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coolfire333 · 6 months ago

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Genuinely really loving the rap/music discourse going around...let's all expand our perspectives a little but for the love of god some of you (not anyone I follow) are literally so stupid

Disclaimer: I am a little worried since it's easy to throw stones at "boring white girl music" which makes me wonder if this is just going to end up dunking on women in a veiled-sexist manner in general a la the "pumpkin spice white girls" trend that was popular a while back that basically was just making fun of women for having harmless fun under the guise that they were "basic white girls"

HOWEVER everyone in the notes of posts that are even slightly rude or poking fun at popular white musicians getting all up and arms because some (likely black) blogger poked fun at their (likely white) precious punk music or girlypop diva are really showing their ass on this one

As someone with a background in music and music history I can confidently say that nearly every popular genre in mainstream music would not exist without the innovations of black (usually American) musicians. And I think that's super neat! Ragtime, jazz, gospel, soul, r&b, blues, rock, pop, hip-hop, rap, all uniquely American genres that came largely, if not entirely, from the ideas of black Americans.

I'm undoubtedly missing some genres (I'm a bit old-school at heart so I don't know what's trendy now or where exactly it came from) but if you're American and on this website, doesn't that give you a form of national pride? That all those years ago people from your country were able to create new musical styles that have, for the most part, persisted and spread around the world? Honestly it brings a tear to my eye sometimes listening to old music and realizing how impactful it was on modern music genres.

Instead of going "ewww I don't like xyz" why not ask a fan of that kind of music why they like it and maybe what recommendations they have for someone who doesn't listen to that genre. And if you really don't gel with a genre for whatever reason, at least treat it respectfully and recognize its impact on the genres of music you do listen to.

"Ohhh but rap is just sex, drugs, and violence," I hear some of you saying. Well, keep in mind that that same critique has been used for pop, rock, jazz, ragtime, and pretty much every other "new" (keyword "black-influenced") art form so you really want to be careful labelling an entire genre as that. Controversy sells, so think about why exactly "mindless" rap might be the rap you're exposed to or most familiar with from the radio instead of more serious or contemplative rap songs.

Also realize that the songs you like probably also discuss drugs, sex, and violence, but perhaps less directly or in a way that's somehow more tolerable for you. Explore why! Why is it ok for (insert genre you like here) to talk about mature or "dark" themes but when rap does it it's suddenly offensive to you.

It's ok to have biases and be working on them! Also, if someone is trying to criticize a group you're part of for being biased, and they're trying to do it respectfully and seriously, don't joke around like "oh LOL that's so me" and don't get overly defensive either. Be serious and respectful back and genuinely listen to what they're saying.

Literally just don't be a jerk to music and art of marginalized communities! Is it really that hard to have respect for other people even if you don't 100% understand the culture from your perspective?

#serious #text post #talking #music #long post

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thisaintascenereviews · 23 days ago

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Leon Bridges - Leon

R&B singer Leon Bridges started his career by imitating Sam Cooke about a decade ago, and truthfully, I love his debut album, 2015’s Coming Home. It’s not a unique album at all, but he brought a 1950s and 1960s sound to the modern era (as well as brought modern production). A lot of people thought that he couldn’t make that shtick last, and truthfully, I agree with that. Maybe he could have had a couple of albums in that vein, and he did come out with that album during the crux of the 1970s soul resurgence that was happening, thanks to Sharon Jones & The Daptones, St Paul & The Broken Bones, Allen Stone, and others that took note from that era and sounds of music.

Instead, Leon Bridges went into a modern direction with his follow-up, but he still played around with retro sounds. His third album, 2021’s Gold-Diggers Sound, is one of my favorite albums of the last few years, and it plays with a nice mix of neo and retro soul. It goes into a lot of directions, having more of a progressive sound, instead of sticking to one or two sounds. While that album was his most critically acclaimed, it was also his least commercially successful, so a few years later, he’s back with Leon, and I totally forgot this was even coming out this past weekend, but I was instantly excited.

Leon Bridges is one of my favorite artists of the last ten years, give or take, so I’m always excited to listen to a new album of his. I had no idea the direction he would go with this, and I was pleasantly surprised to hear that this record is almost an acoustic-soul album? Sort of, at least, but there’s a huge influence of 1970s singer-songwriters here, as well as some country and folk, but there’s still just as much soul and R&B. If anything, this record is a smorgasbord of Southern sounds, but it’s a wonderful album that admittedly took a few listens to really sink in. This album is not a super high energy record, but it’s also very smooth, relaxed, and catchy.

Despite how much I enjoy this, I wouldn’t say this is one of my favorite albums of the year so far, frankly, because it doesn’t quite reinvent the wheel, although it’s still great. Interestingly, he moves into a more intimate and personal setting, and the lyrics reflect that, too. The album has really nice universal themes of loving those around you, appreciation of what you have, and reflecting on the past, and its sound reflects that. I love how quiet and relaxed Bridges sounds, and the instrumentation reflects that, too, but that leads me to my biggest issue here — the hooks are that pronounced, and because this album stays within a couple of key sounds, it ends up blending together. It all sounds good, but it all just sounds the same.

I don’t think this album tops Gold-Diggers Sound, because that record was more interesting and more unique, but this has its place, too. It’s a solid little album that would be perfect for the fall, especially if you wanted something that isn’t spooky or scary. I’ve been having a blast with it, even if it isn’t the first album I go to when I wake up, but it’s for a good atmosphere that’s perfect for fans of folk, soul, singer-songwriter music, and pop of the mellower kinds, so if it sounds like something you’d be into, I’d say check it out. While this record doesn’t quite blow me away, and it’s not quite one of my favorites this year, Bridges still sounds wonderful on this thing and it has a real nice sound.

#leon bridges #coming home #leon #soul #R&B #soul music #country #sam cooke #wilson pickett

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tenjikubaby · 2 years ago

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what western media/music do u think the s62 would like ? (ur post abt izana liking mitski oh god help🥲🥲🥲)

I'll be merging these asks. Music taste anon, I hope you see this 😭

Western music that I think S62 might like, with artists (warning: self-indulgent, literally just projected my music taste on some characters but hopefully they still match)

*I might make a separate post for Western media hmm

IZANA

➼ Izana’s favorite music normally falls under the indie and rock umbrellas. He’s partial to 80s-90s rock and alternative rock but enjoys some modern indie artists from time to time. I see that he canonically listens to Queen (though I’m not sure if he does love the band or just one song), so there’s that. Other artists he might listen to are The Rolling Stones, Muse, The Strokes, Aerosmith, The Smashing Pumpkins, Arctic Monkeys (insists he likes their pre-AM music, would make a face if you tell him your favorite Arctic Monkeys song is “Do I Wanna Know”) ... and Mitski..... (you know why)

➼ His favorite Mitski album is Bury Me At Makeout Creek by the way.

Get a feel of his music taste: The View From The Afternoon - Arctic Monkeys, Tonight, Tonight - The Smashing Pumpkins, Angie - The Rolling Stones

RAN

➼ Somewhat your mom/dad’s music taste. Probably one of those people who say older music’s better than new music. He’s a New Wave guy. Likes a lot of 70s-80s pop hits; some funk, soul, and disco music; with some alt indie bands sprinkled in. He’s fond of shoegaze because of its floaty and ethereal sound which makes him feel nostalgic and at peace. He also appreciates mesmerizing vocals and orchestral instrumentals, so I think he’d like Florence and Lana if he heard them.

➼ Artists he would probably like: ABBA, Prince, The Cure, The Smiths, New Order, Cocteau Twins, Lady Gaga (I think she was big in Japan + her songs probably played a lot in clubs + she was always doing something shocking and Ran liked that)

Get a feel of his music taste: Lullaby - The Cure, Heart of Glass - Blondie, Gimme! Gimme! Gimme! - ABBA

RINDO

➼ He’s into R&B, soul, 90s rap like Notorious B.I.G., Tupac, and Ice Cube. That’s what you’d usually hear playing in his room while he’s chilling. He’d listen to DJs too, of course, but maybe to the more underrated ones. (I don’t know that many DJs so I’m not giving names) He shares Ran’s taste for Prince. As for some newer artists, I think he’d like Joji and Childish Gambino.

➼ Likes EDM but frowns upon the EDM of the early 2010s. He has pretty strong feelings about it. Never play The Chainsmokers in his presence or die.

➼ His and Ran’s music tastes overlap when it comes to indie/alternative artists. Both brothers act like snobs over it. Rindo actually buys and collects records (as you can see, he has a CD and DVD shelf in his room), searching for rare versions of his favorites and everything.

Get a feel of his music taste: You Know How We Do It - Ice Cube, Redbone - Childish Gambino, Pony - Ginuwine

SHION

➼ Metal, metalcore, punk rock, emo. Anything that includes loudness and screaming. Because of Rindo’s influence, he also got into some 90s hip hop himself. I think he’d enjoy the way someone like Eminem raps. He could never get into chill R&B though, and most pop songs are either too “happy” or too “sappy” for him and he just wants something that screams in rage most of the time.

➼ He’d enjoy Deftones’ Around The Fur album, as well as My Chemical Romance’s stuff, some Evanescence here and there (he’s had a crush on Amy Lee at some point), Bring Me The Horizon, Three Days Grace, Slipknot, and old Metallica

Get a feel of his music taste: Around The Fur - Deftones, Master of Puppets - Metallica, Na Na Na - My Chemical Romance

MOCCHI

➼ He likes hip hop/rap like Rindo so they often bond over that. Mocchi listens to both male and female rappers and will not hesitate to rap extremely explicit verses if urged. Others’ music tastes easily rub off on him, so Izana’s alternative rock, Mucho’s oldies, Shion’s metal, and Ran’s disco pop have all found a place in his playlists.

➼ The type of guy to have a Taylor Swift (he likes Back to December) or Britney Spears CD hidden somewhere in his room. Also got into One Direction at one point. If anyone asks, he’ll says it’s his girl’s or mom’s.

➼ Okay, not Western, but he listens to Kpop and Jpop and stans girl groups.

Get a feel of his music taste: No Diggity - Blackstreet, Family Affair - Mary J. Blige, Dilemma - Nelly ft. Kelly Rowland

MUCHO

➼ If Ran’s got the music taste of your mom, then Mucho’s got the music taste of your grandparents. His taste in oldies is a lot similar to Ran’s but goes further back in time. He enjoys the “classy” feel of most of these songs and the way these singers sing. His favorite genres are funk, soul, R&B, and some oldies pop.

➼ You rarely hear music playing in his house. But if you do, it might be Frank Sinatra, Elvis Presley, Bee Gees, The Carpenters, or Simon & Garfunkel.

➼ And as for some more modern artists: Coldplay, Hozier, and Silk Sonic. Would enjoy Lana del Rey’s style too, especially her Ultraviolence songs.

Get a feel of his music taste: How Deep Is Your Love - Bee Gees, Yesterday Once More - The Carpenters, Viva La Vida - Coldplay,

KAKUCHO

➼ Kakucho listens to music to relax. He usually likes to play music while he’s cooking, cleaning, or just idling around (though that’s rare). His taste is more of chill, easy listening. Izana and Rindo influenced him to like alt-indie, R&B, and rap as well.

➼ Kaku doesn’t “stan” artists. If you ask him who his favorite artist is, you would not get an answer. He’ll listen to anything that sounds good to him no matter what people think of it.

➼ That said, he’s the person Izana makes a face at for saying that his favorite Arctic Monkeys song is “Do I Wanna Know?”

Get a feel of his music taste: Tek It - Cafuné, Clouds - BØRNS, Do I Wanna Know? - Arctic Monkeys

#answered #tenjikubaby #izana kurokawa #ran haitani #rindou haitani #shion madarame #kanji mochizuki #yasuhiro muto #kakucho

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fantastickkay · 4 months ago

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Album Review of the Week: The Association - Insight Out (1967)

The Association's third album saw a turn towards more commercial viability than their previous releases. They had a new member (Larry Ramos), a new producer (Bones Howe) and even relinquished much of the instrumental work to session musicians in favor of attaining a radio friendly sound. This certainly worked on me, as it is the only Association record I own (besides their greatest hits) - and it does contain some massive standouts in their discography.

Wasn't It A Bit Like Now indulges in the vaudeville throwback sound that was popular at the time. To me, this often creates a clunky sound that can be somewhat fun but not something I would want to put on very often. (ex: The Monkees' Cuddly Toy executes and modernizes the sound very well). Almost 2 minutes in, there is a brief silence and then we get into a pop/garage bridge that morphs back into vaudeville and then ends with a very garage outro - makes for an interesting track, that's for sure!

On A Quiet Night is a ballad that sounds very of the time, a little baroque pop. The lyrics are imaginative and poetic but the sound doesn't really bring anything new to the table.

Bring out the harpsichord! We Love Us leans even more into baroque pop with some dreamy harmonies and cheesy lovey dovey sunshine pop lyrics. As one-note as this song is in general, I do love me some harpsichord so that is a win for me.

When Love Comes To Me is quite similar to the last track, sans harpsichord (though it contains the mid 60s obligatory flute solo) so it falls more into the sunshine pop category. Sounds nice, but nothing too exciting.

Windy was one of my favorite songs when I was really, really into 60s music. My biggest complaint now is that the vocals are mixed too low so it is difficult to fully enjoy it while straining to hear everything. Maybe I have a weird remaster, but I found it was true both with my vinyl and the version I bought on iTunes in an effort to be rid of the issue. However, the lyrics, melody and harmony are stunning and I love how bouncy and happy it is!

Reputation brings the edge with a rockier sound and grittier vocals.

Never My Love is one of their most famous songs. It is so completely romantic, I love how soft and smooth the vocals are and the instrumentation is gorgeous. The perfect song for a romantic moment! I also love the chorus that talks about how it is silly to fear that the relationship will end because of how obviously devoted they are.

Happiness Is brings it back to the sunshine pop sound, I think I even hear a little ukulele in there. I am not as much of a fan of the vocals on this one, the key seems a little high for those involved.

Sometime is a huge pivot as far as vocal style, definitely leaning in the vaudeville vibe there. Other than that, nothing too remarkable.

Wantin' Ain't Gettin' starts out with a crazy sitar intro that really reminds us what time we are living in here! This album has been such a crazy mixture of popular music styles of the time. The harmonies don't seem synced very well which makes the melody sound muddy and hard to follow.

Requiem For the Masses is a genius album closer, although it is a giant departure from anything we have heard so far. The lyrics use the imagery of a bull fighter that dies in a fight far from home as a metaphor for fallen soldiers in Vietnam. It is a layered, storied, textured, all around gorgeous song.

Aside from the singles (Windy, Never My Love, Requiem For the Masses) this album seems to have sold its soul in an attempt to gain commercial notoriety. The deep tracks are a crazy mash-up of several distinct sounds of the time (baroque and sunshine pop, Eastern influence) without any real uniqueness to its vocals or melody to make them a standout among the crowd. The singles are absolutely fantastic, however, so I am not going to toss this album in the donation bin any time soon!

#the association #insight out #1967 #1960s #album review #vinyl collection

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music-catalogue · 2 years ago

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Beyonce 'RENAISSANCE' first impressions review

OKAY. So I just finished listening to Beyonce's (long awaited) new album 'RENNAISSANCE' and I wanted to jot down and share some of my initial thoughts on the record.

Firstly, I should note how fucking annoyed and embarrassed I was to only realize more than halfway through the album that I had been listening to the clean version the WHOLE FUCKING TIME. THAT frustrated me lol, but that was totally my fault.

When the album cover and first single 'Break My Soul' dropped, I was expecting a very different record. I was expecting a much more straight-up 90s house kind of record with lots of simple, positive, and uplifting lyrics that maybe have more complex meanings. The album cover also hinted to me that there would be some disco influences in there as well, which I will address in a moment. This was a fairly accurate, but not ENTIRELY accurate impression of what the album would sound like.

I'll be honest as well, upon its release, I did not care for 'Break My Soul' at all. I just found it long, repetitive, boring, and not particularly interesting. Nothing about it really grabbed me. It just didn't go anywhere. I really tried to get into it and I really tried to like it, but it just didn't happen for me (however, I think it may be starting to grow on me now. Just a little.).

The opening chunk of the album has some absolute bangers in there, though the opening track itself didn't do much for me. I was honestly caught off guard straight away, as I was not expecting these sounds. Sis is really TURNING IT OUT with some of the production on this album. The album definitely draws heavy influences from disco, house, and funk music, and also keeps a very R&B vibe steadily throughout.

I was so impressed and infatuated by the vocal layers and harmonies on this album. Pure heaven. Like holy shit. They create so much depth and are such a beautiful effect. One of the notable examples of this is the layering on 'Virgo's Groove' - SO BEAUTIFUL. I am a fucking sucker for vocal layering. I especially love when she uses her deeper voice on certain lyrics or in certain harmonies because she has such a mature and BEAUTIFUL deep singing voice. It can be a nice departure from her usual (but still incredible obviously) singing tones, creating more depth and variety in the music.

The transitions between the songs on this record were absolutely FLAWLESS and incredible. Seamless. I was so not expecting that and sometimes I hadn't even realized when another song had started. Truly amazing production there. They crafted the transitions in such a way that didn't ruin the beginning or end of any of the songs by creating an obvious and interruptive shift in the music in order to produce a transition that wouldn't make sense if you were just listening to the song on its own. I admired that a lot.

One thing I didn't love about the album was some of the lyrical content. Notably on tracks like Thique, where the lyrical content is centered around tired ass topics like shaking ass, pleasing the male gaze, cash money, being a 'bad bitch', and just nonsensical garbage that you commonly hear in a lot of modern pop music. Just generic crap. I just thought it was disappointing, especially coming from BEYONCE. I feel like she's above that. It felt tired and, overdone, uninspired, and sometimes even a little, dare I say, substanceless. I get that some of it is just pure fun. I get that and I'm here for that. But it feels outdated at this point. There ARE more ways to communicate messages of empowerment and freedom and fun, which are more interesting and original.

I was also really excited for 'All Up In Your Mind' because of A.G. Cook's production credit, however, I honestly thought it was nothing too special. Quite underwhelming, especially coming from A.G. Cook. I hope the song grows on me more because I really wanted to love it.

AND OMG CAN WE TALK ABOUT THE DONNA SUMMER 'I FEEL LOVE' SAMPLE ON THE FINAL TRACK??? Literally stop. I was so shook. OBSESSED with that. Again, showing some of that disco influence. Hearing Beyonce's slower vocal delivery droning over the bumping upbeat production put me in a trance-like state. It was such a beautiful and simple effect. That is how you end an album!

Overall, I am pretty impressed. Usually, I'm not like a GIANORMOUS Beyonce fan, especially of her album tracks (jeez I'm really getting brave here today with the unpopular opinions), but she has really put together something beautiful here and I am looking forward to listening to it more and allowing the record to grow on me. It's a beautiful celebration of black and queer culture and music. I am SO excited to hear the other two volumes of this project!

STANDOUT TRACKS (on inital listen): COZY, ALIEN SUPERSTAR, CUFF IT, BREAK MY SOUL, VIRGO'S GROOVE, MOVE, AMERICA HAS A PROBLEM, PURE/HONEY, SUMMER RENAISSANCE.

What were your thoughts on your initial listen of 'RENAISSANCE'? Did you agree or disagree with any of my opinions? Keen to hear your thoughts!! Let's discuss.

#beyonce #renaissance #new album #new music friday #music tumblr #black music #spotify #music #mixtape #music recommendation #pop music #mix #good music #music blog #musicislife #music lovers

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seaborns · 3 years ago

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criminal minds characters + music tastes because you all are boring

i just am clawing at the walls if i have to read about taylor swift songs one more time

jason gideon: i think the show got this one right. big band/crooner music. a bit jazzy now and then. maybe a touch of folk if he’s in the mood but nothing crazy hippie-like. i could see gideon learning the guitar and playing it up at his cabin.

derek morgan: i think morgan has the most diverse music taste of the bau and he’s constantly listening to music so that makes sense. 90s r&b is his SWEET spot, and rap from that era is a close second. but he’s listened to a ton of different stuff: blue-eyed soul, modern hip-hop, classic rock/hair metal when he’s breaking shit in his houses, even alternative rock and poooooossibly some nu-metal influences

aaron hotchner: another one i think the show got right. dad rock to the extreme. sadly probably does actually listen to the beatles. had a ramones/sex pistols/britpunk phase when he was younger but would never admit it. also a fan of older country rock like waylon jennings on occasion, especially in the car

emily prentiss: definitely a big punk kid, even beyond the picture we were shown. prefers the cure to the smiths but siouxsie and the banshees to them both. nowadays listens to a lot of female singer/songwriters and girl bands like the indigo girls, the bangles, the go-gos, etc. but still loves the music of her youth.

penelope garcia: anything bright and loud. it doesn’t necessarily have to be happy; i know that we joke about emily being emo but penny is far more likely by timing to have actually had an emo period. i think she definitely listened to evanescence sometimes and had a bit of a hard rock phase as the black queen. now she leans hard into 80s music and glam rock; loves kate bush, bowie, mr mister, and can get down with emily’s girl bands as well

spencer reid: again, show was pretty accurate, but i think he’d also have a wide music taste because he’d listen to whatever people suggested (like derek telling him to listen to nas). if left to his own devices he’ll just listen to classical and opera though. he’ll talk you through his dream cast of whatever opera you ask

jennifer jareau: definitely had a nu-metal phase where she listened to a ton of like linkin park, breaking benjamin or whatever when she was in college (“i rock” as stated in unknown subject). canonically listened to rage against the machine. for sure leans more towards soft alternative/indie now but plays music from high school when she’s alone and has been known to scream along to a female country kill your husband song when drunk.

tara lewis: we know she listens to classic rock and like, when she says classic rock, it’s everything she can get her hands on and about as broad as it gets under the umbrella, folksy to funk and everything in between — stones to chicago, heart to the commodores, simon & garfunkel to hall & oates.

alex blake: rap. like, the tightest flow, most wordy rap possible. either that or classical instrumental; there’s like no in between, except she’ll also cede to folky 70s stuff (bonus points if it tells a story).

kate callahan: 90s girl pop is the BESTTTT to her. also enjoys a lot of no doubt, avril lavigne, all that good stuff. 70s music (disco mostly), the kind she was raised with, is what she puts on cleaning the house.

luke alvez: i feel like luke is the most into classic metal and rock and roll out of everyone. there’s nothing like a car ride with music blaring and roxy hanging out the window while he sings along. he does listen to some big band music while cooking, though, and his singing voice is way better than he’d ever let on. works out to modern rap playlists on spotify

matt simmons: in my mind matt probably has the “coolest” music taste because he listens to a lot of current alt rock and indie rock. i think matt and kristy would probably enjoy going to concerts together. sometimes they like to embarrass their kids by singing pop songs from the early 90s at the top of their lungs.

#had this in my drafts forever so i’m posting it in lieu of Real Content lol #criminal minds #.txt

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dailyexo · 4 years ago

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[INTERVIEW] Lay - 200819 Rolling Stone India: “How Lay Zhang Claimed The Throne of M-pop”

"The singer-songwriter and producer offers an in-depth look into his latest record ‘Lit,’ his evolution as an artist and finding the balance between East and West

When I last spoke to Lay Zhang in 2018, he was embarking on an ambitious but daunting journey to bring Mandarin pop aka M-pop to the world. “I hope they think, ‘This artist isn’t bad,’” he had said with some trepidation in his voice. “I hope that they find my music special and maybe… they’ll want to learn more about me and Chinese music.” The singer-songwriter and producer aspired to create a true hybrid of traditional and modern music, a sound that defines our generation’s ability to package the past for the future.

Zhang, more commonly known by his stage name LAY, first debuted in 2012 as a member of world-famous K-pop group, EXO. Although he remains a member of the group, he’s spent the last couple of years in China to focus on a solo career and spotlight his own country’s burgeoning pop scene. It’s a process he kicked off with his second studio album Namanana in 2018, but he was still some time away from realizing his dream of pushing Chinese pop to a global stage.

It’s been nearly two years since our conversation for Rolling Stone India’s November 2018 cover feature, and any signs of trepidation are a thing of the past for LAY. We could chalk it up to him being two years older and wiser, but I’d like to think it’s because he kept his promise to bring M-pop to the world. If Namanana was just a dip in the pool of fusion experimentation, his latest studio album Lit is the deep dive.

“It is the evolution of M-pop for me,” LAY explains. “I wanted to take it to another level. When you hear the Chinese instruments, you know it is a different sound and vibe. The style is more pop, R&B, and hip-hop influenced with the Chinese instruments thoughtfully mixed in.” Comprising a total of 12 songs (all written and co-produced by LAY) Lit was released as two EPs instead of one LP; the first dropped in June while the second made its appearance in July. Nearly every track presents a fresh blend of traditional Chinese instruments like the hulusi, guzheng, flutes and gong with modern genres like trap, R&B, soul, hip-hop, future bass, dubstep and more. It’s a complex, refined and intricate record, utilizing production techniques that clearly outline LAY’s growth as an artist over the past two years. In retrospect, Namanana comes across a slightly more naive record–innocent and optimistic with a hope that international audiences would embrace both M-pop and LAY. Lit however seeks to take a different path and carves out the future LAY envisions with cool confidence and fearless production.

The tracks seesaw smoothly from Mandarin to English and back, with LAY showcasing both his vocal and rap skills. It’s an extremely powerful and expansive album, hair-raising at some moments due to the sheer surprises the artist packs in (at one point I hear what sounds like the tabla on “Call My Name” and it catches me totally off-guard.) Some of the collaborators on the record include big names like hip-hop hitmaker Murda Beatz, Grammy Award-winning producer Scott Storch, composer and producer Mitchell Owens and Grammy-nominated songwriter Mike Daley to name a few. For the title track “Lit,” LAY recruited China-native Anti-General who created a vicious and chilling trap/dubstep beat to complement lyrics that decimate LAY’s haters, gossip-mongers and the media, challenging them to come forward and take him down if they dare. The track sees the singer-songwriter rightfully crown himself a ‘king’ and leader in the music industry.

If that wasn’t enough, the music video for “Lit” is without a doubt one of the best released in 2020. With hundreds of extras, dancers, impeccable CGI and a compelling storyline, it’s more movie than music video, portraying LAY as a warrior king who refuses to be defeated. As executive producer, music director and co-choreographer on the project, LAY pays homage to China’s rich history and culture with tons of historical references and traditional symbolism. I tell him I particularly loved the symbolism of a white lotus emerging untouched and pure from the black ink–representing LAY’s rise in the industry–and he shares that the magnificent dragon that appears at the end was his personal favorite. “It was super important that we added it in,” he says. “It represents my wishes, aspirations and my relentless desire to always pursue perfection in the works that I create. I want my dancing, visuals, and music to be the very best it possibly can be.”

Lit is also thematically more complex and layered than any of LAY’s previous works, exploring concepts that revolve around confidence, love, fame, the media, success and more. “The album continues to explore chasing your dream,” the singer explains. “This time it’s about more personal things in my life. Like hometown, family and self-doubt.” A phonetic play on the word for lotus (莲 / lian) in Mandarin, ‘lit’ is a clever pun used to describe LAY’s similarity to a lotus and his prowess as a musician. He named the album after the lotus because of the symbolism of it growing and blossoming from dirt or mud. The lotus also continues the theme of duality with Lit’s two-part release, and, according to LAY’s team, “represents a new birth plus a new sound in the midst of all his past achievements.”

The album’s success more than speaks for itself– when the pre-order for Lit went live on China’s QQ Music streaming platform, nine certification records were instantly broken as it surpassed 1.5 million pre-orders within seven minutes and 19 seconds. This immediately pushed the EP to Number One on QQ Music’s daily and weekly album sales charts. Lit has also made LAY the best-selling artist in China in 2020, with a whopping 2.5 million records sold. It’s a testament to his drive and determination as an artist, the attention to detail and refusal to back down. The record’s international success was no less, hitting top 10 positions on iTunes charts across 32 countries, bagging 21 Number One spots and firmly cementing LAY’s position as the global megastar that he is.

Some things however, never change; brand deals, TV shows, multiple singles, EPs and collaborations keep his schedule completely booked and– just like back in 2018– it’s extremely tough to pin him down for a conversation. He’s currently in the middle of filming a reality show and has several other projects in the pipeline, but still makes the time to catch up and answer a few questions for Rolling Stone India. In this exclusive interview, LAY details his most successful record yet, the journey of finding the balance between East and West, dealing with the dark side of media attention and why the relationship between an artist and their fans needs to be a two-way street.

Congratulations on the release and tremendous success of Lit! It is an absolutely phenomenal record and I was thrilled to see you explore so many new streams of production. Can you tell me a little bit about the process of making this album and do you feel you met your own expectations for it?

For this album I wanted to mix in Chinese traditional instruments and tell Chinese stories. It is the evolution of M-pop for me. I wanted to take it to another level. When you hear the Chinese instruments you know it is a different sound and vibe. It is hard to say if I met my own expectations. As an artist you never ever feel your work is perfect. You can always find spots where you can improve. But I think what I was able to do with my team in the time we had was great.

You dove deeper into the fusion of tradition and modernity on this album than Namanana—there was a larger variety of Chinese instruments used as well as bilingual wordplay with language in the lyrics. In what ways do you feel you’ve evolved as a producer and songwriter since that album to Lit?

I am still trying to find the right style and combination to share my music and Chinese culture with the world. Lit was an example of my growth. I had this desire to include traditional stories and instruments from Chinese culture. Trying to find the balance with the Western music was challenging. I had to think and spend a lot of time arranging the chords around and fitting everything together. Also with this album I am talking about things in a more personal level and taking time to explain with more of an artistic style. I feel like I am growing up on this journey.

Lit is the first part of a series of EPs which will make a whole LP—why did you want to release it in this format and when did you begin working on the record?

I split it into two parts to give time to people to listen to it. I feel like if I released 12 songs at once, people may not give enough time to listen to each track. But when there are just six tracks each time, then it gives people time to listen more carefully. I started this project maybe early 2019.

The title track “Lit” is about your battle with the media, hateful netizens and malicious comments/rumors. Does it get easier over time to deal with this obsessive analysis of your life or does it never really ebb away?

It will always bother you, but over time you learn to deal with it. You focus on it less and less and back on what you love doing. When I make my music or learn dance or do anything I love, I kind of forget about it. Just focus on your goals and dreams and everything else becomes background noise.

The music for “Lit” is, in my opinion, the best of 2020 so far. Can you tell me a little about your role as the executive producer and music director on this project? How did the concept come about?

I was very involved in the project. I oversaw a lot of things that happened and discussed with almost everyone on the team on how to achieve my vision. When I was making the song I was thinking about how do we share Chinese culture. I thought filming in an ancient palace would catch people’s attention. It took off from there when discussing with the director. We started adding more and more elements of Chinese culture. We were trying to tell the story of Xiang Yu, a warlord who rebelled against the mighty Qin Dynasty but wasn’t able to conquer China. I’m Xiang Yu, but I’m trying to change my fate and succeed in my goal.

You incorporated Chinese Peking Opera in the music video version of the track and visual elements of Peking Opera in the album art for “Jade”–What was the motivation behind that decision and is there a particular story that the opera section references?

I wanted to bring people back in time to ancient China. I reference the traditional Chinese story of Xiang Yu and his love, Concubine Yu, so then I added in select passages from the Peking Opera Farewell My Concubine which tells their tragic story.

You displayed your incredible skills in dancing in this music video and you recently talked about how dancing was a way for you to show the audience who you are. Did you feel a sense of relief that the audience can see you or understand you a bit better after the release of “Lit”? Can the audience ever truly understand an artist?

It feels good to know people can see me and understand me more. I don’t think people can ever understand an artist completely. But they can relate to many things. I think that is a challenge for an artist to see how they can use their music to connect with people. It is a worthy challenge.

How do you hope that the artist you are today crafts the Lay Zhang of tomorrow?

I always believe in working hard and improving. I hope that the Lay Zhang of tomorrow continues to keep looking for ways to improve his art. I hope he never gives up his dreams.

Last time we spoke, we talked about Asian traditions represented in global mainstream pop culture. Now as you’ve grown as a megastar, you are one of the leading names in pop filling that space, bringing your heritage to the stage. Why is it important for our generation to see ourselves and our histories represented on these platforms by artists?

It is important for people to remember where they come from. They should know their own history and how their culture came to be. Also, it lets other people know another culture and have a deeper understanding. It can stop miscommunication and it helps people be closer to each other.

Why do fans need to see themselves in an artist? Does it work the same on the other side, do you as an artist see yourself in your fans?

I want fans to be able to relate with an artist. It is important for a fan to see themselves in artist and an artist to see themselves in a fan. When you can see each other you are able to understand each other better. You can connect with each other and really feel things.

I absolutely love the ‘Re-Reaction’ videos you have been doing for years and it means a lot to your fans that you take the time to do it. Why did you want to do this series and what does it mean to you to be able to connect with your fans like this and see them react to your work?

I am curious to know what fans and people think of my work. I want to know where I can improve. I want to keep growing as an artist. But also I want to let my fans know that I am reading their comments and I see everything they say.

Other than releasing more music, what are the rest of your plans for 2020? Do you have any film projects that you’re looking at taking up or are you planning on doing something completely different?

I am busy filming a TV drama and a few reality TV shows for the rest of 2020. A very busy schedule.”

Photo links: 1, 2, 3, 4

Credit: Rolling Stone India.

#EXO #EXO M #Lay #200819 #exo im #exo m im #lay im #p:news #t:news #fs:rolling stone india #comeback:Obsession

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betweenthetimeandsound · 3 years ago

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Three Minutes to Eternity: My ESC 250 (#140-131)

#140: Lordi -- Hard Rock Hallelujah (Finland 2006)

“You will see the jokers soon'll be the new kings!” I'm semi-convinced that if I heard this song when I was a child, I would've been so scared I would just hide (I also panicked at the cover of Harry Potter and the Half Blood Prince, though that maybe because I didn't want to read such a long book). Watching it for the first time in 2020, I didn't mind it, though the monsters still puts me off. As much as I like to jam to this one, I can’t see myself listening to it over and over again. That said, one can’t take away from the sheer catharsis of this song, from the opening notes to how Lordi gleefully announces their arrival and thunders down Athens with the arockalypse. Whether it’s the first hard rock winner or the last schlager one, Lordi came, saw, and grabbed a first win for Finland after so many attempts, and made rock more popular in Eurovision for a few years. i You can’t resist yourself from headbanging to this one! Personal ranking: 3rd/37 Actual ranking: 1st/24 GF in Athens

#139: Natasha St-Pier -- Je n'ai que mon âme (France 2001)

“Mais je n'ai que mon âme pour te parler de moi, Oh, juste mon âme, mon âme et ma voix,” “But I only have my soul to talk to you about me. Oh, just my soul, my soul and my voice.” By the turn of the millenium, France switched back to contemporary ballads to represent them. While 1999 and 2000's entries didn't do well, their next two would be really strong songs amongst the weakest years ever, and that's why I appreciate France so much in the contest. Initially, I didn’t get it, because it sounded a bit derivative (not unlike what Celine Dion would sing). However, one thing which won me over was with the intro, which provided the base of a really great build. A soft intro leading to a lush instrumental, it shone above the crowd, and it turned from being "derivative" to being "gentle and sincere. Natasha delivers this with equal parts softness and grace, though the English parts did feel a bit out of place in the end. That might have cost it a (deserved) place on the podium, and France would have wait twenty more years for the next medal-placing. Personal ranking: 2nd/23 Actual ranking: 4th/23 in Copenhagen

#138: Lena -- Satellite (Germany 2010)

“I even painted my toenails for you I did it just the other day!"

Whenever you check the comments of any video on this song, you will note a bunch of angry Turkish people who insist MaNga should’ve won 2010. While I really love their song (and will end up later on the list), Satellite was a worthy winner. Along with its commercial success, Satellite is adorable because it is uptempo, sweet, and infectious. Lena acts like she’s having fun on stage and doesn’t even try to pretend. Her accent, which emerged as a result of her English teacher, adds to the charm and her overall innocence. It’s cute, which can turn off some people, but not me--I really embrace it. Also, Arilena Ara made a cover last year for Eurovision Home Concerts, which you should check out! It keeps the poppy vibe, but adds a funky edge to it. Personal ranking: 4th/39 Actual ranking: 1st/25 GF in Oslo

#137: Lazy Bums -- Shir Habatlanim (Israel 1987)

“עושה לי כוס קפה ומדליק לי הסיגריה יוצא אל המרפסת לפצח גרעינים הציפורים יורדות העציצים של המרפסת ומפזמות איתי את שיר הבטלנים” “I make myself a cup of coffee and light a cigarette I go out to the balcony to crack open some seeds The birds come down to the plants of the balcony And sing with me the bums’ song” The Culture Minister threatened to resign when Shir Habatlanim was chosen for the Israeli entry in 1987, but it adds to the charming element to this performance. After a decade in which the Israeli entries pranced around, this was something different, and the two actors really take on the role. The lyrics were a bit silly, but relatable with the bums not seeing the sun because of the buildings and doing random tasks while hanging out with the birds. The Lazy Song before the Lazy Song, I'm starting to think this is the "reality" on playing hooky, whereas "Ferris Bueller's Day Off" is the "expectations" part (and they are really high in the movie). The Blues Brothers-inspired performance ("We're coming to ya--"), combined with Kobi Oshrat's orchestration, makes this otherwise troll song into a comedic masterpiece. It's three minutes of fun and endearment, and I can't help but smile. Personal ranking: 4th/22 Actual ranking: 8th/22 in Brussels

#136: Antique -- (I Would) Die for You (Greece 2001)

"Κάθησα και σκέφτηκα Κι είδα ότι μ’ αγαπάς Μόνο εσύ, μόνο εσύ" "I sat down and thought Realised that you love me Only you, only you" Greece's first top-three placing in Eurovision is thanks to Helena Paparizou and guy whose name we do not know Nikos Panagiotidis, both who were based in Sweden at the time. They were well known for combining Greek instruments and dance beat; Opa Opa (written by Giorgios Alkaios, see #207 for his entry) is a really good example of this! (Thanks again, Nikos Terzis for composing this too) From the opening bouzouki, Die for You establishes a sense of cool; the pop production following it adds a sense of modernity that the 2001 class lacked for the most part. And compared to Je n'ai que mon ame (#139), the switch from Greek to English is absolutely natural. It feels like being in an exclusive club, filled with dim lighting and a very spacy ambience of it all--though the orange in Parken works as well. And despite being nineteen, Helena oozes cool in all the ways. From her sleek hair to her jumpsuit to how she moves, she makes the song her own, for what it's worth. I frequently find myself copying her handography, though sometimes my desk lamp blocks my left hand, making it feel a bit clumsy. Though I don't say this often, either Antique or Natasha should've won in 2001. Personal ranking: 1st/23 Actual ranking: 3rd/23 in Copenhagen Final impressions on 2001: DR tried to go big with 35,000, but everyone went to drink, and it felt like one hundred. The songs at hand tried hard to be cool, though in some places, we were better off in school. On their own, the strings in our hearts remain broke, though when the trophy did, our minds awoke. Despite the ambitions, the contest would make people leave the room. Thankfully, it was better than that of 2002! :) (On another note, of all the years Italy didn't participate in the contest, 1999 and 2001 were the most irritating. Here, Elisa's Luce (tramonti a nord-est) won Sanremo, and it's a surrealistically beautiful indie song with cool lyrics (especially it was originally written in English, and had to be changed to Italian for the contest). Had they competed, I could see a top-five finish for them, and I could see this as an all-time favorite for me.)

#135: Katerine Duska -- Better Love (Greece 2019)

“Won’t you lean on me You can lean on me Let them look, don’t know, don’t care Go deep with me...” She's not Amy Winehouse, she's Katerine Duska! I had a love/hate relationship with this song during the 2019 season. On the one hand, it’s a really good song, with a lush production and sultry vocals from Katerine Duska. The lyrics, while simple, deals with the theme of love in an interesting way--no matter who you are, you deserve a love that suits you.

On the other hand, considering my grudge towards the 2018 contest, I was worried that this may do well and restart the Greek golden age. That feeling amplified when the rehearsals started, when Katerine and co. had this faerie queene aesthetic. It looked absolutely beautiful, with flowers and fantasy and whimsy. And most important, swords (the MV had sabres whereas the live performance had epees.)!

Of course it qualified, but it collapsed in the final and placed 21st in the end. Some people attributed to how "messy" the staging was, along with Katerine's vocals. In hindsight, I could see it with the former, but the latter remained firm, and she aced that high note.

But it was a good change for Greece, showing that they can do indie music as well as pop and ethno. And Katerine's non-Eurovision songs are fantastic; especially check out Autumn Again and Athenian Skies! Personal ranking: 4th/41 Actual ranking: 21st/26 GF in Tel Aviv

#134: Netta -- Toy (Israel 2018)

“Wonder Woman don’t you ever forget You’re divine and he’s about to regret...”

This has been a total phenomenon ever since its release. However, it’s also quite polarizing, with some people really bopping to this one whether it's on the radio or Tik-tok, and others getting repulsed by the chicken noises or the strong message it provided.

For me, it's Toy's "in-your-face' nature which makes it really special. From the first listen, there's the element of surprise with Netta's looping (the MV intro on Spotify >>> regular studio intro). It then builds until Netta announces herself as a "beautiful creature" and that she wasn't going to be bullied by others. While the songwriters definitely used the "Me Too" movement as a vehicle for the song, it's Netta's influence, along with the Mizrahi instrumentation in the chorus, which packs a punch. Without those chicken noises, Toy would fall flat.

The staging had to be worked on several times, but the final result captured the song's kookiness in every way. From the fake looper to the backing dancer's choreography, the following three minutes is an explosion of fun (though some of the energy died on stage on first viewing).

In short, Netta deserved to win, and those who suggest otherwise is just mean.

Personal ranking: 5th/43 Actual ranking: 1st/26 GF in Lisbon

#133: Mariza Koch -- Panagia Mou, Panagia Mou (Greece 1976)

“Κι αν δείτε ερείπια γκρεμισμένα, όι-όι μάνα μ', Δεν θα 'ναι απ' άλλες, απ' άλλες εποχές, Από ναπάλμ θα 'ναι καμένα, όι-όι μάνα μ'…"

“And if you see shattered ruins, oh oh my Mother, It's not from other, from other eras It is burnt by napalm, oh oh my Mother...”

In their second appearance at the Eurovision Song Contest, Greece sends this politically-charged song to criticize the invasion of Cyprus two years before. The Greek military junta at the time wanted to unite the island with mainland Greece, which led to a coup. As a result, the Turkish government invaded Cyprus, and declared the non-recognized Republic of Northern Cyprus. This status remains to this day, which has hindered Turkey's admission to the European Union.

(Interestingly enough, Turkey broadcast this contest despite not participating, and censored the Greek song to replace it with a patriotic song. Haha)

Dark context aside, it ties into the folk tradition during that time, but adds a Greek touch to it with the bouzouki. Combined with thoughtful yet tragic lyrics, it stands out as a darker yet deeper tone from the 1976 contest. Mariza also conveys this with her clear, yet harsh vocals pinpoint the horrors of what was going on. Also, the orchestration adds to the grandeur of this with its lush strings.

Personal ranking: 3rd/18 Actual ranking: 11th/18 in Den Haag

#132: Chocolate, Menta, Mastik -- Emor Shalom (Israel 1976)

בוא, בוא, בוא עוד היום”, אני עוד כאן אז בוא אמור שלום, אמור שלום

“Come, come, come today, I'm still here so come say hello Say hello..”

From one heavily politically charged song to a slightly less so, haha! Emor Shalom is s very playful and cute song, the three girls charm their potential lover (or diplomatic) with their voices and dance moves.

The hidden political context comes from "shalom"--is it hello, or is it peace? When the song was performed, Israel had been independent for thirty years, but their geopolitical relationships were not good with their neighbors. So the three girls, who sung for the military, were not only hoping for a lover, but also for peace.

The song itself incorporates some elements disco with trumpets, which got me into it in the first place. I'm not entirely sure about how the latter works--they are fine, but it does feel a bit cartoonish. While the lyrics are a bit simple, they still add to it.

Personal ranking: 2nd/18 Actual ranking: 6th/18 in Den Haag

#131: Sonja Lumme -- Eläköön elämä (Finland 1985)

“Kaupungissa on yö, puistoon kanssasi jäin Sä seisot edessäin täynnä toivoa” “It’s night in the city, I stayed in the park with you You’re standing in front me full of hope” Top ten anime opening themes, part two!

From the intro until the end, I love how Eläköön elämä progresses. It not only has a sound which matches with music trends (along with those mullets, but it's the 1980s so we can move on about this...), but also has a joie-de-vivre in terms of the lyrics. I've heard about it being connected to the Cold War; considering it was before glasnost, I'd imagine one of the themes here was to enjoy every moment before the world ends.

Ossi Runne's orchestration mixes the punchy pop-rock with some really good strings and brass. An awesome instrumentation and hopeful lyrics, when put together, you’ve got one of Finland’s best ever entries.

Personal ranking: 1st/19 Actual ranking: 9th/19 in Gothenburg

Final impressions on 1985: While Sweden first hosted in 1975, the production ten years later shows their capabilities in putting on a good show. From the graphics to the stage to Lilli's hosting, it's a totally fun experience. The songs were a bit weaker than it, though there were enough gems to keep the mood buzzing. Plus, there were several good orchestral moments there (especially #193) which made it all the better!

#esc top 250 #esc 250 #eurovision song contest #esc finland #esc france #esc germany #esc israel #esc greece #vintage eurovision #three minutes to eternity

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bisluthq · 4 years ago

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Wanky lyrics anon here,

No lyrics interpretation here, but I saw conversation about TPAB, 1989, and Taylor's influence and wanted to contribute. (Sorry for the long ask haha)

I'm in the probably not very controversial group, but maybe among swifties, that TPAB definitely deserved to win AOTY, and saw someone say that's not the case as they don't think Kendrick is very influential. My opinion here is that the influence in the case of TPAB doesn't matter, as TPAB is basically "The History of Black Music: The Album" but giving it a modern twist. Which is basically what Daft Punk did with Random Access Memories, which was basically "The History of Dance Music: The Album." And both artists featured legends of their respective genres to pay tribute to that history: George Clinton and Ronald Isley on TPAB, and Georgio Morodor and Nile Rogers on RAM. Both albums have had little influence on how modern music sounds, but the serve as masterclasses of genre, engineering, and how to construct on album. Which is what is supposed to matter with the awards: how good is the end product.

As for Taylors influence, my controversial take, is that musically, Taylor hasn't really been that influential on pop music. I can hear her influence in country, though I don't know how much of that is just country music being country music, but I hear a lot of old Taylor in a bunch of up and coming female country singers.

There are people like Camila, Shawn, and Halsey who say how Taylor influences them, but I don't hear it in their songs. Though I do in Olivia Rodrigo, so the tides may be changing in that regard.

Taylors influence lies in the meta of the music industry. She made it cool to be a Singer-songwriter, she's the reason all artists suddenly started showing off their writing credits. The whole thing about artists being "authentic" seems from her. This is what makes it difficult to point at an album like 1989 and say it deserves whatever and that's its influential (I'd argue against 1989 being influential, but that's more because I don't like it haha), because with Taylor it's never really been important WHAT she makes, it's the fact that SHE'S the one making it, and how SHE'S grown/switched genres that's considered a big deal. Which is why I think Folklore will win AOTY, as I see it kind of like a TPAB/RAM of alternative/folk/country type music... kind of-ish.

Taylors closest comparisons for meta influence are Kany and Drake.

Kanye, because he was the one that made it cool to be the rapper that produces his own songs. Every rapper wanted to be a producer/have production credits after Kanye came on the scene. Before him, the only producer rapper that I can think of was RZA, and he wasn't even the most famous out of Wu-Tang. Still the popularity in the group went to pure rappers Method Man and Raekwon. Musically, the moody 808 emo rap stuff came from Kid Cudi. He was a major influence of 808's and Heartbreaks, and it's this sound that rappers still copy. Kanye's style was flipping old soul samples which no one really does anymore.

And the Drake comparison, because both Taylor and he have massively influenced the business side of the music business, though in different way. Drake has optimised his music for making money in the streaming age. His newer stuff having long tracklists, but short run times meaning it can be streamed more times a day than if the songs were longer is having a massive knock on affect. Ariana's newest album for example only having 4 out of 14 songs being longer that 3 minutes shows this trend (tiktok plays a role here too). They exploit the system that is in place to make as much money as they can and people copy them, whereas Taylor tries to change the system that's in place via her deals with Spotify, Apple music, her record label for example to try and alter how much people get paid. (Which I find kind of funny given the conversations here around her supporting Kamala etc. Haha)

But yeah, rambley take that I'm sure I've maybe got something wrong in here, but yeah :)

Wanky anon you’re genuinely one of a very small circle of men I genuinely like because even when I don’t agree with you - I don’t really disagree on this take but I have before - I’ve been like “ya I hear it”

#nat talks wanky pretentious shit idk

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fyexo · 4 years ago

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200819 How Lay Zhang Claimed The Throne of M-pop

“’Lit’ continues to explore chasing your dream. This time it’s about more personal things in my life. Like hometown, family and self-doubt.” Photo: Courtesy of Zhang Yixing Studio

“I don’t think people can ever understand an artist completely. But they can relate to many things. I think that is a challenge for an artist to see how they can use their music to connect with people. It is a worthy challenge.” Photo: Courtesy of Zhang Yixing Studio

Lit is the first part of a series of EPs which will make a whole LP—why did you want to release it in this format and when did you begin working on the record?

How do you hope that the artist you are today crafts the Lay Zhang of tomorrow?

I always believe in working hard and improving. I hope that the Lay Zhang of tomorrow continues to keep looking for ways to improve his art. I hope he never gives up his dreams.

“I want to keep growing as an artist. But also I want to let my fans know that I am reading their comments and I see everything they say.” Photo: Courtesy of Zhang Yixing Studio

Why do fans need to see themselves in an artist? Does it work the same on the other side, do you as an artist see yourself in your fans?

I am busy filming a TV drama and a few reality TV shows for the rest of 2020. A very busy schedule.

Riddhi Chakraborty @ Rolling Stone India

#exo #lay #t: interview #album: lit

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happyzyx · 4 years ago

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(...) “It is the evolution of M-pop for me,” LAY explains. “I wanted to take it to another level. When you hear the Chinese instruments, you know it is a different sound and vibe. The style is more pop, R&B, and hip-hop influenced with the Chinese instruments thoughtfully mixed in.” Comprising a total of 12 songs (all written and co-produced by LAY) Lit was released as two EPs instead of one LP; the first dropped in June while the second made its appearance in July. Nearly every track presents a fresh blend of traditional Chinese instruments like the hulusi, guzheng, flutes and gong with modern genres like trap, R&B, soul, hip-hop, future bass, dubstep and more. It’s a complex, refined and intricate record, utilizing production techniques that clearly outline LAY’s growth as an artist over the past two years. In retrospect, Namanana comes across a slightly more naive record–innocent and optimistic with a hope that international audiences would embrace both M-pop and LAY. Lit however seeks to take a different path and carves out the future LAY envisions with cool confidence and fearless production.

FULL

#zhang yixing #yixing #lay #exo #p: article

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jmsa1287 · 5 years ago

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The 10 Best Films of the 2010s

my 2019 pick has already changed since this published lol oh well!

Compiling a list and picking just 10 films to represent the 2010s is extremely difficult if not nearly impossible — it's hard enough picking a handful of movies for lists that sum up a single year. Films change as the years pass; something you adored in 2011 may not hold up on a re-watch in 2019. Maybe that's because so much has changed in the world this decade, or you've experienced a personal philosophical shift, or a film is tied to a certain experience and emotion that has since soured. And, of course, the opposite can happen. A film you didn't respond to five years ago may have become a new favorite.

This list is a bit of a cheat — or a break — from the typical best films of the decade lists you may have seen online. It will have 10 films representing the best film from each year this decade (2010 through 2019). Though easier, making this list was still difficult mostly because there were so many brilliant and exciting films that were omitted (masterpieces like "Tree of Life" and "Gravity," for instance). Below, find the films that did make the cut and a brief blurb as to why they belong in the cinema hall of fame.

2010: "Black Swan," directed by Darren Aronofsky

Obsession and perfection are two ideas that were constantly explored this decade, thanks to the rise of social media. (There was even a horror movie released on Netflix this year called "The Perfection," starring Allison Williams.) In Darren Aronofsky's "Black Swan," a young ballet dancer named Nina Sayers (played by an outstanding Natalie Portman, who won the Best Actress Oscar for the role), slowly detaches from reality as she prepares for the lead role in a production of Tchaikovsky's "Swan Lake." The film's sound design is unlike any other film this decade. With each bone crack, nail clip, and flesh wound, Aronofsky makes "Black Swan" a social psycho drama melded with body horror, which also features a wild Winona Ryder performance.

2011: "Drive," directed by Nicolas Winding Refn

Nicolas Winding Refn's movies aren't for everyone but his neo-noir hyper-violent "Drive" is an undeniable classic and game-changer. Starring Ryan Gosling as an unnamed stunt driver and for-hire getaway driver, "Drive" sparked a sea change in cinema, spawning an aesthetic that featured synth-pop bangers (glittery songs by Chromatics and a pulsating score from Cliff Martinez) and neon lighting. "Drive" tells an age-old story in a new and fresh way that audiences hadn't seen before, going beyond its ultra-cool style, to show a classic L.A. noir tale of betrayal and heartache. NWR also uses Gosling in the best way; boiled down to a few emotions, putting the handsome Hollywood hunk in a twisted role you'd never expect. Oh and Carey Mulligan, Oscar Isaac, Bryan Cranston and Albert Brooks show up!

2012: "Spring Breakers," directed by Harmony Korine

"Spring Breakers" might be the best prank this decade. An arthouse film disguised as a sexy college romp, Harmony Korine's film features young college students — played here by Selena Gomez, Vanessa Hudgens and Ashley Benson — desperate to venture from their Christian college and indulge their wild side during spring break in St. Petersburg, Fla. There, they meet Alien (James Franco), a local rapper and drug dealer who Korine uses to show the dark side of unbridled partying, sex and excessive drinking. Intense dubstep, closeups of fleshy bodies doused in alcohol and an iconic rendition of Britney Spears' "Everytime," "Spring Breakers" has gone on to become a twisted cautionary tale and also put the indie distributor A24 on the map.

2013: "Her," directed by Spike Jonez

If "Black Mirror" shows us the evils of technology, Spike Jonez's melancholic love story "Her" is the other side of the coin. It's a warm and strange film where Joaquin Phoenix delivers a breathtaking performance. As does Scarlett Johansson, who voices Samantha, an A.I. a la Siri but begins to form a romantic relationship with Phoenix's sad-sack Theodore. "Her" is more than a movie about technology; it's an emotional film about change, loss and what it means to be alive that is tucked inside a fully realized not-too-distant future L.A. with a brilliant aesthetic.

2014: "The Wind Rises," directed by Hayao Miyazaki

Japanese animator Hayao Miyazaki has made some of the most successful and culturally significant films since the 80s, including "Spirited Away" and "My Neighbor Totoro." But his so-called last film "The Wind Rises" is an impeccable emotional epic based in realism that is a gut punch to the soul. It's a devastatingly beautiful movie that is half dreamlike and half haunting. It is undoubtedly the most moving film on this list.

2015: "It Follows," directed by David Robert Mitchell

If Nicolas Winding Refn's "Drive" started a new wave of cinema, David Robert Mitchell's retro throwback "It Follows" is the epitome of it. With a vibrating score from video game composer Disasterpeace, DRM's film winks at slasher films of the 80s, most notably "Nightmare on Elm Street," but dials the aesthetic up to an 11; it's got nothing on "Stranger Things." In this brooding film, a young woman named Jamie (a wonderful Maika Monroe) is cursed after she has sex with her boyfriend, who ties her to a chair and warns her he's passed "it" on to her. "It" is a sinister force that inches itself closer and closer to Jamie in an attempt to kill her. Many saw "It Follows" an allegory to HIV/AIDs or STIs and a commentary of female characters in 80s horror films. It's the film's open-endedness and reinvention of tropes embedded into American cinema that make "It Follows" one of the most thrilling and fascinating films of the decade.

2016: "La La Land," directed by Damien Chazelle

"La La Land" may forever be tied to one of the Academy Awards' biggest blunders in the institution's history, but Damien Chazelle's love letter to the Hollywood Musical is an impressive feat of filmmaking. A romantic saga with musical numbers that don't shy away from its influences (the MGM musical and the Technicolor delights of yesteryear), "La La Land" is an earnest if not corny film. But its Chazelle's impeccable craftsmanship that makes his movie soar while it tells a modern love story about when two figuring out if their passions are more important to them than a future together.

2017: "The Lost City of Z," directed by James Gray

James Gray's mind-blowing epic "The Lost City of Z" will go down as this decade's most under-appreciated film. Like many of the movies on this list, it is a film about obsession, perfection and family trauma. Based on a true story, "Lost City" follows British explorer Percy Fawcett (Charlie Hunnam) over several years on his plight to find an alleged hidden city deep in the Amazon jungles. There's a World War I sequence and Tom Holland shows up as Percy's son, who is eager to follow in his father's footsteps and head to South America with him. It's devastating and moving in that Gray way even though it is his first movie not set in New York. "Lost City" perfectly melds the personal with human history, resulting in a film that is technically impressive and emotionally shocking.

2018: "Hereditary," directed by Ari Aster

Somewhere in the late 2010s, the term "elevated horror" became part of Film Twitter's lexicon. It's used to described artful films that are grown from horror tropes, most notably "The Witch," "Get Out" and Ari Aster's masterpiece "Hereditary." And though it is definitely a scary movie, labeling it an "elevated horror" film or a horror film, in general, doesn't feel quite right. It's a family drama about trauma that is demented in the same kind of tone of an Edward Albee play. It's more visceral than the late playwright's work, to be sure, and at the center of "Hereditary" is a career-defining performance from Toni Collette. She plays Annie, a grieving mother who is haunted by deep loss and grapples with keeping her sanity and her family together. Aster's film explores family relations and how tragedy can infiltrate the cracks in relationships unlike any other movie this decade.

2019: "Parasite," directed by Bong Joon-ho

"Parasite" is the summation of Bong Joon-ho's work. The Korean filmmaker has long made movies about marginalized folks navigating their way through certain systems. Unlike some of his movies, "Parasite" is rooted in reality; there's no giant elephant-pig or mutated sea creature here. The evil lurking in "Parasite" is privilege and capitalism and if that's not the biggest theme of the late 2010s I'm not quite sure what is. The film is a genre-shifting story told by an expert, who has made a few near-perfect films ("Memories of Murder," "Mother"). When "Parasite" begins to unfold and show its cards, you know you're in the hands of a master and that it won't go off the rails. Here, Joon-ho successfully tells his story with effortless dynamic filmmaking and ease that is completely hypotonic and engaging while being unnervingly gripping and universal.

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joemuggs · 4 years ago

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James Blake: Before Before

James Blake has a new EP out, called ‘Before’. It’s really good. I like him, he’s authentic. I’ve spoken to him on and off since he very first released music, and it’s been interesting to see his transformation from north London bohemian to LA superstar bohemian. Below is the text of the first time I interviewed him - I think the first feature length interview he did - from Mixmag in 2010.

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James Blake is good at confounding expectations. At a recent gig at Shoreditch's warehouse-like XOYO, Mixmag saw the 22-year-old play a super-heavyweight mutant dubstep set, then immediately afterwards start larking about with Beyonce and Ms Dynamite tunes, much to the delight of the messy ravers – and yet the tune that's getting him known outside clubland is the deeply odd Feist cover 'Limit to your Love' with its haunted croon and folky repetitions. So, when we catch up with him in a Brixton pub a few days after the gig, we make a point of asking him what his ultimate musical ambition is – thinking it might reveal a common thread that draws these disparate sides together. "I'd like to play a solo piano show at Carnegie Hall," he says without hesitation, referring to one of the most renowned classical venues in the world, which has also played host to legendary shows by the likes of the Beatles and Pink Floyd; "maybe not even singing, just the piano." We think he means it.

That's how he is, though: pretty much every tune he's put out so far has come as a curveball. Going from the soulful mutant dubstep of 'CMYK' – which has ruled underground clubs all year – to the four tracks of gorgeous, weightless piano-laced electronica on his 'Klavierwerke' EP alone was a more radical shift than most artists his age would even think of making. But to then not only make the leap to the intense weirdness of 'Limit to your Love', but to make it work to the point where it is all over radio and sitting alongside 'CMYK' in everyone's “best of 2010” lists demonstrates a boldness that it making heads spin throughout the industry, and generating the sort of anticipation for his major label album that doesn't come around often. In a climate of insane gener meltdowns and turbulence stirred up by dubstep's big push into the mainstream, he truly is the maverick's maverick.

So, we ask him, what is with all of these stylistic shifts? “I get bored!” he laughs. “When I get a sound, like the 'Klavierwerke' tracks, I will just do it and do it until I literally can't do it any more, so then I just have to move on and do something different.” There's an intense air about James, not in the nerdy or over-serious way you sometimes get with electronica musos – quite the opposite, in fact: he's fun and engaging company, and our interview quite frequently gets derailed into just chatting away merrily about tunes, nights out and mutual acquaintances – but nonetheless with a fierce intelligence on display and a maturity way beyond his years. He'll fix you in the eye when he speaks, but often, especially when talking about music that he loves, his gaze will divert up and to the side, darting back and forth as if browsing some inner database to locate exactly the right reference, and he speaks with the clarity and lucidity of someone who has spent a serious amount of time thinking about their plans and beliefs.

As you might expect given the strangeness and diversity of his music, James's upbringing as an only child in the London suburb of Enfield, wasn't entirely conventional. His artist mother and singer/guitarist dad never listened to pop radio but played vintage blues and soul constantly – then as soon as James took up playing the piano his musical interest focused 100% on that. “I listened to Art Tatum and Errol Garner, and I listened to Bach and Satie and Chopin,” he explains; “it wasn't about being into a style, it wasn't a jazz thing or a classical thing, it was just piano, just technique.” And that was that – until finally he discovered dubstep as a teenager, and instantly realised that this could be, as he puts it, “a vehicle” for his musical ideas. “It was,” he says, “just massive for me.”

Listening to the likes of DMZ's Mala made him realise that electronic music had possibilities like the blues he grew up with: “it has that thing where if the ideas and the personality of the artist are strong enough, they can do whatever the fuck they like – Mala could take one simple idea and stretch it out for ages, and it would just work because it's him, and because it has that dread and intensity, and you go with it because you trust him.” It also gave him a way to be musically creative without simply relying on his previous schooling. “When I hear a producer is 'classically trained',” he scowls, “I'm suspicious, to me it's usually a euphemism for 'doesn't have any ideas'. Just because you can read the dots on the score and play complex pieces doesn't mean you have any ability to come up with something new.”

Music production took over his life completely from then on. “I went through a lot of shit, but once I got to 18, 19,” he says, “I just decided that I didn't really give a shit about anyone else. Not friends, not girls – I mean, girls are great...” – he flashes a grin – “...but I didn't want to be distracted. And I didn't want to socialise for the sake of it, go to some shit club just because my mates were, I knew that music was my focus and that was that. I knew from my parents that if you're serious about your creativity you have to be alone a lot.” He did, however, very quickly make connections with fellow one-offs Mount Kimbie and Jack Dunning aka Untold. The latter, after hearing a DJ play one of his demos on Rinse FM got in touch and became something of a mentor, releasing James's first 12” on his own Hemlock label. Mount Kimbie also got in touch after James sent them “a really gushing email about their music” and ended up performing live with him on vocals.

From thereon in, things snowballed fast, with dancefloor-oriented releases on Ramdanman and friends' Hessle Audio and the legendary Belgian techno label R&S – but he was also honing a freakier sound: the sparse, folky vocal tracks that would make up his new album. Only three other people got to hear these initially– Untold, this Mixmag correspondent, and a friend of James's who works for major label A&M records and persuaded them to take a punt. These all feature James extraordinary and emotionally intense singing voice, and are, he says , all about restraint. “I get fed up when people keep describing me as a 'soul' singer, because I'm not,” he insists – “I don't let rip, I just sing the notes as I write them. It's like the production: I don't want to just bang away, I use silence and quiet for effect, and then when it does build up to something tougher it hits much harder in contrast.” And he makes a surprisingly violent punching motion.

The result is something that is both completely removed from trends, and perfectly suited to the current climate of genre meltdown. It's possible to hear everything from ancient echoes of folk and blues to the influence of the crispest modern hip hop, particularly the anything-goes aesthetic of Outkast, who James says are “the Beatles of today, maybe not in sales, but definitely in importance and technical innovation.” It also completely tramples over the idea of dubstep as macho, with a real sexual ambiguity to both James's voice and playing. This is very deliberate: one of his greatest desires is “to learn to play piano in a female way – there's a particular way that Joni Mitchell plays, and also Nina Simone, that is technically incredible but isn't flash, that supports the voice without coming too much into the foreground, yet is incredibly beautiful in its own right.”

There's no disconnect from the dancefloor in any of this, though. He still talks with passion about dancing to his friend Joy Orbison's DJ sets in small, dark clubs - “at one point I completely lost track of where I was, and felt plugged into something bigger,” he says, “like the music was joined into a wider history” - and at XOYO Mixmag witnessed at first hand how even his oddest, most strung-out tracks have a sense of dance dynamics that grabs people on a very basic level. Surveying XOYO's punters, we met everyone from electronica dorks who proclaimed him “the deepest British producer since the Aphex Twin” through indie hipsters waxing lyrical about his voice, to a couple of girls in borderline hysterics about how fit he is (James is indeed striking looking, not to mention well over six foot tall). With this breadth of support, the sky would seem to be the limit for James right now; but whether in five years he's perfoming solo piano or singing with Andre 3000, evidence suggests the results will be beyond anyone's abilities to predict.

#james blake #outkast #dubstep #post dubstep #dmz #blues #joni mitchell

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betweenthetimeandsound · 3 years ago

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Three Minutes to Eternity: My ESC 250 (#210-201)

#210: Joy Fleming -- Ein Lied Kann Eine Brücke Sein (Germany 1975)

“Hör auf zu spielen und lerne zu fühlen, Wie viele Menschen Freunde sind, Lerne zu singen, vertraue so wie ein Kind,”

“Stop playing and learn how to feel, How many people are friends Learn how to sing, trust just like a child”

For an older and low-placed entry, this German entry has become a fan favorite! Despite this, I wonder if I really like this enough to make my top three of 1975, because I don't go back to listen to it often.

But when I do, it just takes the conductor's stomping to get me into the mood. It's just a great way to start a song~

While the chorus somehow bugs me a little bit, because of how jarring it is (Joy shouts it all out, in comparison to the verses where she has a somewhat lower register), how it builds really helps with getting the party started. The orchestration also helps with the joie de vivre of the song, and Joy manages to live up to her name on stage.

Personal ranking: =3rd/19 Actual ranking: 17th(?!)/19 in Stockholm

#209: Muriel Day -- The Wages of Love (Ireland 1969)

“There will be bridges to be crossed And there'll be teardrops to be lost...”

Ireland’s first upbeat song is a diversion from their first four entries in more ways than one. Not only it’s performed by a woman for the first time, but it also warns about the pains of love—while it’s a great experience, you have to pay a lot in the process. (This actually reminds me of one vintage Eurovision blogger talking about how Horoscopes incorporates a more liberal sound with Ireland's conservatism at the time--maybe it was from the same lines?)

And Muriel has an absolute ball on stage with her uber-high lime green dress. She twirls her microphone around when arriving, bounces up and down like she just got a can of Red Bull, and dances as if it was for the last time. The orchestration really helps out on giving out this vivacious vibe (though the lyric "it can make you live/it can make you die" in context is quite horrifying behind the upbeat track).

Basically, this was an upbeat track which I would've switched out for one of the upbeat winners.

Personal ranking: 3rd/16 (though here, it's 4th/16. A mismatch in rankings, which you can see again in the future) Actual ranking: 7th/16 in Madrid

#208: Alenka Gotar -- Cvet z Juga (Slovenia 2007)

"Moj beli cvet, moj daljni svet Daj, vrni se, moj bodi spet”

“My white flower, my faraway world Come, return, be mine again”

I've never been a big fan of opera--not just in Eurovision, but also in general. I recognize they have beautiful voices and worked on them for the performance, but I never really like the instrumental or the actual song.

Cvet z juga, however, managed to incorporate opera in a way which is actually enjoyable. Not only because of Alenka’s powerful vocals, but also the nostalgia created with the poetic lyrics and the instrumental. It’s a combination of classical and modern--it's not a dance-floor bop (despite the percussion in the background), but it's definitely out of the ordinary.

Combined with a subtle but effective gimmick (Alenka's light-up hand at the end), and you have Slovenia's first qualifier in the semi-final. Definitely deserved.

Unfortunately, Alenka's gone off a bad path since then...)

Personal ranking: 6th/42 Actual ranking: 15th/24 GF in Helsinki

#207: Giorgios Alkaios and Friends -- Opa! (Greece 2010)

"Έκαψα το χθες, νύχτες μου παλιές Κι από το μηδέν αρχίζω όσο κι αν δε θες Δάκρυα καυτά ψέμματα πολλά Πλήρωσα όσο χρωστούσα και τα δανεικά"

"I burnt the past, my old nights And I start from scratch even if you don’t want me to Hot tears, too many lies I paid what I owed and borrowed"

"Motherf---ing testosterone!"

The Scandinavia and the World recap for the 2010 contest basically sums up Opa! as this, with all the tribal cries and torn up shirts. I've also heard it described as the "Love Love Peace Peace" of Greek entries, with the prevalent cry "Opa!", strong ethnic influences, and Cretean lyre to boot.

But beyond that, there's a deeper meaning behind the lyrics. By late 2009-early 2010, Greece was facing the burden's of the Great Recession, which would envelop the country in many years. Their GDP would drop by 26% between 2008 and 2014, and unemployment rose up to 25% at the same time. This economic maelstrom led to public uprisings and an exodus of the highly educated.

Opa is a cry for joy--not just to party, but also to fight against a wave of despair considering the circumstances. It strives to give life and inspiration by those who need it, even if it means starting over. And while economics will trump national pride in the end, one asserts themselves as stronger than they think. And that's what makes it an important part of the Greek Golden Age at Eurovision.

Personal ranking: 6th/39 Actual ranking: 8th/25 (GF) in Oslo

#206: Boris Novkovic feat. Lado -- Vukovi Umiru Sami (Croatia 2005)

"Do zore je ostao još koji sat A vani nemir, k’o da je rat Oblačim kaput i odlazim Da sve zaboravim"

"Only a few hours left till dawn And outside unrest, as if a war is on I put my coat on and leave To forget everything"

Balkan ballads are one of the main joys out of Eurovision; obviously from that region, they feature folk instrumentation and sad lyrics about love. Vukovi umiru sami fits into this mold well, but I only managed to put this in tenth place because of the variety of songs on offer, ranging from glam rock to a wholesome peace ballad.

Over time, however, it has grown on me.

The poetic lyrics stood out the most for me--they tell of an end of a relationship on the Danube (which really grounds the song in its origins, despite the fact I associate it with Central European countries as a whole) and the loneliness of the man in it. There's a mournful nature about it, especially with the choir in the background.

And the way it build is so fantastic, amplifying the story and the stakes. The "Dunavoms" between the last two choruses are well-done and elevate this song to greatness.

I planned to rewatch 2005 to see how my rankings change, and thought it would get to be in my top five. Because of a typo on my list, I needed another song to fit the overall order of the list.

And finally, Vukovi umiru sami is in my top five. :)

Personal ranking: 5th/39 Actual ranking: 11th/24 GF in Kyiv

#205: Marlayne -- One Good Reason (the Netherlands 1999)

“Give me one good reason and I will give you two Say: "I love you forever", say you will, say you do...”

The guitar intro made me think this would be a song I would listen to outside of Eurovision. It reminded me of Michelle Branch’s songs in the early 2000s (of which, Breathe is my current all-time favorite song); her debut album, The Spirit Room, would only be released in 2001!

Alternatively, it has a very country-pop vibe, but it still has a sense of optimism which continues through the entire song. I love how sunny and earnest it is, and it got a really solid result out of it! Unfortunately, it would be the Netherlands' best placing until 2013, but at least it was a jolt of quality in a mediocre year.

Personal ranking: 4th/23 Actual ranking: 8th/23 in Jerusalem

#204: Niamh Kavanaugh -- In Your Eyes (Ireland 1993)

“Love's been building bridges between your heart and mine I'm safe here on my island, but I'm out on the edge this time”

One of the most nail-biting votes in Eurovision came in this particular contest: because Malta's phone connection malfunctioned, they had to wait until the end to give their points. At that point, Ireland was 11 points ahead, which means if Malta gave the runner-up their twelve, the latter would win by one point.

The Maltese jury ended up giving Ireland their twelve, which would give Ireland their second consecutive win in the 1990s, along with a point record which would only last a year.

I’ve never felt the vulnerability of falling in love, but I love the narrative arc in the lyrics, which crescendos with the chorus. Niamh’s voice is a bit harsh at times, but delivers on it with a stately grace in a choice suit.

What also seals In Your Eyes for me was the graceful orchestration thanks to Noel Kelehan. It's especially prevalent in the chorus--the studio cut doesn't do it justice...

Personal ranking: =6th/25 Actual ranking: 1st/25 in Millstreet

#203: Sonia -- Better the Devil You Know (United Kingdom 1993)

“I'll give you my heart and my soul if you give me your love..”

...not unlike with the song Ireland was competing with for the win! While the studio cut is decent enough, Better the Devil You Know wouldn't have gotten so close to victory without the live music aspect of it.

It’s not only the orchestration here, but also Sonia’s fun performance and her cute moves. The track is reminiscent of SAW, but it feels like being at a sock hop in a diner and dancing the night away. The backing vocalists do a good job too; I like how they harmonize the in the chorus .

That all being said, would've this made a better winner? It's hard to tell--it would've been more upbeat than most of the 1990s other winners, but In Your Eyes has aged quite well. And I have several other favorites, so I'm not the best one to comment on it.

Personal ranking: =6th/25 Actual ranking: 2nd/25 in Millstreet

#202: Serebro -- Song #1 (Russia 2007)

“Gotta tease you, nasty guy So take it, don't be shy Put your cherry on my cake And taste my cherry pie”

Unfortunately, song #1 neither placed on top of the 2007 class, nor was it the first song performed that year So, in more than one case, Song #1 is a misnomer.

Nor are they particularly unique amongst bands--Serebro has some similarities to tATu in 2003, in that they are a girl group with a sensual aesthetic. But while tATu's Eurovision entry is more dark, Serebro's has more attitude and edge.

Such saucy lyrics are what makes Song #1 such a total jam, albeit one the fandom overlooks. The dark production increases the attitude of this song, and I love the girls’ stage presence too! Especially those costumes (again, going back to the tATu comparisons, in that they were best known for their school uniforms, hehe); they never fail in adding some sexiness to the performance.

Personal ranking: 5th/42 Actual ranking: 3rd/24 GF in Helsinki

#201: Severina -- Moja stikla (Croatia 2006)

“Zvrc, zvrc, tražit ćeš moj broj, Kuc, kuc, kucaj nekoj drugoj, Jer još trava nije nikla, Tamo gdje je stala moja štikla!”

"Ring, ring, you'll search for my number, Knock, knock, go knocking somewhere else, For the grass has not yet sprouted, Where my high heel has stepped!”

There’s a lot of silly lyrics in Moja Stikla. From mentioning “sex” to “Afrika Paprika”, it’s easy to suggest that this is nonsensical. I’m reading over the lyrics again myself, and they tell quite a different story—of a woman who just wants men to stop hitting on her.

Even now, I'm still confused on how Zumba and African paprika make sense in avoiding men. Or high heels.

But it all doesn't matter when the music starts. Severina's backing vocalists add to the performances, with their solid harmonies and fun presence. Combined with Severina’s own high energy, it’s a good example of turbo folk (even though there was a bit of controversy about whether it actually sounds like Croatian music), and it’s all kinds of fun!

Personal ranking: 4th/37 Actual ranking: =12th/24 GF in Athens

#esc 250 #esc top 250 #esc germany #esc ireland #esc slovenia #esc greece #esc croatia #esc netherlands #esc russia #esc united kingdom #vintage eurovision #three minutes to eternity

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