#jahaan sweet

[reviewsbynixx]

Midnights: A Track by Track Review (by a non-Swiftie)

Taylor Swift has been a seemingly omnipresent force in the music world since I was literally five years old. Her 16 year career has resulted in her being a rare breed of musician, straddling the line between the old tabloid driven celebrity culture of the 2010s, and the slightly more relatability obsessed culture of the 2020s. To me, Taylor Swift has perfected what it means to be a superstar in the modern era. Despite this, I have never been a particularly massive fan of her albums. I can respect her talent as a songwriter and acknowledge that her albums are not for me as I rarely love more than 60-70% of the songs on each LP the way that I see others do (the exception to this rule being Folklore, although again, it still has three or four songs that I am iffy about). With all this in mind, I decided that the first post on this blog should be a review of her latest record smashing album, Midnights, and I hope this provides a blind, outside perspective on her music. 

Lavender Haze

As an R&B fan, when I first saw frequent Kehlani collaborator Jahaan Sweet on the list of song credits, I was more than intrigued, and safe to say they did not disappoint. The song reminds me of I Think He Knows from Lover, from the production to Swift’s delivery and use of head voice. Thematically the lyrics are not anything Swift hasn’t written about before, but Lavender Haze is more polished and mature in its execution. Production wise this is probably my favourite song on the album.  9/10. 

Maroon

This song has grown on me immensely since the first time I heard it. It is a great deep cut that acts as the perfect follow up from Lavender Haze and precursor to Anti-Hero and just works as an album track. The delivery of ‘your roommate's cheap ass screw top rosé’ is just perfect. Not much else to say about this one, if you get it you get it, if you don’t I feel bad for you. 7.5/10

Anti-Hero 

I would consider this to be one of her best singles ever and possibly one of my favourite songs of hers ever. The introspective track features Swift pondering recurring themes in her work such as her struggle with celebrity and the fear of abandonment because of it. The bridge is so tongue in cheek in a way that Swift has perfected, and I think the song itself perfects the blend of personable and serious, soul baring storytelling (meaning you can also tell it was written by a millennial, but a very talented one). I know there’s been a lot of discourse about the sexy baby line, but since I heard it, its meaning has always been pretty obvious to me, even before I was told it was a 30 Rock reference, and I personally love it. Who hasn’t been a monster on the hill? 10/10

Snow On the Beach 

I have to confess I don’t particularly care for this one. I also do not understand Taylor’s female collaborations just being Taylor and a female artist on backing vocals and/or ad libs. I think Nothing New is the only female collaboration of hers where I have heard another woman sing what would be a normal amount for a collaboration and I would actually really love for someone to explain it to me because it just confuses me a little, maybe there’s a reason? This is all building up to me saying I wish we got a proper Taylor Swift and Maren Morris collab! Back to the song, it is beautiful, I love the verses, but it isn’t a song I would actively come back to in isolation although I wouldn’t skip it when listening to the album. 6/10

You’re On Your Own, Kid

I LOVE the pre-chorus and bridge - I’m a sucker for a pre chorus that changes lyrically as the song goes on and the production builds. The song feels super nostalgic, almost like coming home to a small town, and reminds me of ‘tis the damn season, one of my favourite songs from Evermore. I cannot wait to see the end of year coming of age movie edits on twitter that use this song in the background. 7/10

Midnight Rain

Initially I wasn’t completely sold on this one but the more I listen to it the more I realise that there are elements of it that I really appreciate. It’s not the most musically daring but the vocal distortion used here (and on Lavender Haze) is probably one of the more experimental things Swift has done in a while, and I think it pays off. I wish there was some kind of final chorus instead of an instrumental outro because its use here does make the song feel somewhat unfinished to me and it's short enough that more could be added, give me a Midnight Rain final chorus you cowards! 7/10

Question…?

Relistening to this for this review has made me realise just how much I love this song. 

I love when artists sample/interpolate their own work because, why wouldn’t you? Especially if you've written a song like Out of the Woods. I think the subject of the song, hoping someone you were once close to still thinks about you and your relationship, is something done so frequently due to its universality but I love the way Swift approaches it here. Side note: we need more songs written in the second person. ONE DRINK. AFTER. ANOTHER. FUCKIN. POLITICS AND GENDER ROLES AND YOU’RE NOT SURE AND I DON’T KNOW! Just so good. 9/10

Vigilante Shit

Not listening to that. It’s just corny, I’m sorryyyyyy. It sounds like something that did not make the cut on Reputation and I already have my issues with some of the songs that did. 2/10?

Bejeweled 

I will say my opinion on this song has most definitely been swayed by its popularity on Tiktok because I did NOT like it when I first listened to the album but I admit, the chorus is super catchy. 5/10

Labyrinth

I won’t lie, I forgot this song was even on the album because I did not care for it on first listen and this is probably only my third or fourth time hearing it. Similarly to Snow on the Beach, I don’t hate it, I just think it's slightly boring but still beautiful. Nice outro.  6/10

Karma

I love this, I don’t even care. The melody is so fun and Swift’s triumphant yet peaceful delivery makes you believe that Karma is her cat/boyfriend/acrobat/god breezing through her hair and purring in her lap. The brightness of the production gives the song a youthful quality but the matter of fact way she sings the statements in the chorus breathe an air of maturity into the song - there is no uncertainty, she is so well acquainted with Karma that she knows she does not need to stress. I’m envious. 8/10

Sweet Nothing

Just so sweet. I love the faint horns used and the way the song paints this feeling of internal domestic bliss shielded from the bustling outside world. I’m just too soft for all of it :( 7/10

Mastermind

She’s kind of crazy (positive). This is another song I don’t particularly care for but I think it bookends the album in a nice way, and the themes of restlessness and questioning that are present lyrically here (and throughout the album) are well reflected in the production and tempo.6.5/10

Overall Score: 6.9

Standout Tracks: Lavender Haze, Question…?, Anti-Hero

I feel like this is somewhat appropriate for my experience with the album. I’m not sure where I’d rank it but it is definitely up there. To me anything above a 6 is an enjoyable album. I’m not reviewing 20 songs at once, but maybe at a later date I’ll talk about the 3am tracks, one of which is definitely one of my favourite and in my opinion one of her best songs ever. 

Thanks for getting through this lofty review. What’s your top 3 on the album? What should the next single be?  I think I might like Taylor Swift a lot actually.

[swiftsmidnights]

happy birthday midnights 💙

🕰️Midnights - @taylorswift 🕰️

October 21, 2022

(Taylor Swift, Jack Antonoff, Zoë Kravitz, Mark Anthony Spears, Jahaan Akil Sweet, Sam Dew)

Happy solar return to Taylor’s late night pop masterpiece, Midnights!

This record has only been more solidified as a Pop Bible after listening to it for a full year. 365 days of meeting Taylor at midnight and I don’t think the end is in sight.

Taylor worked with producer and trusted friend Jack Antonoff again on this record, and together they came up with some of the most brilliant pop tracks in recent years.

“Lavender Haze” is a staple of the Midnights era; the warble of the beat makes it feel extra psychedelic, like you’re about to discover the secrets of the universe.

Some tracks off the record that especially keep me up at night are “Maroon”, “Snow On The Beach”, “You’re On Your Own Kid”, “Midnight Rain”, “Labyrinth”, “Sweet Nothing” and “Mastermind”.

The 3am Edition of the album contains some of Taylor’s best - “The Great War”, “Paris”, “High Infidelity”, “Would’ve Could’ve Should’ve” and “Dear Reader”.

Taylor’s lyricism in her 30s is making my heart feel like it’s being ripped out of my chest. I just can’t wait to see what she has in store for us with her next record because Midnights CLEARED!

So so proud of you for this one buddy @taylorswift 💙

View this post on Instagram

A post shared by Seri 🍓🎚🎛📀 (@serifortherecord)

[wearem3]

For All The Dogs (Credits) Executive Produced by Noel Cadastre, Oliver El-Khatib, Noah Shebib & Aubrey Graham

Virginia Beach  Produced by Harley Arsenault Co-Produced by Noah “40” Shebib

Amen ft. Teezo Touchdown Produced by Sango & Budgie Additional Production by Teezo Touchdown

Calling For You ft. 21 Savage  Produced by Lil Yachty, Powrtrav, Cash Cobain, Jaystolaa, Noah “40” Shebib & GENT!

Fear of Heights Produced by OZ, Nik D, Pooh Beatz & xynothing Additional production by BNYX

Daylight  Produced by Southside & Smatt Co-Produced by T9C Additional Production by Alessio “Lil Esso” Bevilacqua

First Person Shooter ft. J. Cole  Produced by Vinylz, Boi-1da, OZ, Tay Keith, Coleman & FNZ

IDGAF ft. Yeat Produced by BNYX Co-Produced by Sebastian Shah

7969 Santa  Produced by nyan & Alex Lustig Additional Teezo Outro Production by Jahaan Sweet & BNYX

Slime You Out ft. SZA Produced by Drake & Noel Cadastre Additional Production by BNYX & Noah “40” Shebib & Dalton “D10” Tennant

Bahamas Promises Produced by Jahaan Sweet & Ray ���Quasi” Nelson

Tried Our Best Produced by Jahaan Sweet Co-Produced by Noah “40” Shebib

Screw The World Interlude  Produced by DJ Screw

Drew A Picasso Produced by Young Troy, Eli Brown, Tommy Parker, Sauceboy, TheBoyKam, Dnny Phntm & Noah “40” Shebib

Members Only ft. PARTYNEXTDOOR Produced by Stwo Additional production by Noah “40” Shebib

What Would Pluto Do  Produced by Lil Yachty, GENT! & Bangs Co-Produced by BNYX

All The Parties ft. Chief Keef  Produced by BNYX,, Maneesh, Harley Arsenault, J Dolla, Boi-1da, Fierce, & Coleman

8am In Charlotte  Produced by Conductor WIlliams Co-Produced by Mario Luciano Additional Production by Jason Wool

BBL Love Interlude  Produced by Kid Masterpiece

Gently ft. Bad Bunny  Produced by OZ, Nik D, & Gordo

Rich Baby Daddy ft. Sexyy Red & SZA Produced by Gordo, Klahr & Richard LIOHN Zastenker Co-Produced by BNYX,  uv killin em, The Loud Pack & Dougie F

Another Late Night ft. Lil Yachty Produced by Childboy & Lil Yachty

Away From Home Produced by Lil Yachty, Sad Pony, BNYX, Justin Raisen & Lukas

Polar Opposites Produced by Lil Yachty, GENT!, Bangs, Anthoine Walters & Beatmenace Additional Production by Noah “40” Shebib

[orchidreign]

I will take my time to speak slowly, read words with intention, listen to others and be present and give myself flowers.

I remember in April I was getting into my confidence I was shining through as the lucky star and Noor Jahaan and a sweet soul with a fierce heart.

I went through some hardships lately and now I'm bringing me back, I'm bringing out all those sides of me and telling my inner child who has been trapped since 13 to stand tall

[taylorswift-version]

Midnights is a wild ride of an album and I couldn’t be happier that my co pilot on this adventure was Jack Antonoff. He’s my friend for life (presumptuous I know but I stand by it) and we’ve been making music together for nearly a decade HOWEVER… this is our first album we’ve done with just the two of us as main collaborators. We’d been toying with ideas and had written a few things we loved, but Midnights actually really coalesced and flowed out of us when our partners (both actors) did a film together in Panama. Jack and I found ourselves back in New York, alone, recording every night, staying up late and exploring old memories and midnights past. We were so lucky to also work with our brilliant collaborators Sam Dew, Sounwave, Lana Del Rey, Jahaan Sweet, Keanu Beats, William Bowery, and Zoe Kravitz. Laura Sisk was our excellent engineer. The wonderful and wise Beth Garrabrant took the album photographs. Midnights is a collage of intensity, highs and lows and ebbs and flows. Life can be dark, starry, cloudy, terrifying, electrifying, hot, cold, romantic or lonely. Just like Midnights. Which is out now

[afflictedbythe-not-knowing]

Midnights

Album Number: 10

Written: 2021-2022

Announced: August 28, 2022

Released: October 21, 2022

Genre: Synthpop

TRACKLIST

 *Lavender Haze 3:28

Written By: Taylor Swift, Jack Antonoff, Zoe Kravitz, Mark Spears, Jahaan Sweet, Sam Dew

Produced By: Taylor Swift, Jack Antonoff, Sounwave, Jahaan Sweet, Braxton Cook

2. Maroon 4:04

Written By: Taylor Swift, Jack Antonoff

Produced By: Taylor Swift, Jack Antonoff

3. **Anti-Hero  3:58

Written By: Taylor Swift, Jack Antonoff

Produced By: Taylor Swift, Jack Antonoff

4. Snow on the Beach ft. Lana Del Rey  3:56

Written By: Taylor Swift, Jack Antonoff, Lana Del Rey

Produced By: Taylor Swift, Jack Antonoff

5. You're on Your Own Kid  3:52

Written By: Taylor Swift, Jack Antonoff

Produced By: Taylor Swift, Jack Antonoff

6. Midnight Rain  3:31

Written By: Taylor Swift, Jack Antonoff

Produced By: Taylor Swift, Jack Antonoff

7. Question...? 3:47

Written By: Taylor Swift, Jack Antonoff

Produced By: Taylor Swift, Jack Antonoff

8. Vigilante Shit  3:29

Written By: Taylor Swift

Produced By: Taylor Swift, Jack Antonoff

9. *Bejeweled  3:53

Written By: Taylor Swift, Jack Antonoff

Produced By: Taylor Swift, Jack Antonoff

10. Labyrinth 3:34

Written By: Taylor Swift, Jack Antonoff

Produced By: Taylor Swift, Jack Antonoff

11. Karma 3:31

Written By: Taylor Swift, Jack Antonoff, Mark Spears, Jahaan Sweet, Keanu Torres

Produced By: Taylor Swift, Jack Antonoff, Sounwave, Keanu Beats, Jahaan Sweet

12. Sweet Nothing  3:50

Written By: Taylor Swift, William Bowery

Produced By: Taylor Swift, Jack Antonoff

13. Mastermind  3:27

Written By: Taylor Swift, Jack Antonoff

Produced By: Taylor Swift, Jack Antonoff

_____________________________

14. The Great War  3:23

Written By: Taylor Swift, Aaron Dessner

Produced By: Taylor Swift, Aaron Dessner

15. Bigger Than the Whole Sky  3:55

Written By: Taylor Swift

Produced By: Taylor Swift, Jack Antonoff

16. Paris  3:23

Written By: Taylor Swift, Jack Antonoff

Produced By: Taylor Swift, Jack Antonoff

17. High Infidelity  3:55

Written By: Taylor Swift, Aaron Dessner

Produced By: Taylor Swift, Aaron Dessner

18. Glitch  3:23

Written By: Taylor Swift, Jack Antonoff, Mark Spears, Sam Dew

Produced By: Taylor Swift, Jack Antonoff, Sounwave

19. Would've, Could've, Should've  3:55

Written By: Taylor Swift, Aaron Dessner

Produced By: Taylor Swift, Aaron Dessner

20. Dear Reader  3:23

Written By: Taylor Swift, Jack Antonoff

Produced By: Taylor Swift, Jack Antonoff

_____________________________

21. Hits Different  3:54

Written By: Taylor Swift, Jack Antonoff, Aaron Dessner

Produced By: Taylor Swift, Jack Antonoff, Aaron Dessner

22. Snow on the Beach ft. More Lana Del Rey  3:50

Written By: Taylor Swift, Jack Antonoff, Lana Del Rey

Produced By: Taylor Swift, Jack Antonoff

23. *Karma ft. Ice Spice  3:22

Written By: Taylor Swift, Jack Antonoff, Isis Gaston, Ephrem Lopez, Mark Spears, Jahaan Sweet, Keanu Torres

Produced By: Taylor Swift, Jack Antonoff, Sounwave, Keanu Beats, Jahaan Sweet

_____________________________

24. You're Losing Me (From the Vault)  4:38

Written By: Taylor Swift, Jack Antonoff

Produced By: Taylor Swift, Jack Antonoff

PROLOGUE

What keeps you up at night?

It's a momentary glimmer of distraction. The tiniest notion of reminiscent thought that wanders off into wondering, the spark that lights a tinderbox of fixation. And now it is irreversible. The flame has caught. You're wide awake.

Maybe it's that one urgent question you meant to ask someone years ago but didn't. Someone that slipped through the cracks in your history, and they're too far gone now anyway. All the ghost ships that have sailed and sailed away, but at this hour, they've anchored in your harbor. They sit with flags waving, bright and beautiful. And it's almost likе it's real.

Sometimes sleep is as еvasive as happiness. Isn't it mystifying how quickly we vacillate between self love and loathing at this hour? One moment, your life looks like a night sky of gleaming stars. The next, the fog has descended. Suddenly you're in the town you left behind all those years ago. The trees of your youth with the phantom memory echoes of your belly laughter, and the rope indentations of your old tire swing still on the branch. All the phone numbers you still know by heart but never call anymore. The boy's devastated face as he peeled out of your driveway. The family man he is now. What must they all think of you.

Why can't you sleep? Maybe you lie awake in the aftershock of falling headlong into a connection that feels like some surreal cataclysmic event. Like spontaneous combustion, or seeing snow falling on a tropical beach. A lavender haze crush that feels like the crash of a wave.

Or was tonight the night you realized how solitary, how alone you really are, no matter how high you climb. The elevation just makes it colder.

Some midnights, you're out and you're buzzing with electric current — an adventurer in pursuit of rapturous thrill. Music blaring from speakers and the reckless intimacy of dancing with strangers. Something in this shadowy room to make you feel shiny again. On these nights, you know that there are facets of you that only glow in the dark.

Why are you still up at this hour? Because you're cosplaying vengeance fantasies, where the bad bad man is hauled away in handcuffs and you get to watch it happen. You laugh into the mirror with a red wine snarl. You look positively deranged.

Maybe you were trying to mastermind matters of the heart again. You've gotten lost in the labyrinth of your head, where the fear wraps its claws around the fragile throat of true love. Will you be able to save it in time? Save it from who? Well, it's obvious. From you.

We lie in love and in fear and in turmoil and in tears. We stare at walls and drink until they speak back. We twist in our self-made cages and pray that we aren't — right this minute — about to make some fateful life-altering mistake. This is a collection of music written in the middle of the night, a journey through terrors and sweet dreams. The floors we pace and the demons we face. For all of us who have tossed and turned and decided to keep the lanterns lit and go searching. Hoping that just maybe, when the clock strikes twelve…we'll meet ourselves.

See you there. Midnight sharp. Taylor

[cyarsk5230]

can you believe that it’s been one year since this happened? Little did anyone know that this song would be more impactful in more ways than one

For All the Dogs is the eighth studio album by Canadian rapper Drake. It was released by OVO Sound and Republic Records on October 6, 2023. The album features guest appearances from Teezo Touchdown, 21 Savage, J. Cole, Yeat, SZA, PartyNextDoor, Chief Keef, Bad Bunny, Sexyy Red, and Lil Yachty. Production was handled by Drake, Teezo Touchdown, and Lil Yachty themselves, along with 40, Sango, Oz, Bnyx, Southside, Boi-1da, Vinylz, Tay Keith, FnZ, Jahaan Sweet, the late DJ Screw, Stwo, Gordo, Justin Raisen, and the Alchemist, among others.

Drake first teased For All the Dogs in January 2023, and developed it mostly during the It's All a Blur Tour. Originally set for release in September 2023, the album was delayed several times and follows both of his albums released in 2022: his seventh album, Honestly, Nevermind, and his collaborative album with 21 Savage, Her Loss. For All the Dogs was supported by five singles: "Slime You Out", "8AM in Charlotte", "Rich Baby Daddy", "First Person Shooter", and "You Broke My Heart", with the latter appearing on the Scary Hoursdeluxe edition of the album.

Upon the album's release, critical reception was mixed, with some critics who praised the album for its production but also expressed criticism for its length and some of its lyrics. Nevertheless For All the Dogs ended up on year-end lists by several publications as one of the best albums of the year. The album set various regional and global sales records. In the United States, it opened with first-week sales of 402,000 album-equivalent units and topped the Billboard 200 chart, becoming the year's highest-selling rap album. It also earned 514.01 million global on-demand streams in the debut week, which was the largest streaming week of 2023.

One of the memorable songs from the album is "First Person Shooter" featuring j Cole.

"First Person Shooter" features a "subtle-yet-triumphant" yet "high-octane" production that starts out with a "warped" vocal sample of Joe Washington's "Look Me in the Eyes"while both artists exchange a few bars.

The second half of the song features a down-pitched looped sample from Snorre Tidemand's orchestral "Redemption." The "hard" and "playful" track was especially noted for its "futuristic and energetic" production that enabled Drake and Cole to showcase their skills. 

The track sees Cole reflecting on his continuous success, arguing that him, Drake, and fellow American rapper Kendrick Lamar are the "big three" in rap music whereas he himself feels like Muhammad Ali.

Another reference includes a comparison of both artists to a meme of two Spider-Men pointing at each other. Cole also says that he wishes to collaborate with fellow American rapper YoungBoy Never Broke Againlater on the song, seemingly dismissing rumors of him dissing the rapper on his collaboration with rapper and album producer Lil Yachty on "The Secret Recipe", while he also confirms that his upcoming album, The Fall Off, is on the way. 

In reference to his fame and commercial success, Drake later shouts out the Beatles and Michael Jackson, notably referencing how he was one song away from eventually tying the latter's record for most number-one US Billboard Hot 100 singles by a solo male artist.

Of course this track as I already mentioned before, had more significant impact more than either j Cole and Drake ever predicted cause This lyrical butterfly effect gave us some of the best hip hop moments in recent history this year

[ts-midnights-lyrics]

Lavender Haze

Meet me at midnight

Starin' at the ceilin' with you Oh, you don't ever say too much And you don't really read into My melancholia

I've been under scrutiny (yeah, oh, yeah) You handle it beautifully (yeah, oh, yeah) All this shit is new to me (yeah, oh, yeah)

I feel the lavender haze creepin' up on me Surreal, I'm damned if I do give a damn what people say No deal, the 1950s shit they want from me I just wanna stay in that lavender haze

All they keep askin' me (all they keep askin' me) Is if I'm gonna be your bride The only kind of girl they see (only kind of girl they see) Is a one-night or a wife

I find it dizzying (yeah, oh, yeah) They're bringin' up my history (yeah, oh, yeah) But you aren't even listening (yeah, oh, yeah) (Ooh-whoa)

I feel the lavender haze creepin' up on me Surreal, I'm damned if I do give a damn what people say No deal, the 1950s shit they want from me I just wanna stay in that lavender haze That lavender haze

Talk your talk and go viral I just need this love spiral Get it off your chest Get it off my desk (get it off my desk) Talk your talk and go viral I just need this love spiral Get it off your chest Get it off my desk (Ooh-whoa)

I feel (I feel) the lavender haze creepin' up on me Surreal, I'm damned if I do give a damn what people say (oh, yeah) No deal (no deal), the 1950s shit they want from me I just wanna stay in that lavender haze

Get it off your chest Get it off my desk That lavender haze, I just wanna stay I just wanna stay in that lavender haze

Songwriters: Jack Michael Antonoff / Jahaan Akil Sweet / Mark Anthony Spears / Samuel Joseph Dew / Taylor Alison Swift / Zoe I. Kravitz

[youngsoulcity]

Travis Scott / FE!N (feat. Playboi Carti)

Produced by Travis Scott & Jahaan Sweet

2024

[albumaday2024]

Album a Day Grammys AOTY addition

Day 13: World Music Radio (Nominee)

Jon Batiste

August 18 2023

World music radio is a concept album about a radio broadcast from earth by interstellar DJ named Billy Bob Bo Bob (B4) that displays a multitude of genres playing popular music around the globe. It features a long list of guest artists and the music showcases elements from different genres, and verses in multiple languages.

"Raindance", the first song on the album features Native Soul. John Batiste went to Standing Rock Reservation and met with Native musicians who showed him their musical traditions.

The song "Butterfly" is about his relationship with his wife and her experience with acute myeloid leukemia.

If you call the number in the title of the song "CALL NOW (504-305-8269)" you hear Billy Bob Bo Bob reciting some of the first track on the song "Hello, Billy Bob".

"Master Power" has samples from different types of prayer from different religious traditions.

Jon Batiste has said that his goal with the album is "open your heart and stretch your mind, expanding your vision of popular art".

It has been nominated for four Grammys.

______________________________________________________________

Produced by: Jon Batiste, Jon Bellion, Rogét Chahayed, Chassol, Braxton Cook, Zach Dawes, DJ Khalil, Ryan Lynn, The Monsters & Strangerz, Pete Nappi, Nelson Ray, Kaleb "KQuick" Rollins, Enrique Sanchez, Johnny Simpson, Wesley Singerman, Jahaan Sweet, Taydex, TenRoc, Nick Waterhouse, and Dan Wilson

Labels: Verve Records and Interscope Records

[ashleyheyneblog]

"Karma" is a song by the American singer-songwriter Taylor Swift from her tenth studio album, Midnights (2022). Swift wrote and produced the song with Jack Antonoff, Sounwave, Keanu Beats, and Jahaan Sweet. Republic Records released the song to US radio on May 1, 2023, as the third single from Midnights. A remix featuring the American rapper Ice Spice was released on May 26, 2023, as part of an extended Midnights edition.

In the lyrics of "Karma", Swift proclaims how her "good karma" brought her good things in life, as opposed to her detractors. Musically, the song combines chillwave, disco, electroclash, and synth-pop with elements of techno, alternative pop, and new wave. Its production is characterized by glossy beats and quivering synthesizers. Contemporary critics regarded "Karma" as a highlight on Midnights, praising its bright production, melody, and zany lyricism.

"Karma" peaked at number six on the Billboard Global 200 and charted in the top 10 in Australia, Canada, Ireland, New Zealand, and the Philippines. In the United States, it peaked at number two on the US Billboard Hot 100 and became Swift's record-tying 10th and 11th number-one singles on the Adult Top 40 and Pop Airplay charts, respectively. The music video for "Karma" premiered on the May 26, 2023, at her sixth headlining concert tour, the Eras Tour (2023–2024), in East Rutherford, New Jersey, and was released to YouTube the following day. The high fantasy video, written and directed by Swift, features her and Ice Spice as cosmic, celestial entities. "Karma" was included on the set list of the Eras Tour as the closing song. At the 66th Annual Grammy Awards, the remix received a nomination for Best Pop Duo/Group Performance.

#taylorswift #selenagomez #arianagrande #swifties #taylornation #lover #swiftie #reputation #justinbieber #taylor #love #ts #red #folklore #music #speaknow #fearless #swift #kyliejenner #taylorswiftedit #shawnmendes #billieeilish #like #follow #reputationstadiumtour #nickiminaj #katyperry #kendalljenner #kimkardashian #bhfyp

[deadcactuswalking]

REVIEWING THE CHARTS: 12/08/2023 (Doja Cat, Travis Scott/SZA/Future)

For a 10th week, and maybe the last, “Sprinter” by Dave and Central Cee tops the UK Singles Chart. And for once, nothing else is happening. Welcome back to REVIEWING THE CHARTS!

Rundown

Yeah, it’s one of those weeks. Well, I guess some things are happening, those being our notable dropouts, songs exiting the UK Top 75 - which is what I cover - after five weeks in the region or a peak in the top 40. This week isn’t exactly the busiest in the world, so we have only a few farewells to give out, those being to “HYAENA” by Travis Scott being three-song-ruled out by another song from UTOPIA as well as “Mourning” by Post Malone not even making it to three weeks, then “Trojan Horse” and “UK Rap” by Dave and Central Cee, “Sittin’ on Top of the World” by Burna Boy and “Side Effects” by Becky Hill and Lewis Thompson. Now that song has been on the chart for 12 weeks, and all of the songs that also dropped out range below that. I say this because we have tons of returns and gains this week, and they’re primarily for songs past their prime, and there are a ton of them so bear with me as half this episode - given our measly two new arrivals - will consist of me listing songs that have been out for months. How delightful.

“Mr. Brightside” is at #55. Christ. Outside of that, we see the returns for “Don’t Say Love” by Leigh-Anne, “Everywhere” by Fleetwood Mac, “Toxic Trait” by Stormzy and Fredo - all from #75 to #73 - as well as another steak from #71 to #68: ���I Ain’t Worried” by OneRepublic, “I’m Good (Blue)” by David Guetta and Bebe Rexha, “Tattoo” by Loreen and “Escapism.” by RAYE featuring 070 Shake, followed by “Bad Habits” by Ed Sheeran at #66 - seriously? - and “Boy’s a liar” by PinkPantheress at #65. These are all bottom-feeders, but a particularly big week will need to shovel it all out, especially since in our gains, we have boosts for “Die for You” by The Weeknd at #64, “Kill Bill” by SZA at #62, “Wish You the Best” and “Someone You Loved” by Lewis Capaldi at #61 and #57, “Baby Don’t Hurt Me” by David Guetta, Anne-Marie and Coi Leray at #59, “Anti-Hero” by Taylor Swift at #38, “Flowers” by Miley Cyrus at #34 and “Miracle” by Calvin Harris featuring Ellie Goulding at #27, though to be completely fair, there were plenty of other gains for songs that are more contemporary, like “What it Is” by Doechii at #67, “Rave Out” by Skepsis, Turno and Charlotte Plank at #52, “Highs & Lows” by Prinz featuring Gabriela Bee at #51 probably thanks to that remix with A1 x J1 which is, of course, not credited, “Bittersweet Goodbye” by Issey Cross at #47, “Asking” by Sonny Fodera and MK featuring Clementine Douglas at #41, “Closer” by Bou featuring Slay at #26 (must be a USB stick discount), “Baddadan” by Chase & Status and… everyone else at #21, “So Much in Love” by D.O.D at #16, “Desire” by Calvin Harris and Sam Smith at #12 and finally, Chase & Status get their first top 10 hit since 2013 with “Disconnect” with Becky Hill up to #9. I’m not complaining, it’s a great song.

As for our top five, there’s very little movement - we see “Barbie World” by Nicki Minaj, Ice Spice and Aqua down to #5, “vampire” by Olivia Rodrigo up to #4 and the top three completely unchanged: “Dance the Night” by Dua Lipa at #3, “What Was I Made For?” by Billie Eilish at #2 and of course, “Sprinter” at the top. Now to talk about two songs.

NEW ARRIVALS

#31 - “TELEKINESIS” - Travis Scott featuring SZA and Future

Produced by Travis Scott, BoogzDaBeast, Wallis Lane, Kanye West, Jahaan Sweet, Nabeyin and Hudson Mohawke

As I predicted, “HYAENA” was swapped out for a better-performing track from the album, with this being the third song for this week and it was a net loss in my opinion. I know this is one of the most highly-acclaimed on the record, partly because of the features and the fact that it was originally a Kanye song from the Donda sessions. I’ll admit - I was excited initially when I heard the woozy synths open the track as they clip in the mix and you can hear the drums in Future’s recording despite them being taken out… okay, it doesn’t sound exciting but Future is fittingly hypnotic here - it’s the typical flexing and toxicity delivered richly but he handles most of this song’s first part and he’s more of a personality than Travis about droning that he can “see the future”. Very funny. Future may not be saying much of interest, but at least it’s coherent, as Travis announces trumpets only for them… not to arrive, being completely obscured by the cloudy yet still mediocre mix, instead dropping into this stagnant beeping with military-esque drums trying desperately to rattle out and never fully skittering to an actually substantial intensity. I did get a decent laugh after this snooze of a track when Travis asks “Do you like the way it sounds?” and the worst, cheapest FL Studio-sounding trumpets come in. He brags about something you haven’t heard yet, and when you hear it, it’s an off-beat ass-blaring that even SZA is close to giving up on savouring. The worst thing about this song, though, it’s just that it’s way too long. Future has two verses and book-ends one with a repetitive refrain, Travis has some malformed verse or bridge for no reason, SZA’s verse drags on, and all of it’s for a decidedly non-immersive track that seems to go for the hypnotising, drumless experience whilst also forgetting that it has to be 1.) seamless and 2.) interesting. But hey, keep bringing out fascists at your shows, Jacques. What do I know?

#20 - “Paint the Town Red” - Doja Cat

Produced by Earl on the Beat, Karl Rubin, Jean Baptiste and DJ Replay

There’s a lot of buzz regarding some behaviour by Doja Cat on social media that I have no clear understanding of so I don’t completely comprehend the turn to a more vindictive aesthetic and persona, but it’s not exactly never been in her wheelhouse and she has that kind of playfulness that could make it work for a full album. We didn’t get much of a good first impression with “Attention”, but this one is pretty great, and honestly, we can probably thank the producers. Earl on the Beat in particular is a producer I really like, thanks to his sense for twinkling yet basic melodic leads that give an off-kilter vibe when his more static trap bounces, and he’s worked in the past with people like Drake, the City Girls, and extensively, Lil Yachty, who he’s made some great beats for. This twinkling melodic lead in particular is a sample of Dionne Warwick’s “Walk on By”, an old Bacharach-penned classic from 1964 that peaked at #9 in the UK, and was later out-charted by covers from Sybil and Gabrielle. The original is an excellent song, but also a remorseful and kind of embarrassed one, not wanting to communicate with their ex after a breakup, pleading with him to just walk on by her if he ever sees her. That’s not a Doja Cat thing to do, so she flips it for a track about she does not care, she’d rather be famous, she couldn’t be less bothered about what you have to say. Sure, the sample is kind of monotonous and the time-stretching and looping is a bit more awkward than it should be, but once the slick snap and bass groove comes in, it’s very hard to care, and Doja as always is full of charisma as she… refers to herself in third-person in the post-chorus, of course, and otherwise making pretty blatant references to her recent actions that collate as some kind of villain origin story, in a more compelling way than “Attention” because things are kept just that bit vaguer and more psychological than just celebrity gossip BS. Oh, and there’s actually some decent wordplay, fun flows, it’s not the most brilliant song she’s ever put out but it does have me somewhat interested in how this new album is going to shape.

Conclusion

You read the reviews. Well, I hope you did. Travis Scott gets Worst of the Week for “TELEKINESIS” featuring SZA and Future, whilst “Paint the Town Red” by Doja Cat gets Best of the Week, though honestly these songs both suffer from not cutting some of the fat. As for what’s on the horizon… I don’t know, hopefully more weeks that require me to do as little work as possible? Thank you for reading and I’ll see you next week, if there are even new songs to discuss, that is. We could just have no new songs. If that happens, I genuinely would have no idea what to do. For a week, I would have no purpose in life. Then Drake would drop an album and I’d be fine again.

[suseetrends]

Taylor Swift – Lavender Haze (Official Music Song Video)

Lavender Haze song lyrics penned by Taylor Swift, Jack Antonoff, Zoë Kravitz, Mark Anthony Spears, Jahaan Akil Sweet & Sam Dew, music composed by Republic Records, and sung by Taylor Swift from the movie  Lavender Haze (Official Music Video).

>> enjoy song with lyrics >> here

Thursday night, Taylor Swift released the third music video for the lead single from her most recent album, “Midnights,” “Lavender .”

En un mensaje publicado en Instagram el jueves, la cantante animó a sus seguidores a “encontrarse con ella a la medianoche”, que es como comienza la canción.

[cyarskj52]

Drake "Duppy Freestyle" (2018)

Target: Pusha-T, Kanye West

Producer: Jahaan Sweet and Boi-1da

Album: n/a

Best Line: "I could never have a Virgil in my circle nd hold him back 'cause he makes me nervous"

In retrospect, this song is a tragedy—a triumphant walk into a bear trap that exclaims "yuugh!" when it snaps. That factors into its ranking (impact is as much of a factor on this list as savagery) but it can't, in any fair system, prohibit the song from making the cut overall. In a vacuum, "Duppy" is still damn good.

It doesn't ring off like "Back to Back," but it's not designed to. As the product of a near-decade's worth of simmering disdain and subliminals, this is a dispute with real stakes and a rich history. These are jilted protégé bars that Drake's been waiting to get off at Kanye. It's also a stripe he's been dying to earn against Pusha. All of this is far too important to slot into a club-ready song.

Dismissing Push as nothing more than a wind-up toy solider and saving his most scathing bars for Ye is a nice touch (and one that makes more sense retrospectively). But he also smartly goes the Eminem-route by getting ahead of any perceived shots others might throw in his face, owning up to the infamous eBay mic and weaving it into the song's larger theme: a faded great, jealous and lashing out.

"Duppy" is patois for ghost, but there's nothing demonic about the way Drake approaches the track as he plays the part of the righteously aggrieved white knight: "Y'all are the spitting image of whatever jealousy breeds." Peep the way he flips the Jay-Z interpolation Pusha used as a shot into an affirmation: "My hooks did it, my lyrics did it, my spirit did it." Robb Stark had a similarly rousing speech about taking down The Lannisters right before he marched to his own demise. —Frazier Tharpe