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bananaofswifts · 4 years

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By : Callie Ahlgrim and Courteney Larocca

Taylor Swift released her eighth studio album, "Folklore," on Friday.

Swift surprised fans by announcing its release just one day in advance — and less than one year after the release of her acclaimed seventh album "Lover."

"Most of the things I had planned this summer didn't end up happening, but there is something I had planned that DID happen," she wrote on social media. "And that thing is my 8th studio album, folklore. Surprise!"

She described "Folklore," stylized in all lowercase, as "an entire brand new album of songs I've poured all of my whims, dreams, fears, and musings into."

Much of the 16-song tracklist — 17 on the deluxe edition — was cowritten and produced by The National's Aaron Dessner. Smaller pieces were cowritten by Bon Iver, Jack Antonoff, and someone named William Bowery. Antonoff also produced five songs.

Insider's music team (reporter Callie Ahlgrim and celebrity and music editor Courteney Larocca) listened to the new album on our own, jotting down our initial thoughts track by track.

Almost immediately, we were forced to reckon with the fact that "Folklore" might be Swift's best album yet — potentially even better than "Red," which previously seemed like it couldn't be topped. We were stunned with the mature, poetic, stunningly understated collection of new songs.

Here is what we thought of each song on "Folklore" upon first listen. (Skip to the end to see the only songs worth listening to and the album's final score.)

"The 1" is the best album opener Swift has had in years.

Ahlgrim: "I'm doing good, I'm on some new s---" is a wild way to begin a new Taylor Swift album. This is going to be different.

This is easily the best intro song she's released in years. "The 1" far surpasses "I Forgot That You Existed" on "Lover," "...Ready for It?" on "Reputation," and "Welcome to New York" on "1989" in terms of sheer quality.

It's also an engaging scene-setter; I find myself gently rocking back and forth, eyes closed, smiling without realizing. It's only the first song and so far, I am totally grasping the woodsy aesthetic of this album. I'm already ready for more.

Larocca: I would argue that there hasn't been a strong album opener on one of Swift's albums since "State of Grace" on "Red" in 2012. "The 1" breaks that curse.

I was vibing from that very first piano note, but when Swift comes in and warmly delivers the first line of the album — "I'm doing good, I'm on some new s---" — it became evident this project wouldn't be anything like the rest of her discography.

As far as "The 1" goes as a standalone song, it's incredibly solid. Swift has a breezy attention to rhythm as she paints a tale of a the-one-who-got-away romance. I truly, truly love it. This might end up being an all-time favorite track.

"Cardigan" is beautifully influenced by Lana Del Rey.

Ahlgrim: I heard "Cardigan" first because I watched the music video before I listened to the album.

Right off the bat, I was struck by the Lana Del Rey melody in the chorus; I jotted down "folksy 'Blue Jeans.'"

Swift has actually cited Del Rey as an inspiration in the past, so this makes sense — and that particular shade of nostalgic, haunting glamour really works for Swift's voice, so I'm overall very impressed with this direction. I am more than amenable to a "Red" meets "Norman F---ing Rockwell!" album experience. On my second time around listening, sans music video, "Cardigan" already feels richer coming after "The 1."

This time, I'm struck by small lyrical details like "Sequined smile, black lipstick," a clear callback to her past eras, and "Tried to change the ending / Peter losing Wendy," an effective way to evoke young love and innocence lost.

I also think the song's central refrain, "When you are young they assume you know nothing," is clean and sharp and — especially given Swift's public struggles with sexism and years-old contracts — extremely poignant.

Larocca: I had the thought that Swift listens to Lana Del Rey after hearing "Miss Americana and the Heartbreak Prince" on last year's "Lover," but now I know for sure that Del Rey is an influence on Swift.

While "Cardigan" isn't what I thought this album would be like sonically, I'm overjoyed at how clearly singer-songwriter this album already is. I've been waiting years for Swift to make a lyrical marvel set to acoustic, warm, folksy instrumentals and it's here.

(And while I expected something different sonically, I am not mad at all by the backing instrumental choices here.)

"The Last Great American Dynasty" proves Swift is a natural storyteller.

Ahlgrim: Personally, I love Storyteller Taylor, so this is quite literally music to my ears.

There are so many delicious details here to unpack. The first verse, with its subtle sexist whisperings about Rebekah Harkness ("How did a middle-class divorcée do it?" and "It must have been her fault his heart gave out"), is a truly savvy way to set up for the song's eventual reveal.

Rebekah spent her time partying with friends, funding the ballet, playing card games with Salvador Dalí, somehow "ruining everything" — and her Holiday House was "free of women with madness" until Swift herself moved in.

That twist in the bridge is poetic genius. When the final chorus adjusts to the present day, underscoring the parallels between Rebekah and Swift, I'm forcefully reminded of an iconic bridge when Romeo finally proposed and changed everything — but Swift has evolved past daydreams of pure white dresses and fathers giving permission.

Larocca: I'm immediately taken back to 2012's "Starlight" when "The Last Great American Dynasty" starts. Thankfully, this song ends up being a lot better than "Starlight," which always felt more like a filler track on "Red" to me.

I love a lot here: the casual use of "b----," the acute attention to detail ("She stole his dog and dyed it key lime green"), and every version of this line: "There goes the maddest woman this town has ever seen."

I had a marvelous time listening to this song.

"Exile," featuring Bon Iver, is one of Swift's most successful duets to date.

Ahlgrim: Swift and Bon Iver, aka Justin Vernon, are two of the best songwriters alive today, so this song was destined to be breathtaking.

Swift has historically had difficulty allowing her voice and vision to coexist with a featured artist; her collaborations often leave me feeling like she should've just delivered the whole song herself.

But Swift and Vernon were able to weave their lyrics together so gracefully, I was left feeling grateful for his presence. His rich, rustic tone and those iconic hummed harmonies lends the regretful song an added coat of sincerity.

The production here is generally fine, but the layered instrumentals in the ending really bring the song together. I love a dramatic exit.

Larocca: When I see a "featuring Bon Iver" on a track, I instantly assume Vernon is going to come in with his high falsetto. So it was almost jarring that the song starts with Vernon sounding like a lumberjack dad who hasn't left the woods in a decade.

That didn't end up being a detriment, though. Swift sounds delicate on her verse, and their vocals contrast nicely later on the track.

This one also brings to mind her collab "The Last Time" with Snow Patrol's Gary Lightbody. The line "I think I've seen this film before and I didn't like the ending" is also reminiscent of "If This Was a Movie."

I'm obsessed with the clear influences Swift's previous discography had on these tracks, which have also so far felt completely unique to her catalog.

"My Tears Ricochet" is an extraordinary display of Swift's songwriting powers.

Ahlgrim: First of all, "My Tears Ricochet" is an incredible song title. Let's take a moment to appreciate that.

In fact, pretty much every line of this song is arresting.

Much of it feels both familiar and rare, like you know exactly what Swift is singing about, but hadn't thought to put it in those words before — which is, in my opinion, the mark of any good piece of writing but especially a breakup song. You can relate to the emotion, if not the particular details. You can hear the pain. It almost plays like a funeral march.

What a gift it is, what an exhilarating experience, to feel like you're listening to a poem being recited in real-time.

Larocca: Any true Swiftie knows that track five is reserved for the most vulnerable moment on the record, so I went into "My Tears Ricochet" ready to be sad.

I am endlessly impressed with how Swift managed to bake the word "ricochet" into this song so effectively. She also ditched her traditional song structure for this one, and instead built the track from peak to peak, utilizing clever lyrics along the way to tell an epic, devastating story, almost obviously calling back to the most beloved track five of "All Too Well."

I'm calling it now — this one is going to age like a fine wine. As all of Swift's best breakup ballads do.

"Mirrorball" is several strokes of genius.

Ahlgrim: This song gives me intense Clairo vibes, and I mean that as a very high compliment.

It's so fun and refreshing to hear Swift slip into different musical styles, and this shimmery take on alternative-bedroom-pop highlights her soft vocals and nuanced songwriting supremely well.

Also, my Leo sensibilities are fully under attack by this bridge: "I've never been a natural, all I do is try, try, try / I'm still on that trapeze / I'm still trying everything to keep you looking at me." Oof! Just tag me next time.

Larocca: This one is so pretty! Swift's vocals sound better than ever as she spins on her highest heels across a glittery daydream.

"I'm a mirrorball / I'll show you every version of yourself tonight" might be the thesis statement of this entire album. So far, "Folklore" feels both diaristic and vague; detailed and completely anonymous.

Fans will be debating for years whether this album is about Swift's own life, or if it's simply really great storytelling pulled directly from her own mind. In the end, it doesn't really matter.

Because as all of Swift's best songs do, these songs will attach themselves to listeners in completely new ways, showing them elements and stories from their own lives.

"Seven" is pure whimsical magic.

Ahlgrim: This is playing make-believe in the garden when you're too young to feel self-conscious; it's poetic and nostalgic and full of awe in such an unpretentious way.

I wouldn't change one thing about this song. Swift's whispery high register sounds divine, and at this point in the tracklist, her rhythmic delivery in the chorus hits like a shot of espresso.

Right now, I'm wondering if it's possible for Swift to maintain this intrigue and momentum for another nine songs. There hasn't been a misstep to speak of, and I remain wholly beguiled. Can it last?

Larocca: The beginning of "Seven" sounds like Swift listened to Marina's "Orange Trees" on repeat before showing up to her songwriting session. Fortunately, "Orange Trees" is the only song I like on Marina's "Love + Fear" so I will gladly accept this inspiration.

Swift continues to impress with both her vocals and her sense of rhythm on "Seven." I also personally love space imagery so the line "Love you to the moon and to Saturn" is a standout line.

"August" will go down as one of the best songs in Swift's extensive repertoire.

Ahlgrim: I'm immediately catching hints of Phoebe Bridgers and girl in red in Swift's delivery. And I simply adore the idea that Swift has spent the last few months sitting at home, daydreaming about summertime humidity and listening to music by queer indie-pop girls.

In an album full of songwriting expertise, this song has some of Swift's best lines yet: "August sipped away like a bottle of wine / 'Cause you were never mine" actually hurts me.

In my notes, there simply sits this valuable insight (yes, in all-caps): "WANTING WAS ENOUGH. FOR ME IT WAS ENOUGH TO LIVE FOR THE HOPE OF IT ALL." This song has my favorite bridge on the album so far.

In terms of production, "August" is exquisite. It's lush and layered without feeling overwhelming at any point. It builds to the perfect level then recedes, like a wave.

Also worth mentioning: It can now be considered a historical fact that any time Swift mentions a car or driving in one of her songs, it's a perfect song.

Larocca: While listening to "August," I texted Callie and said, "I can't wait to finish the album so I can relisten to 'August.'" It's an instant favorite.

This is also the first track on the album that seems directly inspired by our current state. Not because she's expressing fear or singing about being bored at home, but because she so easily slips into a reflection of a relationship that ended years ago with a newfound wave of wistful nostalgia.

When quarantine started, it seemed like a million lifestyle articles came out explaining why everyone suddenly felt compelled to text their exes and why we're so invested in looking back instead of forward right now.

"August" validates those feelings with zero judgment, letting its listener know that yes, it's totally normal for you to be overanalyzing that quasi-relationship you were in back in college that never made it past graduation. Am I projecting? Maybe, but that's debatably what Swift's music is best utilized for.

I'm also going to be thinking about this song's bridge and outro for the rest of my life.

The National's influence can be felt on the stunning "This Is Me Trying."

Ahlgrim: "This Is Me Trying" quickly strikes a more sinister tone than its predecessors — still nostalgic and wistful, but carrying an edge, like a threatening secret.

Ironically, this one was co-written and co-produced by Jack Antonoff, not Aaron Dessner, though I can really hear The National's influence here. I'm getting strong wafts of songs like "Pink Rabbits" and "Dark Side of the Gym."

Based on Swift's own words, we can speculate that "This Is Me Trying" is a fictional tale, built around the image of "a 17-year-old standing on a porch, learning to apologize." And, as previously stated, I'm a big fan of Storyteller Taylor, so I'm into it.

The song's darker tone mingles really well with Swift's imagery; when you're a teenager, and you make a mistake, it can feel like the end of the world.

Larocca: "This Is Me Trying" is precisely what I imagined this album sounding like when I found out Swift collaborated with the National's Aaron Dessner and Bon Iver.

But I'm glad she was strategic about her use of echo and also finally paid attention to the tracklisting from a sonic standpoint. This haunting soundscape is reminiscent of 2014's "This Love" and comes in right when you need it after the yearning daydream of "August."

I'd also like it to be on the record that the line "I got wasted like all my potential" ruined me and this song is a win for that lyric alone.

"Illicit Affairs" is a glowing example of what sets Swift apart from her peers as a songwriter.

Ahlgrim: The expert songwriting on "Illicit Affairs" reminds me of the as-yet unseated queen in Swift's discography: "All Too Well."

Swift is a master of wielding specific details like weapons: "What started in beautiful rooms / Ends with meetings in parking lots," she sings. "Leave the perfume on the shelf / That you picked out just for him." These are the sorts of images that set Swift apart, and they're especially strong when she punctuates their delivery with a little growl in her voice.

This song has real power. I have chills.

That power is magnified in the third verse, similar to how "All Too Well" builds to a crescendo: "Don't call me 'kid,' don't call me 'baby' / Look at this godforsaken mess that you made me."

Certainly, "Illicit Affairs" is more restrained than Swift's iconic arena rock ballad, but goddamn that last verse hits hard.

Larocca: The way that she says "him" in the second verse shook me out of my skin in the very best way. And "Don't call me 'kid,' don't call me 'baby' / Look at this idiotic fool that you made me" will go down as one of her best breakup lines of all time.

It's been a minute since Swift delivered a painstakingly beautiful breakup ballad, and the fact that this album is littered with them is, simply, a gift.

"Illicit Affairs" has growing power and will likely become one of those tracks that fans form a strong emotional attachment to over time.

"Invisible String" is Taylor Swift at her most Taylor Swift.

Ahlgrim: "Invisible String" is a feast of Easter eggs and callbacks.

"Teal was the color of your shirt" reminds me of the line about Joe Alwyn's blue eyes on "Delicate," and her reference to a dive bar is similarly familiar. "Gave me no compasses, gave me no signs" recalls the push-and-pull on "Exile."

"Bad was the blood of the song in the cab" is undoubtedly a reference to Swift's 2015 single "Bad Blood," while "One single thread of gold / Tied me to you" feels like a nod to Swift's description of love's "golden" hue on the "Lover" album closer "Daylight."

This song is sprightly and sparkly and certainly nice to listen to, but its real strength lies in these details.

Swift is weaving many different stories on this album, many connected by a sort of "Invisible String," tying different pieces of her life and your life and other lives together. It ends up feeling like a growing plant with far-reaching roots, or a sentient treasure map.

Larocca: I'd be lying if I said there weren't multiple points throughout this album where I worried that Swift and her boyfriend Joe Alwyn had broken up.

Thankfully, "Invisible String" is a rosy, wide-eyed ode to love. The plucky guitar paired with Swift's soft vocals is a sound I want to live in, which is fitting since this track feels like coming home.

Every small detail, from the nod to Alwyn's time spent working at a frozen yogurt shop in his youth, to the color imagery that paints every inflection of Swift's adoration (especially the single thread of gold) come together to lay the holy ground Swift's relationship walks on.

Also, the image of Swift mailing Joe Jonas and Sophie Turner gifts for their expectant first child brings about an unbridled sense of joy.

"Mad Woman" is yet another highlight.

Ahlgrim: Every time I think I've heard the peak of this album's songwriting potential, Swift manages to surprise me.

Case in point: "Do you see my face in the neighbor's lawn? / Does she smile? / Or does she mouth, 'F--- you forever?'" Whoa.

And another, for good measure: "It's obvious that wanting me dead / Has really brought you two together." I texted Courteney, "Did she really just say that??"

This song is sublime on its own, but the way it ties back into the perception of female freedom and "madness" on "The Last Great American Dynasty" makes it even better. "Mad Woman" is definitely a personal favorite so far on this album, if not in Swift's entire catalog.

Larocca: "Mad Woman" will forever hold the honor of being the first song in which Swift says "f---" and for that, we should all be thankful.

I was also so wrapped up in the storytelling of this album, that it took a minute for this to even register that this is likely about the Scooter Braun and Scott Borchetta / Kanye West and Kim Kardashian West ordeals of Swift's past. These callouts used to be so obvious, that I greatly appreciate the subtlety and restraint here.

It almost feels like these feuds were a lifetime ago, but this track does an excellent job at showcasing how anger and pain can leave an indelible mark on you. Swift went mad years ago, and that's just an accepted part of her narrative now.

But for the first time, her rage sounds like freedom.

"Epiphany" doesn't stand out.

Ahlgrim: There are some really interesting vocal moments on "Epiphany," but so far, this is the only song I haven't felt captivated by. It's a bit snoozy, and a bit too long.

This song clearly references war, the loss of a loved one, and the coronavirus pandemic, which makes it lyrically intriguing at best — but distressing at worst. I don't mind letting the overall effect waft over me, but this won't be a song I revisit outside the context of the album.

Larocca: "Epiphany" is the only track on "Folklore" that didn't immediately grab me. It's essentially a war drama in song format, so some people might like it, but I truly couldn't care less about war movies or war songs! So it's not my favorite, but it makes for pretty background music.

"Epiphany" does have another benefit though: Now, whenever some random dude erroneously claims Swift "only writes songs about her exes," fans have a clear song in her discography that they can point to and be like, "That's not true. This one's about war."

That's not to say Swift needed that — anyone who has been paying attention understands she's quite possibly the best songwriter of her generation.

This just happens to be further proof of that fact.

"Betty" is a charming callback to Swift's country roots.

Ahlgrim: "Betty" is like the best, sauciest song from Swift's 2006 debut country album that no one got to hear. It has sonic and lyrical similarities to hits like "Our Song" and "Tim McGraw," plus some name-dropping stuff like 2008's "Hey Stephen," plus a little harmonica thrown in for good measure! I love that for us.

"Betty" also appears to complete a three-song story, recalling details from "Cardigan" and "August" to close the loop on Betty and James, a couple in high school with some infidelity issues.

Looking back, it feels like "Cardigan" was told from Betty's perspective, while "August" was told from the perspective of a sort of "other woman" character. Now, we get James' side of the story. This is high art, folks! This is peak Storytelling Taylor!

"Betty" is also, like, very gay? I know it's easy to assume that James is a male character, but Swift herself was named after James Taylor, so she could be referring to herself. The song also references someone named Inez; James and Inez are the names of Ryan Reynolds and Blake Lively's daughters.

Plus, in retrospect, the idea of whispering "Are you sure? Never have I ever before" during a summer fling seems pretty gay to me.

I'm not saying the story of Betty and James would be better if it was written about sapphic lovers, but I'm not not saying that.

Larocca: This one is gay, and if you try to tell me otherwise, I will simply ignore you.

But Courteney, it's from the perspective of a guy named James. James and the other character, Inez, share the same names as Reynolds and Lively's kids (will leave it up to you to decide if that means their third daughter's name is Betty). James is their daughter. Get out of here with your antiquated ideas about which names connotate which genders.

To me, the James named in this song is a woman and a lesbian and this song is for the gays. I will not be saying anything else or accepting any feedback on this opinion, thank you.

"Peace" is honest and raw.

Ahlgrim: This song's intro sounds like LCD Soundsystem had a baby with "The Archer." The gentle guitar riff is also lovely.

With Dessner's echoey production, Swift's voice sounds like a warm little fire in a cave — fitting, since she sings in the chorus, "I'm a fire and I'll keep your brittle heart warm."

OK damn, I'm getting really emotional. This songwriting is beautiful and haunting. "Peace" perfectly captures the ambient dread of feeling your partner slip away, of wondering whether love can be enough.

Larocca: If you're a "Call It What You Want" stan, you're going to love its mature older sister "Peace."

I will hereby forever be thinking about the parallels between "But I'm a fire and I'll keep your brittle heart warm" with "He built a fire just to keep me warm" and between "Family that I chose, now that I see your brother as my brother" with "Trust him like a brother."

Also, "Would it be enough if I could never give you peace?" has the same emotional impact as when Swift changes the lyric in "The Archer" to "I see right through me" and that's meant as the highest form of compliment.

Swift's vocals are so crisp, that guitar riff is so stunning, and these lyrics are so gut-wrenchingly vulnerable. A perfect song, through and through.

"Hoax" is unlike any other album closer in Swift's catalog.

Ahlgrim: I don't know if Swift is going through a traumatic breakup, but if she isn't, the woman is one convincing creative writer.

The National makes some of my favorite music to cry to, so when I heard Aaron Dessner had co-written and produced much of this album, I knew I was in for some glossy cheeks. Until now, I think I've felt too captivated by Swift's artistry to really let myself get there.

But finally, "Hoax" is making me cry.

This is heart-wrenching stuff for anyone, but for a fan and student of Swift's work, this is like reading a friend's diary entry.

"Don't want no other shade of blue, but you" must be a reference to "Delicate," in which Swift sings: "Dark jeans and your Nikes, look at you / Oh damn, never seen that color blue." Later, she croons, "You know I left a part of me back in New York," perhaps regretting the move to London that she detailed throughout "Lover."

"You knew it still hurts underneath my scars / From when they pulled me apart," recalling the public shaming she endured and demons she exorcised on "Reputation." "But what you did was just as dark." Like I said before: Whoa.

Personally, I love having a good cry set to moody music, so I appreciate Swift's soul-bearing. "Hoax" is one gut-punch of an album closer.

Larocca: Swift has a habit of ending her albums on an uplifting, hopeful note and I always eat it up. But if "Folklore" hadn't made it clear by now that it should be consumed differently than any of her previous works, "Hoax" brings that message home.

Instead of reveling in all the ways that love has made her stronger, happier, or more whole, "Hoax" deconstructs everything Swift has learned about love and leaves a bleaker picture about how maybe even the best of relationships hurt.

But at its most tragic, this love still isn't something Swift will ever let go of: "Don't want no other shade of blue but you / No other sadness in the world would do."

Finishing a Taylor Swift album has never been so devastating.

Final Grade: 9.7/10

#taylor swift #folklore #review

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9hwa9joong · 4 years

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My Top Songs [2020]

Hi all!

As 2020 comes to an end (thank whatever higher power there is), I wanted to share a list of my favorite songs! (the following are songs RELEASED this year) (I’ve included a list of songs that I heard this year, but weren’t released in 2020, after it). These are mostly korean/chinese.

Alright, this is in NO particular order, just my favorites. I’ve mostly included one song from a group/solo act and added their other great releases in description. It is mostly music that I listened to, so if your favs are not here, feel free to rec me good music! ENJOY!

(the list ended up becoming quite long, so read under the cut)

Black swan(orchestral version) by BTS

BTS had a great year musically. 2 korean albums, 1 japanese and lots of solo stuff. My most played songs are Dynamite (listen, she did what she had to do), Stay Gold (if gold had a sound, this would be it), Black Swan, Blue and Grey (i live for melancholy), Life Goes On (spring day’s successor), Filter(park jimin is a threat), Friends (my feels!), Louder than bombs (TROYE SIVAN), UGH (murder music), 00:00, Moon (jin solos are beautiful always) and Your Eyes Tell (honestly, show me one bad japanese single, i dare you).

Ghosting by TXT

I got into TXT a lot more this year, as opposed to being a casual listener that I was last year. Many people say they have a no-skip discography and I believe it’s true. My most played songs were Blue Hour (i ADORE this song), We Lost the summer, Wishlist, Can’t you see me (the song that made me a stan), Fairy of Shampoo (ethereal), PUMA (choi yeonjun is a threat), Eternally (an ATTACKK!) and their f2020 cover.

Answer by ATEEZ

Ateez is another group i really got into this year, mesmerized by their performance abilities. My most played : Star 1117 (i’m very soft for this song), To the Beat (a true bop), Inception (holy jongho vocals), One day at a time and Good Lil Boy (does hongjoong ever have a bad rap verse?). Their Black Cat Nero cover also blew me away!! (i’m lowkey obsessed).

God’s menu by Stray Kids

I’ve been keeping an eye on Stray Kids ever since hellevator came out and this is my favourite song by them, so far (yes, i had a heart attack when i first saw Hyunjin). Most Played : Back Door (the beat drop gives me life, the choreo is probably my fav), All in, Easy (do they ever have a bad chorus?), GO LIVE (the beat??!! killer), Another Day (i am a slow jam hoe) and My Universe.

Pacman by eaJ

I didn’t think it was possible to love him more after day6 but Jae’s solo music has proved me wrong. Yes, i love Pillows (with Keshi) to bits but pacman is my first love. Most Played : It just is (Seori and their golden vocals), LA TRAINS (vocals!!!), Pinocchio (the mv is adorable, the beat is so fun), 50 proof (the vibes man, it's the VIBES) and TRUMAN.

Left & Right by Seventeen

Another group with amazing releases this year, I’m slowly getting into Seventeen more these days. Most Played : Fallin’ Flower (so beautiful, the vocals), 24H (the beat change?!!???), 17 (Joshua, DK and Pink Sweats) and HOME;RUN (this is a brand of fun that is entirely their own).

Not by the moon by GOT7

I am no stranger to GOT7, i’ve liked their music for years now but this is one of their more lyrical releases this year and i adore when GOT7 does this type of music. Most Played : Poison (jackson opens it and the vibes are immaculate), Last Piece (the way the vocals flow into the rap) and Thank You, Sorry.

So Beautiful by DPR IAN

This is literally the first song i’ve heard from this artist, please rec me more. I also adore No Blueberries with DPR LIVE and CL.

Eight by IU, Prod. SUGA

IU is an indisputable vocal queen, and her music always comforts me greatly so when i heard she was having a song produced by Yoongi, i promptly lost my shit. It was everything I expected and more and embodies sorrow and pain with great grace. Give you My Heart from the ‘Crash Landing on you OST’ was also a loved song this year.

Cry for me by TWICE

How do i talk about the queens? TWICE is the group i go to when I want fun music with good vibes but this song has such bad b*tch vibes that i am in love. Most played : More & More (a bop), Don’t call me again, I can’t stop me (i love the way it flows), Handle It (the vocals??? How pretty this song is???) and Say Something (seriously, eyes wide open is an amazing album).

Criminal by Teamin

Where do i start with Lee Taemin? I love almost all his solo stuff. He grabbed me by the neck ever since ‘Move’ and hasn't let go. Criminal is SO taemin that i don't think anyone else could have delivered the concept with such grace and grit. Most Played : 2 Kids (the chorus is so good), Clockwork, Idea (i love the vibe) and Pansy (i'm a ballad hoe).

Maria by Hwasa

Listen, i loved Twit when it came out but i love Maria as her sound so much more. Most Played : I’m bad too (feat. DPR LIVE) (i love the beat, the vibe and the flavor), LMM and Orbit from ‘The King: Eternal Monarch OST’ (as soon as her voice comes in, i loved the song).

Breath by DEAN, Rad Museum, Mokyo

I’m not aware of many DEAN releases this year, please feel free to rec me if I missed any.

Dear my friend by Agust D ft. Kim Jong Wan (NELL)

D-2 was everything expected from the second mixtape off Agust D and yet it brought a fresh wave of singing and melodies, once again proving the man’s production genius. This song is so reminiscent in it’s lyrics and still so real, its my favorite off the record.Other songs I loved : People, Deachwita and What do you think? (i DID love the complete mixtape though).

Given - Taken by Enhypen

Yes, I watched I-LAND. Given-Taken was a better debut then I expected at first. 10 months (the chorus and beat) and Flicker off their debut album were also played a lot.

I just want to stay with you by Zion.T

The King: Eternal Monarch was a much awaited drama for a lot of people and it’s OST is one of the best ones this year. Zion.T’s amazing vocals really did an amazing job of expressing the love in the story. Other songs I really liked from this album were Gravity by Kim Jong Wan and the Hydrangea Instrumental by Lee Geon Yeong.

The purge by Jay Park, pH-1, Woodie Gochild, Sik-K, and others.

H1GHER: RED TAPE is my hype album of the year. All artists involved did an amazing job. Seriously, get yourself some bomb ass beats, as a treat. Other loved tracks : Telefono Remix (Woodie Gochild is great at his flavour of delivery), Closed Case and The Arrival.

Soul by Lay (zhang yixing)

Yixing’s album LIT was his best project till date, no arguments. He’s really evolved into such a refined musician, especially with how well he merges traditional chinese instruments into Hip Hop/RnB beats and I adore the vibe of this album. Although the album is great entirely, Soul is my favourite for how softly and prettily it flows. Other loved tracks: Eagle (the BEAT), Fly, Boom (bops on bops on BOPS) and Call My Name.

100 ways by Jackson Wang

It is astounding how well Jackson has formed his own style of music ever since starting off with Papillon. He’s also sort of come into himself as an artist and it has birthed some great music. Other loved tracks : Pretty Please (i love the vibe of the song!) and Should’ve Let Go (ft. JJ Lin).

SUGA’s interlude by Halsey

Idk how else to explain it but Halsey and Yoongi have great music synergy. There’s something about their song/lyric writing that matches very well and needless to say, I adore the song. Blueberry eyes by MAX is also another great Yoongi collab.

In Your Time by Lee Suhyun

It’s Okay to not be Okay had an OST that was dreamy, gritty and very fairytale-esque, much like the drama itself. Among a bunch of great songs, this one is my favourite. Other loved songs: You’re Cold by Heize (always delivers!), Breath by Sam Kim (OST angel), Hallelujah by Kim Feel (chills!), In Silence by Janet Suhh (literally how angelic is her tone??), I’m your Psycho by Janet Suhh (it’s creepy in a dreamy way) and Brother | Her World | Through the dark Tunnel of time | Butterfly - all amazing instrumentals by Nam Hye Seung and Park Sang Hee (seriously, go listen to the album).

By my side by Junny

Another great discovery towards the end of the Year, Junny has vocals for DAYS and admirable delivery. Other loved songs: AURA ft. pH-1, edge (this is so hypnotising in it’s beauty) and I will. Please feel welcome to educate me more about this artist!!

Make a Wish by NCT

NCT always provides bops and NCT U is my favourite sub-unit, for their unique style of music, so when they came out with this song I was ready and they delivered! Most Played : 90’s Love (the old boy band theme was so well done), From Home (i’m a sucker for slow songs), Nectar (yes, i adore WayV’s music), MAD DOG by NCT 127 and Kick It by NCT 127 (this is the flavour of NCT i LOVE).

Zombie by Day6

Day6 has always been in my daily otations and as always, they put out good music after good music. I loved both the original Korean and the English versions of this song (they do rock well, what else is there to say?). Other loved songs : Tick Tock (oh the vocals, the way the beat moves!), Love me or Leave me, Day and Night... actually the whole Album is great, go listen to ‘The Book of us: The Demon’.

Fearless by Ma Di [other chinese songs]

Chinese songs have been a surprisingly pleasant addition to my daily rotation. Fearless from the “Go Ahead” OST takes the top stop because of how well it embodies the struggles of stepping into adulthood, the melody and MaDi’s amazing vocals. Other Chinese songs I loved: Praise for Red Plum Blossoms by Xiao Zhan (the perfect welcoming of spring paired with such expressive vocals), Remaining Years by Xiao Zhan (Joy of Life OST) and his OST for the Oath of Love.

____________________________________________

The following is the list of songs I heard in 2020, but were not released in 2020. Please let me know if you like them, or if you know other similar music! (I know, I know, I’m late to the game) Enjoy!

DEAN - Sometimes I hear Howlin' in my head

Zhang Jie/Zhang Bichen - Simple Wish

Li Ronghao - If I were Young

JJ Lin - What I Miss

Ateez - Mist | Twilight | Wonderland | Say my name | Thank you

Stray Kids - voices

Seventeen - Trauma

Loona - Hi High

Day6 - Shoot me

GOT7 - You calling my Name

RADWIMPS - Is There Still Anything That Love Can Do?

Baekhyun - UN Village

Taemin - Goodbye | want

Aquillo - Silhouette

Talos - To Each His Own

Cigarettes after sex (literally everything)

__________________________________________________

I know this was long, if you read it till the end, I hope you all enjoyed it still.

Have a smooth year in 2021,

-love, c.

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deadcactuswalking · 5 years

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REVIEWING THE CHARTS: 31st March 2019

Yeah, this is quite a bit frickin’ late but I’ve been busy tonight and you got the Beauty of “Doin’ Your Mom” this week anyway so I hope it’s fine that this is pretty late. Anyway, I don’t care, let’s get to the top 10, and this episode might barely get to the minimum word limit; we’ll see.

Top 10

Lewis Capaldi is at the top spot for what I believe is his fifth week with “Someone You Loved” at number-one.

At number-two we still have “Giant” by Calvin Harris and Rag ‘n’ Bone Man as the runner-up.

Tom Walker is up a spot to number-three with “Just You and I”, at a new peak.

I’m surprised that Jonas Brothers have been able to survive increased longevity, as their single “Sucker” moves up a single spot from last week to number-four.

Somehow, Ariana Grande’s “break up with your girlfriend, i’m bored” is still moving up spaces, one this week to number-five.

Dave’s “Location” featuring Burna Boy is up two spots to number-six.

We also have a new arrival in the top 10, with “Fashion Week” by Steel Banglez, AJ Tracey and MoStack. It’s producer Steel Banglez’s second top 40 hit and first ever Top 10 hit as a lead artist, AJ Tracey’s fourth top 40 hit and first ever Top 10 hit, as well as MoStack’s fourth top 40 hit and first ever Top 10 hit. Congratulations, guys, but we’ll talk about the song itself later.

LAUV’s “i’m so tired...” with Troye Sivan is up a space to number-eight.

At number nine, we have “Walk Me Home” by P!nk up three spaces to number-nine thanks to the video.

Finally, NSG’s “Options” featuring Tion Wayne is up a single spot to #10.

Climbers

We have three notable climbers this week, all of which are top 20 entries, with “Boasty” by Wiley featuring Idris Elba, Sean Paul and Stefflon Don moving up 11 spaces to #11 and “Here with Me” by Marshmello and CHVRCHES making its way up nine positions to #14. We also have Ava Max with “So Am I”, up 12 spaces from last week’s debut to #18.

Fallers

We have seven fallers and they can be set into three pretty distinct categories. First, we have the songs from Dave’s PSYCHODRAMA gradually making their way out, with “Disaster” featuring J Hus down five positions to #15 and “Streatham” falling eight positions to #22. Then, we have the songs affected by UK chart rules and the streaming cuts that songs with legs typically experience, with “Don’t Call Me Up” by Mabel collapsing down 13 spaces to #16 just as it makes its breakthrough in the US and “7 rings” by Ariana Grande thankfully being completely demolished as it moves down a whopping 22 spaces to #29. Finally, we have the expected yet somewhat premature songs clearing the way for a soon exit, like “Please Me” by Cardi B and Bruno Mars down eight to #25, “Nights Like This” by Kehlani featuring Ty Dolla $ign down five to #33 and “How it Is” by Roddy Ricch, Chip and Yxng Bane featuring the Plug down six to #40 (The faster the better).

Dropouts

We just have four of these this week, with “Juice” by Lizzo sadly making its exit from #38 off the debut, “Nothing Breaks Like a Heart” by Mark Ronson and Miley Cyrus finally leaving from #36, and two songs that never really took off, “Bally” by Swarmz and Tion Wayne from #40 and “wish you were gay” by Billie Eilish from #39, although the latter will probably rebound thanks to the album impacting next week. There are no returning entries so let’s get straight to the new arrivals—

FEATURED SINGLE

“Free Uzi” – Lil Uzi Vert

Produced by DJ L Beats

It’s weird to put Lil Uzi Vert in this section in particular, but I don’t think this song will ever chart considering Lil Uzi Vert’s main audience is probably using Spotify, and this track is only available through a YouTube video, SoundCloud and I think TIDAL because of course, why not? Anyways, Lil Uzi Vert signed a contract when he was young and offered money by DJ Drama, Don Cannon and their label Generation Now, a subsidiary of Atlantic. To cut it short, and to disregard all the drama (No pun intended) like the leaks, Uzi saying he’s going to retire music and “Wake up back in 2013”, him being cut off of NAV’s album due to label shenanigans, Lil Uzi Vert cannot release music when he wants to and has been revealing this info via depressing Instagram Live streams and to see him so defeated is kind of painful, so when I saw that Uzi released a song called “Free Uzi” I figured it wouldn’t be introspective and would be more of an anthem for young aspiring artists who are being shelved by their label... I now understand that 1.) That’s an incredibly niche market, and 2.) No, the song’s about having sex and shooting people. Using a beat ripped from a G Herbo track from 2012 to express his anger towards the label in the oddest way, using a pitched-up version of his voice (To the point where he kind of sounds like Playboi Carti). This song screams raw Uzi, and is a middle finger to his label by being relatively inaccessible in comparison with what the label would want Uzi to make for a comeback single. It’s got an entirely uncleared sample, an almost complete lack of ad-libs which are otherwise incredibly prominent in Uzi’s discography, a monotonous flow that instead of droning as it’s used for the entire song, becomes a mantra, the lo-fi video by some unknown director which is just Uzi smoking and performing really wacky, cute dances with his friends (And NAV) in a corner store, the very abrupt ending and some of Lil Uzi Vert’s more explicit sexual and violent lyrics, including an outrageous line about Colin Kaepernick – search it up, it’s pretty hilarious. It’s such a vengeance song against his label, and I never expect Uzi to be this furiously stubborn and willing to jankily put together a half-unfinished song just for the sake of making DJ Drama even more panicked. It’s an absolute joy to watch and listen to, and I hope it makes it onto Eternal Atake if that ever comes out. Oh, and:

I still watch Big Bang Theory, that’s the nerd in me

Yeah, no, that line’s inexcusable.

NEW ARRIVALS

#38 – “Pretty Shining People” – George Ezra

Produced by Cam Blackwood – Peaked at #12 in Scotland

So this is the fifth single from George Ezra’s second album Staying at Tamara’s because he can’t stop milking his most mediocre effort yet, and also Ezra’s sixth Top 40 hit overall. The record has been winning awards left and right so I don’t blame him for pushing this single – although it was already pushed a year back with a music video as a promotional single – and at least this song is generally pretty inoffensive, although Ezra’s voice sounds odder here than ever, and has a country twang to it that matches the production but does not fit in the slightest, although immediately it is not nearly as noticeable after just the first verse. Overall, this is actually just kind of a pathetic, plastic folk-pop song with some nice guitar licks in there, sure, and an electric guitar riff that is way too distant in the mix, with the hook being an overwhelming pile of absolute cheese that I haven’t heard since R.E.M.’s “Shiny Happy People”. I do appreciate how it is mostly live instrumentation, and I do love the steady drum beat here, but otherwise I wasn’t impressed the first time and it’s worse now that I know his hit song formula and that this “New” track follows it to an absolute T. It’s not awful, but I’d skip it. Next.

#32 – “Piece of Your Heart” – MEDUZA and Goodboys

Produced by MEDUZA

So, I feel this one needs some backstory. MEDUZA is an up-and-coming DJ collective or EDM producer band from what I can gather, and by up-and-coming I mean they literally have two songs available on their Spotify page, and one of them is a remix, so yes, this is technically the debut single from the Italian dance music band, and Goodboys? Well, it’s their debut single too, I’m pretty sure, as they have nothing except a picture up on their Spotify page. Looking at Genius, I now know that they are a London-based pop trio consisting of three producers and I’m assuming vocalists. Hm, two artists, both with no single released yet, collaborate for their debut single, so the only idea I have to base my expectations off is “EDM”, and yes, I suppose it is, and I actually quite like it, to be completely honest, more of a guilty pleasure – if you think those exist, of course. In reality, this is generic deep house that isn’t really much of a novelty or anything special, at least on the surface. The vocalists from Goodboys have very distinct British accents that make their repetitious hook sound hilarious, and I like the glitchy synths harmonising with the synths before the “Drop”, which, by the way, is one of the dudes from Goodboys vocalising the drop as if he was on that Radio 1 show where DJs have to guess their own drop, and it’s pretty cute if anything. Not only does it replicate the drop, which is nice in itself, but it really gives it a homegrown feel because it sounds like someone trying to sing along to it at home. Oh, and the melodies in the post-chorus are pretty gorgeous, and I love how the drop kicks in the second time with the stray snare before everything. Is it generic? Yes. Is it janky? Yes. Do I still like it? Hell yes. If you like this Loud Luxury brand of house-pop, this might just be for you.

#19 – “Keisha & Becky” – Russ and Tion Wayne

Produced by Gotcha Bxtch

So, when I say Russ, I mean Russ splash, a UK rapper known for his top 10 hit “Gun Lean”, which he lazily interpolates in his second Top 40 hit (and Tion Wayne’s third). I don’t mean the American rapper who everyone hates, and I made this distinction last time. Whilst it’s annoying, it’s separated on both Spotify and Genius as Russ splash so it’s not like it’s going to be confusing to a casual listener. Anyway, this is a song by two UK grime rappers known for faux-dancehall and trap bangers in which they talk about killing people, so how can they pull off trying to make some sort of love song? Well, they don’t. I don’t think I’ve heard a less sexy “Very sexy” in my life. In fact, there’s not really a synth melody to carry this song, just an ambient stock sound in the background with just heavy bass and trap percussion to give it much of a beat and honestly the stark minimalism really works. If you ignore the hook’s existence, Tion Wayne sounds as enthusiastic as ever and I’m starting to really love this dude’s charisma. He has an insane ad-lib that is just a really long screech on here as well, which I think is an explanation in itself to why I like this dude. The first half of the hook is exciting until, well, “Very sexy” (It isn’t), and when Wayne and Russ start trading bars it gets pretty fun, in fact Russ sounds pretty great on the song. His rapid flow and nasal delivery is a perfect fit, but honestly I can’t get over how it’s decidedly unsexy for a song about how Keisha and Becky are “Very sexy”, and makes no effort to be because it’s just a trap song about gang violence and attractive women like they all are, but there’s not really much storytelling to explain who Keisha and Becky are or anything, it’s just that one line that irritates the hell out of me, “Keisha, Becky, very sexy”. Like the rest of the song, it’s so bare minimum that it nearly works, but it still misses the mark for me. Sorry, Wayne, I’m excited to hear your next song, but Russ? He can go away, he’s kind of worthless, but I see some improvement.

#7 – “Fashion Week” – Steel Banglez, AJ Tracey, MoStack

Produced by Steel Banglez and TheElements

What Steel Banglez does is make these who’s-who collaborations between British rappers almost like he’s DJ Khaled, although in this case you can tell Steel Banglez actually co-produced the beat because he does have a signature style, which is trap with a sprinkling of dancehall... so, yeah, he’s a producer who just makes generic beats that everyone else makes, right? Why is he so big? Well, he’s kind of a pioneer, because he was one of the first to combine UK rap, dancehall and pop hooks as well as keeping that ruthlessness and bloodthirsty attitude of British trap, to great success. So, is he any good? Usually, no, he kind of sucks and his style does nothing for me. This one definitely has a Caribbean rhythm that I like but there’s not enough bass to make the beat really hit, and MoStack is an absolutely pathetic rapper who gives one of the worst performances I think I’ve ever heard in UK rap as he mumbles in his offbeat falsetto without a care, with the mix barely even caring enough to keep his vocals audible. Compare it to AJ Tracey, with a strong delivery, odd and urine-related yet actually witty wordplay, multisyllabic rhymes, and he’s on the same song and does the hook. If MoStack wasn’t on this and the beat had some more bass than it does, maybe this could have been serviceable, but especially with the awkward instrumental section, despite me personally liking the strings and AJ Tracey’s verse, I can’t like this as much as I want to.

Conclusion

Wow, not a great week, huh? Well, MEDUZA and Goodboys take away Best of the Week for “Piece of Your Heart”, even though I wouldn’t say it’s exactly great or even all that good. Worst of the Week obviously goes to Steel Banglez, AJ Tracey and MoStack for “Fashion Week”, but nothing else is even notable enough for Honourable or Dishonourable Mention. See ya next week, and free Uzi.

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