather than focusing on the past as it’s pretty unhealthy especially as she’s now a grown woman (Which she points out in the pre-chorus), with the fully instrumental and surprisingly lengthy outro (Really love the subtle touches there as well, as the vocal sample comes back briefly as well) full of vocodered synth brass and strings flailing out and going nowhere... much like her marriage. Was that on purpose? Probably not, actually, I doubt Mike WiLL really cares, he was probably there to programme some trap drums that sounded a tad sombre and then move on to giving Rae Sremmurd a reason to be making music. Yeah, this is pretty great, although I’d prefer the writing to be a little less undercooked, with a variation on the verse rather than a simple reprise, but I’m not complaining about how it is now really, considering this is a massive improvement on... pretty much everything else. Check it out if you haven’t already.

#38 – “Liar” – Camila Cabello

Produced by watt, The Monsters and the Strangerz and Jon Bellion – Peaked at #13 in Singapore and #56 in the US

I love how history repeats itself. In 2017, Camila Cabello released a double A-side single of sorts, with a trendy pop song following what was popular at the time and a slightly left-field Latin-tinged R&B cut. The trendy pop song, “OMG” with Quavo, underperformed, although the Latin-tinged R&B cut with the incoherent Young Thug guest verse was “Havana”, a #1 hit and one of the most popular songs of the decade, later ending up on the album. Similarly, the “dark pop” Billie Eilish rip-off that is “Shameless” was given the obvious label push but fans seem to really prefer the Latin one, “Liar”, which shows they should probably stop marketing Cabello as a pop star, but we’ll see how that goes in a few months when the album releases. For now, however, we’ve got “Liar”... wait, why the hell does Lionel Richie have a writing credit?

Okay, so I’ve covered 1994’s Year-End list for a Top 5 Best and Worst Hit Songs feature, and I’ve listened to the 1984 list as well for a Top 10 Best Hit Songs feature for that one, and as I guess is a gift of fate, one of the best songs from the 1994 list and one of the worst from the 1984 list are both sampled and/or interpolated in this Camila Cabello song, and trust me, once you hear both of them, you can’t un-hear them, and I heard them immediately. It’s not subtle, but it doesn’t necessarily need to be, the song can still be a catchy pop ditty with the blatant sample... but no amount of Melodyne and vocal manipulation can help Cabello from her rubbery and squeaky, slightly off-key(?) falsetto cooing. It’s not sensual or “Broken”, it just sounds awful. Oh, yeah, and the ska beat is mediocre, with hilariously plastic horns, especially in comparison with “Havana”... Honestly, replacing Pharrell with Jon Bellion and removing Young Thug entirely is probably the worst decision the label made. Nothing here is enticing except an admittedly tight bassline, but what’s the point? Just listen to “All That She Wants” by Ace of Base, download some extra FL Studio saxophone sound effects (Even though the cheap horns in the original are dated, they sound a lot better than the recreation here), and you’ve got a somewhat better version of this song. It’s a weak effort, but my expectations weren’t high in the first place. Still better than “All Night Long (All Night)” though, but that’s a pretty difficult feat.

#21 – “Buss Down” – Aitch featuring ZieZie

Produced by Mojam

Remember ZieZie? I wrote paragraphs on paragraphs about that “Fine Girl” song he had but it really was an enigma to me at the time and still kind of is. Anyway, this is the instant grat single and breakout song from Aitch’s second mixtape, AitcH20 (There are layers to that pun and I respect it). I don’t care about Aitch all that much, he just seems to be a safer alternative and pretty accessible guest rapper, like your grandmother’s favourite British trap artist. This is his fifth UK Top 40 single and ZieZie’s second (I never thought I’d say those two words in my life)... but first of all, I commented on this when I talked about “Fine Girl” but the dude’s released more singles so it’s even more jarring now – why is his pre-fame single “Low Life” still listed on Spotify as “ZieZie- “Low Life”” in both the album and track title? He’s signed to a major label, he’s on one of the biggest UK rappers’ promo single, how has no-one fixed this? Sigh, well, the song’s okay. It’s very much not a trap cut, it takes some influence from the Afroswing that people like MoStack make, especially with the piano riff that’s used as the main synth melody, as well as some cute 808s and an admittedly great hook from ZieZie... but the beat doesn’t change and Aitch is existent. The chorus is four lines, all of which sung twice in one chorus, which happens four times in the song. It’s mostly Aitch with corny lyrics and a really sloppy flow on the verses, with a third verse from ZieZie that is absolutely dreadful, pushes this song to mediocre for me. Not only is it incoherent enough for there to be some [?]s on Genius still, but it’s about taking your girl... but letting ZieZie’s friend have sex with your girl, although apparently your girl likes it when her and ZieZie have rough sex, even though your girl is having sex with ZieZie’s friend instead and your girl loves how caring ZieZie is... Huh?

#20 – “Sounds of the Skeng” – Stormzy

Produced by Sir Spyro

Now, THIS is some good British hip hop. This is Stormzy’s 17th UK Top 40 hit and tenth UK Top 20 single, and it’s pretty great. I understand why it didn’t have a Top 5 debut like the sweet gospel-pop number “Crown” or addictive bop that is “Vossi Bop”, because this is just straight-up grime. It’s not UK garage, there aren’t any pop beats or Jorja Smith vocal samples, it doesn’t go soft, it goes hard. It’s produced by Sir Spyro, it has three rapidly-flowing verses, and it’s an absolute banger. You can barely even hear Stormzy under the dramatic synths and bursts of brass, but you can tell he’s just going and going and going. The only sense of melody we get in this bass-rattling single really, other than the synths and smooth jazz horns in the left channel, is the producer tag that plays briefly in the chorus and never again. There are several moments here I just love, not even necessarily lyrical moments although those are usually on point here, but Stormzy’s wild inflections throughout. Most verses start with a simple, Westernised modern flow and then go into a more speedy and aggressive delivery that barely doesn’t clip in the mix. The first verse is comparatively relaxed, with a pretty lazy cadence, making a pretty obscure Kendrick Lamar reference for whatever reason, with the “Perfect!” sample from Street Fighter perfectly implemented. I like how the first verse seems more like a threat while the second verse and third verse are right into the action, as he asks “old Mike” not to resurface, and in the chorus, even mentions old persona Wicked Skengman or Mr. Skeng. The title of the song has a lot of thought into it as well, being a reference to The Sound of Music juxtaposed with grimey London slang term “Skeng” and the Sir Spyro producer tag, “Sounds of the Sir”. Stormzy starts dissing British rappers who use too much Americanised slang and beat selection in the second verse, with lazy, dismissive ad-libs almost mocking trap-rappers overseas like Migos, and then he reaches the peak of the song. The second verse, personally my favourite, is where he has a machine gun flow enraged outburst, and it is insane, mentioning his two BRIT Award wins while also keeping an impressive delivery that is pretty much just really quick yelling, it’s really intense, but he sounds focused and determined. The third verse is the cooldown, paying tribute to So Solid Crew and their flow and ad-libs, as well as some pretty clever wordplay regarding other rappers Flipz and MIST, as well as Giggs, whose song “Whippin’ Excursion” is rhymed with a brag about how tall he is. He’s 6’5’’, which is towering above me. All three verses here have their own unique flow and cadence, as well as theme seemingly, but that’s not all that clear right now. I’m excited for this one in album context, but this is great already. Check it out.

#11 – “Hollywood’s Bleeding” – Post Malone

Produced by Louis Bell and Brian Lee

Really? The title track? I mean, understandable, it’s the first song on the album and it’s not a bad song at all, but there are so many better and more interesting songs on the album that you’d figue would debut high. “Saint-Tropez”, the “Wow.”-type banger? ��Enemies” with DaBaby? The awesome alt-rock banger “Allergic”? Kanye West-produced “Internet”? Future and Halsey pretty much saving the ballad “Die for Me”? Hell, I figured the record-breaking “Take What You Want” with Travis Scott and the legendary Ozzy Osbourne of Black Sabbath would be the obvious choice to chart in the UK, it has Ozzy on it for goodness’ sake! Thanks to UK chart rules, this is the only track from the #1 album allowed though, and it’s not a bad song at all, far from it. It’s just a good more than half of the album, which admittedly is pretty great especially for a Post Malone album, is better than it, most by far. Regardless, it’s Post’s twelth UK Top 40 hit and 11th UK Top 20 hit, and it’s a pretty good introductory song. I should note though, that Post’s last album, beerbongs & Bentleys, also had its non-single intro track with no features, “Paranoid”, also co-produced by Louis Bell, debut and peak at #11, just more than a year ago. What a coincidence. Anyway, the song (And album may I add) starts with some sombre vocals from Post complaining about Hollywood and he sounds pretty great, with less strained vocals than usual and a slight warble which I’m actually a fan of, which is well integrated into the chorus, but when that trap beat hits, it knocks. It’s a great drop. Otherwise, eh, I love Post’s performance here, with a lot of flow shifts throughout both verses, but it’s a pretty standard beat until that one note Post holds into a beat switch, with a very glitchy rock beat with oddly mixed 808s, and it sounds pretty great... until it’s gone in like less than 10 seconds. Good song, but nowhere close to his best.

Conclusion

All things considered, this is a pretty great week. I’d probably give Best of the Week to Stormzy for “Sounds of the Skeng” with tied Honourable Mention going to Miley Cyrus and Post Malone for “Slide Away” and “Hollywood’s Bleeding”. Worst of the Week is going to Camila Cabello for just plain mediocrity in “Liar”, so Aitch is scot-free (Although ZieZie is both the best and worst part of that song). Follow me on Twitter @cactusinthebank for, to be honest, SpongeBob memes and very infrequent musical commentary and ramblings, and I’ll see you next week!