#its not just any comeback that deserves a guitar riff to follow you know

[cleaverqueer]

your tag on my pukeboy post made me laugh out loud thought you might want to know

GOOD im glad :0D

[kpoptimeout]

Top 20 Most Underrated K-Pop Songs of the Decade (2010-2019) PART 2

The 2010s has come and gone before we knew it.  

Continuing with the K-Pop Timeout Tradition (see 2018 Ver) of listing the Top 10 Most Underrated K-Pop Songs because all the other sites are just bothered with the Top 10 that pretty much everyone will have heard of/have fan wars over, below we have created a list of the Top 20 Most Underrated K-Pop Songs of the Decade because 10 spots is not enough to cover the amount of talent slept on.

For these reasons, we have listed 10 of them here in PART 1 and will list an additional 10 in here. This is in alphabetic order NOT in the order of awesomeness because all of them are awesome. Also, all MVs are linked in the song titles because Tumblr won’t let me share that many videos in one post.

Rainbow “Sweet Dream” (2011)

The younger sister group of DSP Media’s highly successful 2nd gen girl group KARA, Rainbow never received much attention at all in comparison, never having received any music show wins since their debut in 2009. While this may be a result of DSP’s mismanagement (e.g. changing the girls’ concept from edgy to cute all of a sudden mid-way in their career and chucking them to promote in Japan before they have a solid domestic fanbase), it was never because of the quality of Rainbow’s music. Even K-Pop critics would agree that their 2011 comeback “A” is an all-time K-Pop classic. However, we would like to bring attention to “Sweet Dream”, because it is one of the best Rainbow songs ever and even more underrated than most of the songs in Rainbow’s already highly underrated repertoire. Following powerful poppy tracks like “A” and “Mach”, Rainbow appeared to be developing a style completely unique of their own in “To Me” and it reached fruition in “Sweet Dream”. It was not just poppy and powerful but showed emotional depth and the beautiful harmonies of the girls. While the girls have all left DSP Media, the girls are super close and they have chosen not to disband, thus becoming the only 2nd gen girl group still active with the full original lineup. The members even self-funded their 10th-anniversary comeback this year. If you love to support beautiful music and an even more beautiful friendship, listen to “Sweet Dream”!

RANIA “Just Go” (2013)

Newer K-Pop fans would probably just know RANIA for Alex’s brief stint in the group and making it the only girl group to ever had a Black member on its lineup. But even before Alex joining the group, RANIA had been known for breaking barriers in the conservative K-Pop industry. Their debut song “DR Feel Good”, which was originally written for Lady Gaga, was seen as too sexy by the Korean public when all they did was wear leather, get low and hair flip a lot. Their later songs continue to be powerful and amazing but it appeared that the public just chose to always label them as the “too sexy” group. “Just Go” is an example of their brilliance that the K-Pop industry was just not ready for at the time. “Just Go” is a party track carried by extremely song vocals and creative choreo where the girls interact a lot with the back dancers. The girls also wore lace full-body suits, leather jackets and actual pantsuits in different scenes throughout the MV. The song exudes so much BDE before BDE even existed as a term. If you want a confident girl group power anthem, “Just Go” is the song for you.

The SEE YA “Be With You” ft. SPEED’s Taewoon (2012)

The SEE YA was MBK Entertainment’s (formerly Core Contents Media) first ballad group after the highly successful Davichi. While Davichi is more of a pop ballad group, The SEE YA being technically a reboot of the RnB group SeeYa went for a darker sound. Their typical sound is encapsulated in their debut song “Be With You” ft. SPEED’s Taewoon, which had lovely harmonisation and also piercing high notes. The vibe of the song simply tugs at your heartstrings like a beautiful melodrama OST. Even the MV itself is a melodrama. MBK really should have promoted the group’s own music more instead of doing lots of cross-group collaborations so more people recognised The SEE YA’s own unique sound. While The SEE YA has disbanded in 2015, their music lives on as extremely underrated masterpieces. If you love dramatic ballads and K-Drama OSTS, you should check out “Be With You”!

SPEED “That’s My Fault” ft. Davichi’s Minkyung (2013)

Another talented group that unfortunately disbanded in 2016 due to MBK Entertainment’s poor management, SPEED is an exceptionally talented group that deserved so much better. Some K-Pop fans may know SPEED for their crazy choreography on heelys, but not as many know them for their vocal and rap talent. SPEED’s debut song “That’s My Fault” ft. Davichi’s Kang Minkyung is one of the rare male idol debuts that was super melodramatic and also pays homage to real historical events. The MV depicts teen love that slowly blossoms in the backdrop of the 1980s Gwangju Democratization Movement of South Korea which ended up with 144 civilian deaths, featuring the acting of Ji Changwook, Park Boyoung, A PINK’s Naeun and Ha Seokjin. For a rookie group to have the skill and emotional depth to convey such a song is rare and there are not even that many veterans groups that have made songs honouring historical events and tragedies. These qualities make it one of the most underrated songs of the decade. If you like songs that pay homage to historical events, you should check out SPEED’s “That’s My Fault”!

SPICA “Russian Roulette” (2012)

When discussing extremely talented but underrated K-Pop girl groups, SPICA would definitely be brought up in such a conversation. The members are all amazing and powerful vocalists with a lot of attitude. Even the visual member, Jiwon, was hitting the whistle register. It is unfortunate that the group was consistently slept on and disbanded in 2017 (although member Bohyung has teased at a possible reunion). It is not an overstatement to say powerful vocal girl groups like SPICA walked so groups like MAMAMOO today can run. “Russian Roulette” is their debut song but it is already K-Pop gold - it showcases every member’s vocal skills and different ranges. The whistle loop in the chorus is also super addictive and memorable. So if you love vocal-heavy girl groups and their songs, you would love SPICA’s “Russian Roulette”!

Stellar “Crying” (2016)

Mainly known for their controversial and sexual MVs, Stellar actually was a very talented group whose talent was often overlooked by controversy due to management by a company that just wanted views when their initial cute debut song “Study” did not generate enough attention. When the group disbanded in 2018, members revealed in interviews that they were uncomfortable with the concepts they had to do and would not have been an idol if they knew it would be like this. And really the company should have allowed the girls more opportunities to do concepts they enjoyed and to showcase their abilities. “Crying” is an example of Stellar’s actual stellar talents - it includes beautiful vocals and harmonies as well as some fun laid-back rap. This addictive summer track would have dominated charts if it was sung by less controversial and already established acts like Son Dambi, After School, AOA or SISTAR. If you love a good summer bop, this is the song for you!

Sunnyhill “Midnight Circus” (2011)

How often do you see a K-Pop song critiquing the harsh realities of the K-Pop industry? Rarely. And Sunnyhill’s “Midnight Circus” is one such song. With the co-ed group donning the concept of a being a dark circus troupe, the song compares the K-Pop industry to that of a circus, where people are forced to perform in dangerous conditions often against their will or in ways they are not interested in. Such insights still ring true today with idols being constantly hurt in poor working conditions or suffering immense and often fatal amounts of stress from public scrutiny. The song itself also draws heavily from instrumentals one would associate with a circus - accordion riffs, heavy usage of the fiddle and also brass instruments. The singing is also very experimental and artsy - at times the members sing like they are speaking dramatically on stage, at times they are whispering ominously. The choreography is also creative and often has the members and back dancers moving like puppets controlled by the circus *cough* K-Pop industry *cough*. The fact that the remaining members of Sunnyhill are currently wallowing in obscurity and do not even have a changing room for their group’s music show comeback stage speaks volumes of how underrated they are. If you love insightful and well-executed concepts, you would be obsessed with “Midnight Circus”!

TRAX/TraxX “Escape” (2018)

In the early 2000s, SM wanted to produce the best solo artist, the best boy band, the best boy band and the best rock band. While they achieve the first two through BoA and TVXQ, SM struggled to make CSJH and TRAX as successful. TRAX has gone through multiple concept changes over the years - from glam metal to pop-rock to ballad now in 2018, the group transitioned to EDM with the addition of DJ Ginjo and rebranding themselves as “TraxX”. A possible reason for previous failures to make TRAX succeed is how their previous styles never fully show the abilities of all members. The glam metal aspect may have helped show Jungmo’s guitar playing abilities but its unique way of singing prevents the mainstream from appreciating Jay’s vocal abilities. While pop-rock and ballad allowed more people to hear Jay’s vocal colour and wide range, it also limited Jungmo’s ability to show his guitar skills. This 2018 comeback is phenomenal and SM should have really promoted “Escape” better - finally with EDM Jay’s godly vocals and Jungmo’s rock guitar skills are unleashed in a way never seen before in K-Pop. While there has been an increase in EDM use in K-Pop this decade, no other K-Pop song has incorporated the genre into K-Pop as well as this song, which also throws in rock. If you love an amazing genre-blender, “Escape” is the song for you!

TOPPDOGG “TOPDOG” (2014)

After BLOCK B’s exit from Stardom Entertainment, the label invested heavily in TOPPDOGG, aiming to make it the Super Junior of Hip-Hop. Honestly, the company should have just marketed TOPPDOGG as the group with the hardest and most diverse rap line in K-Pop because up to this day there is still not a group with as many different and talented rappers. The group had 5 amazing rappers. They also did not lack in vocal talent at all. However, the group never took off and members started to leave to pursue careers elsewhere and the 5 remaining members have rebranded themselves as XENO-T in 2018. “TOPDOG” should have been the song that made TOPPDOGG a household name but somehow it did not. The song was powerful but not a regular powerful boy band track. Sampling Mozart's “Symphony No. 25 in G Minor”, which Mozart wrote when he was only 17, the group hoped to portray the abilities of genius youth and they really did by adding their own electronic and hip-hop flair to the orchestra piece. Even the choreography and MV goes hard and would look futuristic even today with the top-notch CGI. It is definitely one of the best K-Pop tracks of this decade that has yet to be replicated. If you are a fan of dramatic boy band bops, “TOPDOG” is the song for you!

ZE:A “Ghost of the Wind” (2013)

ZE:A, like Nine Muses, never reached their full potential under the management of Star Empire Entertainment, a label which only seems to be able to make 1-3 members of a group into superstars while keeping the whole group itself in nugudom. ZE:A had many amazing tracks but “Ghost of the Wind” is arguably the best of ZE:A and also one of the best K-Pop songs of the decade. The orchestral strings provide the song with a grand and classy atmosphere that also has a sense of urgency. This is complemented well by the theatrical choreography that the members all nailed and the belting of high notes by not one but three members. Yet somehow this song charted poorly when it was promoted and the group is now currently in an indefinite hiatus while members are all pursuing solo careers in different industries from music to even mixed martial arts. If you love an orchestral and grand boy band song, check out “Ghost of the Wind”!

Which K-Pop songs do you think were underrated throughout the decade? Leave your thoughts in the comments section below and let the song sharing begin!!!

[hermitologist]

My 20 Favorite Records Of 2018

Hi. I made a list of my favorite records of the year again. People seem to enjoy these things, and I definitely enjoy tearing my hair out trying to figure out what I liked best, so here we are again.

 This years list is chock full of heavy/sludgy bummer jams, post-rock epics, and super aggressive metal and hardcore, with a few poppier and more adventurous indie records scattered about. The honorable mentions list gets a bit more eclectic if you’re looking for stuff that sounds a little less like it was birthed from the loins of the late-90s/early-00s Hydrahead and Relapse discography.

As always, I welcome your suggestions for records and podcasts I might’ve missed the boat on, no matter the genre. There’s way too much good stuff out there to keep up with, so help me out.

Also: When my aging corpse is not being pissy about being used for something other than child-wrangling, eating, or sleeping, I try to run a few days a week and will listen to/briefly review a record on each run. Almost every record on this list has been a part of one of those posts, so if you’re interested in such a thing, please check out my Instagram. 

BONUS: I put together playlists of my favorite song from each of my top 20 records, so if you’re overwhelmed and don’t know where to start, just throw it on and see if anything grabs you.

Hermitology’s Favorite 20 Records of 2018 - Spotify Playlist

Hermitology’s Favorite 20 Records of 2018 - Apple Music Playlist

20) Slugdge - Esoteric Malacology

This record is ridiculous in the best ways possible -- insane amounts of shredding, light-speed double bass and blast beats, and lyrics about slugs and other assorted beasts. It’s been ages since I went through my Swedish & Norwegian Metal phase, but this awakened those long-dormant receptors that used to hum when I listened to At The Gates, Opeth, Dimmu Borgir, Soilwork, et al.

Listen here.

19) Ingrina - Etter Lys

Excellent French doomgaze/post-rock that sounds like it could very easily be the soundtrack to the apocalypse. Etter Lys has a familiar sound/vibe, but a refreshing energy and captivating sense of dark melody that really makes them stand out to me. Highly recommended for fans of This Will Destroy You, Rosetta, God Is An Astronaut, et al.

Listen here.

18) Beach House - 7

This record was the perfect foil to all heavy stuff I listened to this year, and my go-to in-flight record of 2018. It’s a damn near perfect collection hazy, airy, dreamy, downtempo indie pop. I’d never been a huge Beach House fan, but 7 hooked me and pulled me in. Throw this your headphones on, press play, and melt into your chair or couch.

Listen here.

17) Culture Abuse - Bay Dream

This record was not what I was expecting, but it ended up being exactly what I needed. (If that makes any sense.) Instead of a grimy, high-energy punk record, I got a fuzzy, bouncy, catchy-as-hell soundtrack to my entire summer. A perfect blend of The Ramones and peak-Weezer, with a vibe all its own.

Listen here.

16) Deads - LLNN

Roughly forty minutes of insanely heavy and furious drop-tuned, down-tempo, doom-inspired crushers offset by eerie, cinematic synth parts. If you’re a fan of early-Cult of Luna and/or Isis, this record should be a new staple in your diet. There’s also enough atmosphere here to appeal to post-rock fans who might desire a little aggression boost.

Listen here.

15) Heads. - Collider

Beautifully written sludgy rock that falls somewhere between the heaviness and spookiness of Young Widows and the heroin-soaked atmosphere and melody of Failure. For what it’s worth, I dig Collider more than either of the aforementioned bands’ most recent output. It’s a perfect marriage of influences, killer songwriting, an excellent recording, and a flat out fantastic record from front to back.

Listen here.

14) mewithoutYou - [untitled]

I’ve been a mewithoutYou fan for ages and love everything they’ve done (so I’m a little biased), but this record is just on a completely different level as far as I’m concerned. It’s the peak of their creativity, songwriting, mood, dynamics, lyrics, production, etc. It’s got the atmosphere and moodiness of post-rock, the angular quirkiness of Fugazi, the energy of Refused (at times), and the all the character of a classic mwY record. It’s phenomenal, and doubly impressive because they made it 18 years deep into an already impressive career.

Listen here.

13) Foxing - Nearer My God

I was familiar with Foxing before this record came out because they’d toured with many former tourmates, and while I appreciated what I’d heard from them, they never really clicked with me. And then I heard this record and it totally floored me. It’s incredibly ambitious without coming across as super scatterbrained or pretentious and it’s executed flawlessly (production included). This band should be massive, and I’m stunned that I’m not seeing this record on more year-end lists

Listen here.

12) This Will Destroy You - New Others Part 1 & 2

Somehow TDWY managed drop two incredible full lengths a month apart, and I honestly cannot choose between the two (so I’m combining them into one). These LPs are arguably their best work as a band, the addition of Robi Gonzalez on drums has given their sound new energy, dynamics, and pocket, and there aren’t many bands in post-rock doing it as well as these dudes do. Incredibly impressive to be able to put out this much music all at once and have it be this consistent. 

Listen here.

11) The Armed - Only Love

Somehow this record manages to be chaotic, energetic, beautiful, delicate, catchy-as-hell, abrasive, and atmospheric all at once. Sometimes it sounds like you accidentally have five different songs playing at the same time. Somehow modular synth-soaked punk/metal works. Clearly I cannot explain exactly what in the everliving hell is happening here, but I can tell you that it’s a wholly arresting record that blew my mind on first listen, and has gotten better with every listen since.  

Listen here.

10) Hemwick - Junkie (EP)

Normally, I wouldn’t include an EP on this list, but this is one just too good to ignore. It’s 30 minutes of insane riffage and heaviness that sounds like it spawned from the same gene pool that produced Converge, Cult Leader, and Intronaut. It’s got the spazziness and brutality of the former, blended perfectly with the occasional post-rock/metal shift into the epic melody of the latter. Super excited to hear what comes next for these guys (hopefully an LP recorded with Scott Evans or Kurt Ballou?), because this is an incredibly promising “debut”. 

Listen here.

9) Architects - Holy Hell

As a standalone record, Holy Hell slays. As a follow-up to losing a family/band member to cancer (guitarist, Tom Searle), it’s a fucking triumph. Somehow Architects managed to push through the grief and heartache, and pushed the boundaries of their musical creativity and emotive lyrics to create what is arguably their best record. Holy Hell is packed to the gills with with massive, arena-sized riffs and moshworthy breakdowns, sprinkled with just enough melody and dynamic to keep things fresh without losing its edge. An amazing accomplishment in the face of such adversity.

 Listen here.

8) Slow Mass - On Watch

An outstanding fusion of mellow(er) post-hardcore, bummer jams, Unwound-inspired post-punk, and shimmery shoegazey goodness. “Suburban Yellow” (see playlist) is one of my favorite songs of the year, falling somewhere between the crushing gloominess of a Kowloon Walled City song, and the somber plod of a classic Pedro The Lion track. I tend to shy away from music with dual lead vocals (because I often prefer one of the voices to the point that I’d rather just hear it all the time), but Dave Collis and Mercedes Webb’s voices are so complimentary and perfectly balanced that they take these songs to another level. Bonus: I’d highly recommend watching their frigid Audiotree session. 

Listen here.

7) Hot Snakes - Jericho Sirens

One of my favorite bands of all-time put out its first record in 14 years, and it was well worth the wait. It’s Hot Snakes doing what they do best --  ripping 30 minutes of high-energy post-punk jams fueled by the brilliantly weird guitar wizardry of John Reis, and propelled by the dual drummer attack of Mario Rubalcaba and Jason Kourkounis. I’m not entirely sure where I’d rank it in their discography, but having fresh Hot Snakes tracks makes the world a better place. 

Listen here.

6) Cloud Nothings - Last Building Burning

What did we do to deserve two Cloud Nothings LPs in two years? I was a little worried about whether the band could churn out a record as fantastic as Life Without Sound (which landed at #7 on last year’s list), but they absolutely did. Last Building Burning builds on the catchiness and energy of LWS’s bummer jams, but adds a little extra grit, fury, and urgency. The result is a record that’s damn near peak Cloud Nothings. It’s got hooks for days, an energy that’ll make you want to bounce off the walls, and a nasty edge that brings to mind 80′s Wipers or early Hot Snakes jams.

Listen here.

5) Cult Leader - A Patient Man

Cult Leader’s Lightless Walk was a Top 5 record for me in 2015, Gaza’s No Absolutes In Human Suffering was in my Top 5 in 2012, so it should be no surprise that they’ve cracked the Top 5 again. I’d be hard pressed to name another HEAVY band who has done it for me the way these guys have over the past six years. A Patient Man hits all the notes -- pure chaos, expansive and melancholic post-rock sections, and the most headbang-worthy breakdowns on the planet. It’d take a miracle to get this 43-year-old geriatric with a bad back to come out of mosh retirement, but the breakdown in “Aurum Reclusa” is seriously making me think about a comeback.

Listen here.

4) Low - Double Negative

I don’t think I’ve had a record screw with my brain as hard as Double Negative did since I heard Kid A for the first time. It’s a spooky, brain-liquifying journey through sonic textures and ambience, arranged and mixed in a manner that is absolutely enthralling (and a bit unnerving and “wtf are my headphones broken?”at times). If you’re gearing up for a first listen, I’d highly recommend clearing an hour on your schedule, throwing on a good pair of headphones, and letting this have its way with you. If you’ve already heard it, you should listen to it again. It gets better and weirder and more captivating every time. It’s a trip, and a great one at that. 

Listen here.

3) Daughters - You Won’t Get What You Want

As a standalone record, this is groundbreaking. As a “comeback record” it’s a fucking triumph. Their S/T record (2010) is one of my favorite heavy/noise rock records of all-time, and somehow YWGWYW surpassed my lofty expectations for a follow-up. It’s a dizzying journey for sure. It’s moody as hell. It’s coherent. It’s adventurous without being overly weird. And it’s all of the best things about their previous work distilled into a perfect chunk of musical madness. The best records are the ones that make your brain matter spill out of your ears upon first listen, but it’s the all-time classics that do that and get better with every subsequent listen. Sure, it’s a record for “when the mood is right”, but when I’m in the mood, this hits all the notes for me. It’s a masterpiece. 

Listen here.

2) Holy Fawn - Death Spells

This record came out of nowhere and absolutely knocked me on my ass. I’m not sure I’ve had a record do that to me since I first heard Cloudkicker in 2009 -- knew nothing of it, had zero idea what to expect and literally had goosebumps for a majority of my first listen. Tempe’s Holy Fawn have created a unique blend of dense, dynamic, and cathartic post-rock, doom, and shoegaze with airy vocals that remind me a bit of Jonsi from Sigur Ros. It’ll be a daunting task to follow up this masterpiece, but I’m incredibly excited to see and hear what the future holds for these guys.

Listen here.

1) Pianos Become The Teeth - Wait For Love

This was one of my most anticipated records of the year, and it not only lived up to my lofty expectations, but exceeded them. “Bitter Red” was far and away my most played song of the year, and I must’ve listened to Wait For Love 50 times during the month of February alone. It’s no surprise that I found myself going back to it throughout the year, and in revisiting for this list, it gave me chills just like it did 10 months ago. These dudes are doing melancholic and cathartic post-hardcore better than just about anyone these days, and I cannot wait to hear what’s next for them.

Listen here.

HONORABLE MENTIONS

Roughly 80% of these records could/should have very easily landed on the Top 20 list (and probably would if I obsessed over this list any further and gave everything a super dedicated re-listen). They’re all absolutely worth checking out.

I know this list might be a little daunting, so I put together a Spotify Playlist of my favorite songs from each record, so you can just throw it on and see if anything grabs you. 

Thanks to my man Zack Hite for helping me out and putting together an Apple Music version of the playlist. 

Hermitology’s 2018 Honorable Mentions Spotify Playlist

Hermitology’s 2018 Honorable Mentions Apple Music Playlist

Baptists - Beacon of Faith

Birds In Row - We Already Lost The World

Boygenius - S/T EP

Candy - Good to Feel

Coastlands - The Further Still

Conjurer - Mire

Death Engine - Place Noire

Drug Church - Cheer

Emma Ruth Rundle - Dark Horses

Failure - In the Future Your Body Will Be ... 

Fiddlehead - Springtime and Blind

Hammock - Universalis

IDLES - Joy As An Act Of Resistance

Jay Jayle - No Trail & Other Unholy Paths

Jesus Piece - Only Self

KEN Mode - Loved

Man Mountain - Infinity Mirror

Mogwai - KIN

Nate Smith - Pocket Change

OHHMS - Exist

Ólafur Aarnalds - re:member

Polyphia - New Levels, New Devils

Portrayal of Guilt - Let Pain Be Your Guide

Prefuse 73 - Sacrifices

Rolo Tomassi - Time Will Die … 

Sectioned - Annihilated

Slow Crush - Aurora

Snail Mail - Lush

SUMAC - Love In Shadow

Svalbard - It’s Hard To Have Hope

Taken - With Regards To (EP)

The Story So Far - Proper Dose

Tides of Man - Every Nothing

Vein - Errorzone

Yashira - Shrine

PODCAST QUEUE

The Deadcast (humor, sports, politics)

Chapo Trap House (politics, humor)

Hang Up & Listen (sports, culture, nerdy)

Effectively Wild (baseball)

The Frotcast (movies, humor)

The Trap Set (drums, psychology)

The Gist (current events, politics)

Song Exploder (songwriting, production)

The Modern Drummer Podcast (drums)

[independentartistbuzz]

Joanna Ramirez is Full of Soul in her R&B and Jazzy Album ‘On My Way’

Joanna Ramirez is the rising jazz rock and jam singer/songwriter from Austin that’s taking hearts and souls with her catchy hooks and melodies. Her second solo album, the jazz rock and soul filled On My Way, could best be described as a soulful, heavy groove-laden, spiritual journey with a Susan Tedeschi sound and style. She masters the marriage of horns and a chorus to create songs that keep you engaged the whole time.

Each of the 11 songs on the album follow a similar pattern. While they are all groovy with varying tempos, each song has a fun musical solo, the guitar, horns, and percussion working together in complete synchronization and harmony. It’s an amalgamation of Joanna’s beloved groove influences, spanning, neo-soul, blues, hip-hop, Latin, and favorite artists such as Sade, Maxwell, Stevie Wonder, fellow Dallas-ite Erykah Badu, Jill Scott, and The Roots.

The titular song, “On My Way,” was actually one of the earliest to be written from the album. Written back in 2015 and finished back in 2018, it’s a comeback song. It’s Joanna’s call to the world to not count her out, that she’s coming back to the scene stronger and better than ever. “I think a lot of people could relate this song to their situation – of wanting to give up on something but knowing that they can’t ignore a voice inside telling them to keep going and to not give up on themselves,” she shares. The song boasts of an infectious chorus and hook that keeps your head bobbing and wanting more. 

The string loaded single “Ride” is her exploration of capitalism and her observations of lifestyles while she lived in Dallas. At the time, and still ringing true today, she noticed the focus on material things and the need to fit in the masses. “As with a lot of my songs, I’m giving encouragement to look deeper and realize that it’s o.k. to be yourself - get off the merry-go-round, feel your emotions and connect with a peace you can find in yourself and that nothing you see in this world will make you happy – you just have to choose to be happy.” This song was written way back in 1995 when she was part of her first band, Soul Providers.

The single “Happy,” is a deeper keyboard based song, with a strong riff that grabs your soul. The jazzy and bluesy song with an R&B core styling was actually inspired by Childish Gambino and explores self-love, that your fears have no power over you. Everyone deserves to feel happy. “This one was a bit scary to write, because I knew I had to get personal and tell my story through this song, starting with childhood, remembering the feeling of not measuring up to my parents expectations,  the fearful environment of our home, then to my failed romantic relationships and now, still feeling that I’m not being fully myself as a musician and creator.”

While the songs all have an electric jazz and blues groove to them, one song that stands out is “Sundays,” a folk and Americana style blues song. The tempo is slowed down to a ballad and features bongos and the harmonica played by the amazing Greg Izor. She still features a solo in the song with the Harmonica taking the lead in a powerful way. It’s simple, yet deep and powerful. This ballad is about the pain of the loss of her mother and an homage to her father’s blues legacy. She sings “love never dies,” wanting her mother by her side, that while her mother isn’t there for her physically, she will always be there for her. She hopes this song is of some comfort to those who are experiencing loss of any kind.

“Blame it on the Sun” is her cover of Stevie Wonder’s song. Joanna’s vocals really shine in this song. This version of the song is more electric and bluesy than Stevie Wonder’s version. Her version highlights her musical spirit and passion for her craft. 

Listen here: https://soundcloud.com/joanna-ramirez-15524804/sets/on-my-way-joanna-ramirez?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

It’s been 30 years since Joanna formally started her music career, and today she’s happier than ever knowing she’s being true to herself with her new music. You can really hear her passion and love for music in On My Way.

Find Joanna Ramirez via:

Website // Instagram // Facebook // Twitter // YouTube // Spotify // Soundcloud

[recommendedlisten]

In certain parts of the country, it may be tough to think spring when you’re still shoveling your way out of a nor’easter on a weekly basis, but the season is officially here, which means it’s time to catch up with what Recommended Listen dug since our last quarterly list. Not every listen that has left an impression gets a formal review due to time constraints, or as in the case of 2018′s first few months, the fact that there seems to be way too much good music coming out these days. That’s not necessary a curse, but it can make for some bouts of content overload that make it impossible to keep up with. If you’re looking to meet your new favorite band, the last few months were a good time to find them as well. Here’s 10 excellent albums to rock while spring cleaning out your emotions in case you missed them the first time around.

American Nightmare - American Nightmare [Rise Records]

At the start of this decade, Wes Eisold had seemingly outgrown his hardcore roots and remade himself a dark pop fashionista with his synth-pop band Cold Cave. After all, putting his band American Nightmare to bed followed a tumultuous chapter in his life that involved renaming the band twice-over for legal matters atop of a wavering scene that sucked much of the the energy out of the project. 2012′s reunion of the band was a timely reaction to a deserved reappraisal from listeners and critics alike, however, with a rekindled interest in AN’s brutalist sound being long overdue. The band’s self-titled comeback and first new music in 15 years lives up to that legacy, while adding new chapters to it as well. Here, Eisold and company furnish their artillery with wiry post-punk and a metalcore exoskeleton that gives a glimpse into what once was while showing what American Nightmare, and hardcore as a whole, have become during these years of silence. If anything, they’re still deafening, screaming new anthems of survival into the void.

awakebutstillinbed - what people call low self-esteem is really just seeing yourself the way that other people see you [Tiny Engines]

It’s one thing to channel your emotions into your work, but Shannon Tyler lets hers entirely consume her every being throughout the public confessionals behind awakebutstillinbed’s blistering debut what people call low self-esteem is really just seeing yourself the way that other people see you. The breakout release from the San Jose basement punk project found a cult following early on in the year under its own self-released merits, but its spectacular energy has managed to get the band signed properly to Tiny Engines for an upcoming wider release, and it’s easy to hear why. These are songs that made their way straight from Tayor’s diary into the microphone as her signature sing-scream bravely bleeds out insecurities and earnest frustrations in the kind of way that makes for highly digestible lyrical fodder for anyone banging their brain against the headboard. Whether it;s an introverted meditation or cathartic outburst, awakebutstillinbed knows exactly how to find a safe space for them inside of capsules as faceted as twinkly indie rock and post-hardcore where they’re allowed to exist as they are.

Camp Cope - How to Socialise & Make Friends [Run for Cover Records]

As a dude, speaking to Camp Cope’s How to Socialise & Make Friends is a daunting task, because anyone of the XY chromosome probably isn’t the most qualified to do the kind of heavy lifting the Melbourne indie rockers’ do here on their sophomore effort. The listen protests and shouts just as much as it lets out heavy sighs as singer Georgia Maq airs her grievances, be it via acid tongue or a higher road empathy, on gendered double-standards and her exhaustion with cultured misogyny in every facet of her daily life, from being an all-women band in a male-dominated punk scene to dealing with guys behaving badly in and out of her circle. Camp Cope’s sound matches both an anti-authoritarian DIY spirit and emotive frustration equivocally, as Maq’s unspooling of guitars over Kelly-Dawn Hellmrich and Sarah Thompson’s steady rhythm clears a path for her to break the patriarchy, if even by throwing just one stone at it at a time.

Corey Flood - Wish You Hadn’t EP [Fire Talk Records]

Wintertime is known to deplete the body of mood-boosting vitamin D, and Wish You Hadn’t, the debut EP from Philadelphia anxiety punks Corey Flood, may as well be the sonic antidote to transition you from any lingering seasonal affective disorder you may be experiencing as you blinker your eyes back into the sunlight with caution. Their style of rock is rife with a dreamy malaise that sleeps well in bed with the ‘90s gloom pop soft siren sounds of Liz Phair and PJ Harvey, with frontwoman Ivy Gray Klein spinning in her own head where confusion is sex, the self, or some mixture of both. Unlike the other examples of darker dalliances of indie rock found on this list, Wish You Hadn’t moves with a slow current of thought where Klein’s words slink over Noah Jacobson-Carroll and Em Boltz’ guitars and keep in sync with the rhythm she and drummer Juliette Rando make. Her existentialist decrees stream in through tributaries rather than a flood rush, because after all, the dark thoughts that last are usually the ones you let fester over time.

Gulfer - Dog Bless [Topshelf Records]

“I’m not going out / I’m staying right here in my basement / I’m just gonna chill / And later write a song about it,” screeches Gulfer frontman Vincent Ford on the quartet’s Topshelf breakout Dog Bless. It’s a resounding statement, not just because his voice scrapes against the board like nails grating cement, but in the way it paints a pretty accurate portrait for the listen that never grows tired from start to end, in spite of Ford’s admissions of grown up exhaustion. Themes on adult malaise are evergreens in relatability in the emo scene no matter who you’re springing those choruses unto, yet Gulfer muster up more than enough energy up in those admissions without overthinking the medium through which they push it through that makes their unkempt take on math rock sound sincerely raw. There have been many, many bands before them who’ve shouted these daily anxieties out in small spaces just like theirs, but all that really matters is that it’s done in earnest. If better weather isn’t really your think, here’s a dozen tracks about preferring the basement to anywhere else.

Hurry - Every Little Thought [Lame-O Records]

Every Little Thought, the third studio effort from emotive guitar-pop rockers Hurry, was released in February but its arrival could be considered premature bloom, as the listen feels closer to singing the songs of springtime romance than winter’s chill. So much of the Philly trio’s sound is indebted to conjuring warm sunshine (if even faded...) and a fresh breeze, yet not so much in the same sense as the surf-sided indie rock out there. Rather, Hurry glistens closer to home in big hooks and an FM alternative sparkle as frontman Matt Scottoline’s choruses glide through the air with little resistance, as his riffs alongside the mid-tempo melancholia made by bassist Joe DeCarolis and drummer Rob DeCaroli carry the weight of that wistfulness in well-preserved memory held together by a bittersweet saccharine of fuzzy emo riffs and pristine power pop. Even if your spring fling goes by the wayside, hopefully Hurry will remind you of the parts of its passing worth keeping.

Russian Baths - Penance EP [Good Eye Records]

Russian Baths may be one of many new bands on the endless post-punk supply chain, yet the differentiating that sets them apart from the rest of that discordant abyss resides in how the quartet have recontextualized that spectrum beyond the surface level with their debut EP Penance. The four-track listen makes the most of an intriguing experiment in short order by exploring various faces of bleakness under the helm of shared vocal vessels Luke Koz and Jess Rees, with the former often anchoring aggression at a loss of control while the latter reigns in a dreamy stasis. When the two cross paths, it conjures a black matter made from angular riffs cutting through subcutaneous layers of shoegaze, hardcore and metal. Penance’s themes often highlight an evil unknowingly lurking in the everyman, and it’s only when Russian Baths tear into that skin where true darkness is revealed.

Shamir - Resolution [Self-released]

Ever since he ditched the savior of house pop label he never asked for last year, Shamir has been on a creative tear with his new found songwriting independence, which is to say the music we’re hearing is fully and wholly an outpouring of himself rediscovering who he always was behind the studio gloss. Going through some shit has added a healthy layer of dirt the process, with last year’s doubling of HOPE and Revelations being a lo-fi meditative catharsis, but with his latest surprise release Resolution, not only is the hiss amplified, but it shows us a side of the young genre non-conformist we’ve yet to meet where he’s brandishing how sharp his teeth (and songwriting) can be as well. Bookended by politics and filled with a breakup post-mortem in between, there’s enough for Shamir to seethe on through reverb-heavy post-punk slathered in goth eyeliner and the occasional country strummer to make these woes as sad and angry as he wants. They say to think things through before you react, but so far, going with instinct is serving Shamir v.2.0 well.

Sidney Gish - No Dogs Allowed [Self-released]

No Dogs Allowed, the debut album from Boston-by-way-of-Jersey songwriter Sidney Gish, arrived with a quiet bang that we don’t really get to experience too often these days with artists on the rise. She self-released the effort with hardly a publicity push behind it aside from word-of-mouth buzz, and it all happens to be well-warranted if your lane for melancholic indie pop is a timeless formula molded around a modernist perspective where clean guitar hooks and smart, hyper-specific storytelling run parallel through the satirical gaze of a 20something on a collision course with reality. That Gish initially dropped No Dogs Allowed at the very start of the new year seems like a little quip of irony in itself -- She delivers hers in song with a perked up posture that strolls into springtime better than it might in the wintry blast it initially arrived. Rethinking the conventional is kind of her thing, though...

Teenage Wrist - Chrome Neon Jesus [Epitaph Records]

Teenage Wrist sound quite literally like what their name suggests – A trio of rather young artists getting their grip around their musical identities while figuring out all of the other hard realities of life that follow one’s coming of age. For a debut album on one of the biggest punk labels out there, Chrome Neon Jesus makes more sense out of all of that than it deserves to this early on in their career, as bassist and frontman Kamtin Mohager, guitarist Marshall Gallagher and drummer Anthony Salazar meld together brooding influences of punk, shoegaze and arena-ambitious ‘90s alternative with such cohesion that it makes for one of the year’s best rock albums so far. That the effort was produced by studio pro Carlos De La Garza (Paramore, Jimmy Eat World) reinforces that their big sound covers the walls from end to end, and by filtering it through layers of beauty and existential terror, the Los Angeles trio have captured a moment that resonates perfectly with a new generation.

[evergreenreviews]

Top 20 Songs of 2017

Spotify Playlist

Long post under the cut

20. ‘Laps Around A Picture Frame’ - Broadside

In my AOTY post, and throughout this year, I commended Broadside on their ability to write fun, upbeat songs, so it surprised me that ‘Laps Around A Picture Frame’, one of the album’s darker tracks, ended up making this list. This song is more interesting - both musically and lyrically - than a lot of Broadside’s other work, and it still really stands out to me as a fantastic piece of songwriting.

19. ‘There’s Nothing Holdin’ Me Back’ - Shawn Mendes

If I had any sort of shame whatsoever, Shawn Mendes would be my guilty pleasure. As it stands, I unabashedly love his music, particularly this song. It’s considerably less depressing than pretty much everything else he’s ever written, and it’s an unbelievably fun and catchy song. I dare you to listen to ‘There’s Nothing Holdin’ Me Back’ without at least tapping your foot.

18. ‘Guilty Melody’ - ROAM

ROAM has got to be one of my favourite current pop punk bands, and I remained loyal to them despite the disaster that was Backbone. That loyalty paid off because their second LP, Great Heights and Nosedives, is full to the brim with great jams, none more so than ‘Guilty Melody’. Although the two singles that came out before this one were also really good, this track was the one that restored my faith in ROAM. It’s pretty much a perfect pop punk song, with an unerringly catchy tune, solid lyricism, and a vast improvement in singing ability from both vocalists.

17. ‘The Line’ - Foo Fighters

Although Concrete and Gold was generally a disappointment, ‘The Line’ is an absolutely fantastic soft rock song. It’s super laidback and chill, the melody is simple, which to me (as someone who knows nothing about rock instrumentation) seems to complement the slightly more intricate instrumental parts, and it sounds more like Foo Fighters than anything else off this record.

16. ‘The Last Of The Real Ones’ - Fall Out Boy

While I will readily admit that I’m not the biggest fan of Fall Out Boy’s new sound, this song is brilliant. It’s a great electro-rock anthem while remaining a recognisably Fall Out Boy song. The keyboard part works perfectly under the melody, which is simultaneously very simple but also quite interesting. I also love the contrast between the anthemic chorus and comparatively relaxed verses.

15. ‘One Foot’ - Walk The Moon

After being absent for a year or so, Walk The Moon returned in September with this indie pop bop. ‘One Foot’ has all the hallmarks of a classic WTM song - it’s super upbeat and very catchy with a solid melody and instrumental and synth parts that work perfectly underneath the vocal line. While it may not be the next ‘Shut Up And Dance’, it’s a fantastic pop song and the perfect tune for Walk The Moon to return with.

14. ‘All My Friends (feat. State Champs)’ - Hoodie Allen

It may surprise you to see a hip-hop song on this list - I feel the same way - but this song is just too good not to include. While ‘All My Friends’ may not be Hoodie’s best song, the way he and State Champs manage to blend their very different sounds is incredible and works surprisingly well. From the hip-hop beat during the verses to the almost breakdown in the bridge and the build-up to the explosive last chorus, every aspect of this song ties in wonderfully with the others and creates a very interesting and very fun song.

13. ‘Scatter My Ashes Along The Coast Or Don’t’ - Seaway 

While I’d be hard pressed to pick a favourite song off Vacation, ‘Scatter My Ashes...’ would definitely be in the top three. It’s a ridiculously fun song, with some not so fun lyrics hidden under the upbeat melody and catchy riffs. It also features Caleb Shomo of Beartooth on a fantastic guest vocals spot. His voice works so well on this song and complements the Seaway boys’ perfectly, and it really just gives the track that extra boost.

12. ‘The Man’ - The Killers

I’ve never really listened to The Killers that much, and I think I only listened to this song in the first place because of Brandon Flower’s bicep in the thumbnail for the music video on YouTube. But thank god for that because ‘The Man’ very rapidly became one of my favourite songs. It’s got a lyrical theme that I’ve never seen before, as the band explores what it means to be a “man”, and it’s all laid over a funky 70s-esque disco beat with a fantastic melody.

11. ‘Hearts Don’t Break Around Here’ - Ed Sheeran 

This may be a slightly sappy choice, but I’ll admit that I love a good romantic ballad, and by God if ‘Hearts Don’t Break Around Here’ isn’t exactly that. I feel like this song didn’t get the credit it deserved and was kind of brushed aside in favour of ‘Perfect’ but from day one this was my favourite track off Divide. It’s a perfect relaxed, stripped back, typical Ed Sheeran love song with very simple instrumentation and a gorgeous vocal melody that I can’t help but sing along to.

10. ‘Bad Behavior’ - The Maine

Lovely Little Lonely is made up of wall to wall jams, and none more so than lead single ‘Bad Behavior’. It’s an irresistibly fun song, that you can’t help but dance along to, and it’s impossible not to smile when you’re listening to it. It’s an incredible pop rock song, with that alternative edge that The Maine do so well. You might worry that after 10 years they would’ve stagnated, but this song is proof that The Maine are better than they’ve ever been.

9. ‘On My Own’ - Niall Horan

On an album full of beautiful ballads and acoustic slow jams, ‘On My Own’ stands out as the most upbeat song of the lot. It’s an Irish folk influenced anthem for the happily single, about having fun by yourself when you’re young. It may not be Niall’s strongest vocal performance on Flicker, but it shows the diversity in his writing and provides a welcome interlude from all the slower songs on the album. It’s another song that you just can’t help but nod along to, and perfectly blends the style of pop rock on One Direction’s later albums and the folk and country influences of Niall’s solo work.

8. ‘Soap’ - As It Is 

This is arguably one of the most musically diverse and interesting pop punk songs of the decade. ‘Soap’ is a spooky, sinister, slightly aggressive track which is totally unexpected of As It Is. It probably wouldn’t sound out of place on a gothic horror movie soundtrack and is a fascinating take on the genre. The vocal performances from both singers are fantastic, with Patty effortlessly transitioning from the subdued verses to the almost screamed choruses. The guitars in the intro perfectly set the tone for the rest of the song, and the rumbling bass sounds incredible under everything else. ‘Soap’ is, without a doubt, the standout track from January’s okay. and possibly As It Is’ discography in general.

7. ‘Drowned In Gold’ - Boston Manor

This is a very late addition to this list, seeing as it only came out earlier this month, but in the space of 24 hours it had already pushed its way up to this position. I reviewed ‘Drowned In Gold’ when it was released, and all of the sentiments in that post still ring true today. The “choose life” lyrical structure of the verses is still one of the most interesting writing techniques I’ve heard in a while and I really can’t get over the creepy sound Boston Manor manages to create with the instruments in this track, and the musical progress they’ve made in the past year.

6. ‘Hurt’ - Trophy Eyes

This is probably the most depressing song on this list, and easily one of the most emotionally evocative. ‘Hurt’ is Trophy Eyes’ first release since their album Chemical Miracle last year, and you can tell they’ve put that year to good use with immense improvements across the board. The most noticeable improvement is John’s vocals. As far as I can remember (correct me if I’m wrong), this is the first song on which he’s only done clean vocals, and he sounds better than I ever imagined he could. ‘Hurt’ almost has a kind of stadium rock type vibe to it, and I, for one, love it.

5. ‘Praying’ - Kesha

‘Praying’ is the eagerly anticipated comeback track from beleaguered pop icon Kesha, and the perfect song to show not only how she’s progressed as an artist, but also the struggles she’s faced the past few years. The song alludes to her legal battle with her producer, but it is mostly a song about personal growth and overcoming your struggles. It’s a beautiful stripped back, piano-laden ballad which really lets Kesha’s immense vocal talent take the spotlight. ‘Praying’ is an incredibly powerful song, which has the ability to draw a huge amount of emotion from its listeners - if you haven’t cried listening to this song, you’re probably not human.

4. ‘Gone’ - Knuckle Puck 

I don’t think it’s any secret that I love Knuckle Puck, but if you’ve been following this blog for a while and read my review of Shapeshifter, it’s also no secret that I wasn’t its biggest fan. However, I absolutely adore ‘Gone’. It may just be because it was the first thing to follow the hugely disappointing Calendar Days/Indecisive release earlier this year, or it may be because it’s a brilliant song. It has attitude and a certain aggressiveness that I love. It’s got the lyricism we’ve come to know and love from KP, and it’s unbelievably catchy. The duel vocalism works amazingly on this track and the slightly dotted rhythm in the guitar riff provides another interesting layer to the instrumentation.

3. ‘Atlantic’ - Grayscale 

I can honestly say that this song has been the soundtrack to my 2017. Grayscale very quickly became one of my favourite bands this year, and their album Adornment was even my Album of the Year. ‘Atlantic’ is definitely what one could refer to as an anthem, with a powerful chorus that contrasts perfectly with the relatively chill verses and bridge. It’s a very mature sounding song, showcasing a writing ability far beyond what one would expect of such a young band, although there are a couple of very minor issues in the vocal line. But overall, this song is a brilliant piece of writing that I can imagine aging very well.

2. ‘Out Of It’ - The Story So Far

The excitement that I felt when this song dropped truly cannot be expressed in words. I still feel the same excitement every time 'Out Of It’ comes on, and I don’t think I’ve skipped it once since adding it to my playlist. It doesn’t stray too far from the classic TSSF sound, and probably wouldn’t sound out of place on The Story So Far. I love the change in rhythm between the verses and choruses, which isn’t something I’ve really seen that much in this type of music, and the punchy tune is just perfect for the attitude of the song. It’s just a shame Parker Cannon still can’t annunciate his words properly.

1. ‘In Bloom’ - Neck Deep

From the day ‘In Bloom’ was released I knew it would be in competition for my favourite song of this year. After listening to it maybe 4 or 5 times in a row, it was promptly named my favourite Neck Deep song and I stand by that decision. It’s the most musically interesting song they have released, and it’s so unique from the rest of their work. It showcases so well the improvement Ben has made in his vocal performance over the past couple of years - did anyone see that high note coming? - as well as the progress that the band has made as a whole in terms of their songwriting ability.

[deadcactuswalking]

REVIEWING THE CHARTS: 4th November 2018

New episode right on time for once, and it’s actually a pretty short week; there’s not much to really talk about here at all. In fact, there are only three new arrivals to review, and nothing all that important happened in between, so let’s just get straight into the top 10.

Top 10

At number-one for the second consecutive week is “Shallow” by Lady Gaga and Bradley Cooper off the A Star is Born soundtrack.

At number-two, thanks to the video which I thought would make it zoom straight by “Shallow” and make an easy play to the top (not saying I like the song or video, either, but these girls are insanely popular over here), we have “Woman Like Me” by Little Mix featuring Nicki Minaj, up four spots.

“Promises” by Calvin Harris and Sam Smith is down a space to number-four.

“Funky Friday” by Dave and Fredo is surprisingly holding on here, with only a one-position drop to number-four.

“Happier” by Marshmello and Bastille gets the same fate down to number-five.

At number-six, we have exactly the same drop for “Let You Love Me” by Rita Ora.

To my surprise and dismay, it seems that the top 5 will have a new entry soon, as “ZEZE” by Kodak Black, Travis Scott and Offset continues to rise a spot to number-seven.

And of course, just as I said it was on its way out last week, “On My Mind” by Dynoro and Gigi D’Agostino rebounds two positions up to number-eight. Joy.

Speaking of joy, I am very glad “Lost Without You” by Freya Ridings is returning to the top 10, up four spaces to numer-nine.

And finally, “Electricity” by Silk City and Dua Lipa is down only one spot to #10, rounding off the top 10 very nicely.

Climbers

This might be a short episode, most likely, because there isn’t much of anything, and the charts are showing it pretty evidently, actually, simply because of the lack of quality between all these songs in the top 40. A lot of it isn’t all that bad either, just not worth remembering. Might as well talk about the two new top 20 entries: “Thursday” by Jess Glynne is up five to #18, becoming her eleventh top 20 hit in the UK (it will boost again due to an acoustic rendition duet with Ed Sheeran), while “Taki Taki” by DJ Snake featuring Ozuna, Cardi B and Selena Gomez is up two spaces to #20 – this is DJ Snake’s fourth top 20 (and first since 2016), I believe Ozuna’s first ever (congratulations, even though judging on his awful performance on this song he probably doesn’t deserve it), Cardi B’s fourth and Selena Gomez’s ninth (eighth without the Scene).

Other big or notable climbers include: nothing. Oof.

Fallers

There were tons and I mean tons of fallers this week, but they were all so small, unimportant and easily ignorable, with only two really standing out. Those notable fallers were “High Hopes” by Panic! at the Disco falling five spaces to #24 (sadly, I really wanted this to break the top 10), and “Venom” by Eminem falling 10 spaces to #38, as the movie hype, and Eminem’s resurgence, steadily come to a halt.

Dropouts

“Thunderclouds” by LSD (Labrinth, Sia and Diplo) is out from #34 after a pretty dismissible run, “nASSty” by D-Block Europe and Lil Pino is out from its new arrival last week at #35 and “Falling Down” by the late Lil Peep and XXXTENTACION is finally out from #40.

Since there aren’t any returning entries, let’s discuss some promising or interesting happenings from outside the top 40 – “Lost in Japan” by Shawn Mendes is having some incredible boosts (currently at #45) due to a Zedd remix, so to see it coming back would be great – I love that song to death. Due to the film, Bohemian Rhapsody, the song it’s named after, “Bohemian Rhapsody” by Queen, is back at #53. “1999” by Charli XCX and Troye Sivan is also gaining traction, as it’s currently at #59, and I’d love to see Charli come back to the top 40, same with Troye. “Thriller” by Michael Jackson has returned to #63 due to Halloween, yet surprisingly not “Somebody’s Watching Me”. Oh, and “Mo Bamba” by Sheck Wes has finally made it to the UK at #68, and I want to see this find its way to the top 40 fast. I’ll tell you why if it doesn’t in 2019, probably, as there’s no question it’s making my year-end list if it doesn’t make Billboard’s 2018 list.

NEW ARRIVALS

#36 – “Close to Me” – Ellie Goulding and Diplo featuring Swae Lee

Hey, Ellie Goulding, that’s a familiar face to the UK Top 40 I’ve never actually talked about before. Well, this is her comeback single with Diplo and Swae Lee, and, naturally, it’s hit the UK Top 40 because Goulding’s a superstar, but lower than I expected to be perfectly honest. Nevertheless, this is Goulding’s 21st UK Top 40 hit (which is insane), Diplo’s eleventh (fourth as a solo artist, but he’s had God knows how many frolicking in the production and writing credits) and Swae Lee’s fourth (third as a solo artist – and this won’t be the last we see of him today). Is it able to compare with the artists’ other work, which has been mostly, for the record, pretty great? Well, kind of. I do love that guitar riff that starts off the song, picking up the pace only to be kind of trapped by Ellie’s lack of real vocal presence that she usually has (seriously, she feels like she’s not really bothering here), as well as the drippy synth in the verse and trap percussion (of course) that doesn’t really add much to make the chorus any more interesting than it is (not at all). The melody is uninspired and repetitive, and Swae Lee is still struggling to straddle the line between popstar duet and guest rap verse. That synth added right before the basically non-existent bridge is also pretty ugly, actually. Yeah, there’s not much to be redeemed with this song, and is just kind of a waste of time, in my opinion. I can easily see someone else liking this a lot though.

#34 – “when the party’s over” – Billie Eilish

Well, Eilish, funny seeing you in the top 40. Took a while. She’s had songs bubbling beneath the top 40 in both the UK and US for a while after being a bit of a young indie darling for a year or so, and after that “lovely” song with Khalid from the 13 Reasons Why soundtrack, this new song, “when the party’s over”, seems to be set to blow up, giving her new peaks on charts in the US, Austria, Canada and especially New Zealand, where it hit a peak of #3! This is Eilish’s first ever UK Top 40 hit, and it’s no surprise that I’ve heard only good things before hearing a single song from hers. We start with an ominous, intriguing synth that is then drowned out by lighter cloudy synths following Eilish’s beautiful (at times multi-tracked) vocal melody, until the deep bass kicks in for the catchy hook, with extra additions of piano to make it sound even prettier. Oh, and there’s these pitched-down, feedback-ish backing vocals (assumingly from producer FINNEAS) which sound really great. Eilish’s vocals here are really delicate, working incredibly effectively with the song, which, yes, never actually has any percussion kick in, which is a risky move for a pop song (most likely because she never intended it to hit any charts in the first place). After this and “lovely”, I have my ears out for her next project because this is freaking fantastic.

Now let’s tune down our expectations accordingly.

#14 – “Arms Around You” – XXXTENTACION, Lil Pump, Maluma and Swae Lee, with an honourable credit to Rio Santana

Okay when I ramble on about how it sucks XXXTENTACION is being posthumously milked, I’m not defending the dude or his actions, I’m just saying it’s pretty crummy for a record label to be doing this type of stuff with someone who’s dead and can’t refuse this type of tampering with his unreleased content. This song was initially written and performed with Rio Santana, planned to be on either Rio’s EP or X’s album ?, before it was replaced with another song featuring Rio, “I don’t even speak spanish lol” (yes, that’s really what it’s called), that also had vocals from Judah and Carlos Andrez. After X’s death, Lil Pump reached out to his mother to ask if he could honour his death by being on the song (which is completely in the right intentions, I may add), and then Swae Lee hopped on the track after what is seemingly a label decision. I can realistically see Swae being a fan of X prior to his death, so I’m not going to whine about that, but bloody Maluma? The dude probably didn’t know he existed, for goodness’ sake. Oh, and we’re getting Skrillex on the beat? XXXTENTACION, Lil Pump, Swae Lee, Maluma and Skrillex; what a star-powered mess. Anyways, this is X’s fourth UK top 20 hit, Lil Pump’s second, what I believe to be Maluma’s first (congratulations, I guess), and Swae Lee’s fifth (fourth as a solo artist). Is the song worth all the controversy and all the label frickery? Yeah, probably not, because it’s trash. This bland, Latin-infected pathetic attempt at producing a 2018 pop song is pretty trite, with some ironic and nasally-performed lines from X about protecting his girl (ha) starting off the song, before developing into an admittedly pretty great verse from Lil Pump, demonstrating both a fast flow and some falsetto singing, although without much content to speak of but that’s expected. Not even Swae Lee’s badly-autotuned verse going in one ear and out the other. Maluma sucks too, what a surprise. I’d rather just not talk about this song and leave it here.

Conclusion

Worst of the Week goes to XXXTENTACION, Lil Pump, Maluma, Swae Lee, Rio Santana, Skrillex, Mally Mall and that tire fire of popular artists for “Arms Around You”, definitely, that’s worst-list material, whilst Best of the Week goes to Billie Eilish for “when the party’s over” – that’s a pretty great song. See ya next week!