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calypso-finale · 2 years ago

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Fifty One. Part 4

I sighed out heavily, this London traffic will always be the death of me. Like I just want to drop Rihanna off in peace because the way her bodyguard wanted my son to move I was like nah but now I am stuck in this traffic, putting the window down a little. Looking to the side of me, Aziel loves to sit in the car with his shades on, I think this is my fault. I don’t think he will ever sit in the back now, smiling at him. He is just bopping his head along “makings of a roadman, we going to get you there” I am joking, he wouldn’t ever need to be that but if he hangs in London then that might come second nature to him, it happens in this city naturally “Four bad, four bad b's in the ride. Gotta squeeze them it's a wee bit tight. Most these females the deceiving type, take the p's then go leave them guys” I rapped along to my song “What you doing in the a.m., you only ever holla in the evening time?” Aziel is smiling mad hard “I think we need to do something Rihanna will disapprove of, don’t look” I can’t sit here, I cleared my throat “this is how you don’t drive” reversing back a little and coming out of the queue “Oakley” Rylee said “we can’t sit there, it’s jarring” driving on the bus lane because this bitch is clear, I will have to take the fine. Turning off onto the backroad “we could have just waited” Rihanna said “I know but I didn’t want too, I know these backroads, it’s fine. I lived on this street, well I was about six when we moved away but me and Digga lived here until we moved further out” speeding down because I don’t want to be really on these roads, stopping as a car pulled out “dickhead man, the fuck he doing” I stopped, he is just staring at me “dickhead” he reversed back instead “there is some right dickhead drivers” putting the window down as I started driving “watch your shit next time, dickhead” I don’t even know man “you watch your speed” he said back but I just want to get out of here “you’re going to stress my bodyguard out” I laughed because I know he must want to kill me “see, we missed all that traffic, now we on the main road” putting the window back up “you should be glad I have not whacked you yet, I do not want to be in your hood” I am on the main road now, I just can’t be in that traffic “you like this don’t you? See you going to have good taste like me, actual rap” I said patting Aziel head, he loves UK rap.

Watching Aziel as he ran inside the apartment “I should beat your ass” Rich said “why?” I laughed “you got us all a ticket being in that lane and we thought we lost you” I chuckled “work smart not harder, we got out of there though” walking into the building “Aziel, come here” he is running off somewhere “here” he just stared at me “here, come. Hold my hand” holding my hand out, he ran over to me “he listens to you” Rihanna said “he does, got to put that bass in your voice but I can’t let him rule me” I am not actually strict, but I don’t let him rule me in anything, I don’t let him get away with shit. I have no idea why I came here into the apartment but I just wanted to make sure they got home safely “see, everyone is safe” Rich pointed at me “last time you drive anyone anywhere” I chuckled, I guess I will take that “I will be going anyways, I just wanted to make sure you get back” I said to Rihanna “you know you should talk about it, like what happened there must have upset you” placing my hands on my hips “erm, I think I am used to her shit. I have dealt with it since I was a teenager, I feel like life went downhill when I hit that but it’s fine, just my brother is a dickhead. He riding them like they even provide for him, just yeah. It’s cool” I shrugged it off, looking over at Rylee “I am just going to change his diaper, be back” she is saying it like I am staying “erm, Oakley. I just want to apologise to you, like a real one not just because I have too but I want to say I am sorry, with the way I have been with you and how I had the narrative to have you both split and I pushed that agenda always, I am sorry. It didn’t need me added on top of things, all I saw was the age gap and you was taking my daughter away from me and I hated you for that. I needed to see what Chris saw in you and I have, and you are a good guy under all this. Thinking back on it, when my daughter came to London, you could have done or did anything to her, but instead you took care of her when she had nothing in a weird way, you had free reign over her and I think any man that didn’t care for her would have loved that, and that is the scary part. You want the best for her, and I see it” Rihanna has stunned me, I wasn’t expecting this from her.

I don’t know what to say “wow, erm. Yeah, it’s ok, erm. You do things in life not wanting a thank you, you do what is right. I don’t have sisters, I don’t know really with girls, and I was never taught it from my dad really, I was raised on the streets and people aren’t good. I mean you right, she didn’t know me enough to do what she did but I always thought if that was my daughter and if I ever do have one, I would hope a guy would respect her enough. There isn’t many would do what I did, they all said I should have used it to gain things because I had power but instead at that moment in my life I didn’t have the millions, I just had to get what I could and even then that wasn’t good enough but I tried, I just think you know, it sucked when I tried I was getting pushed back from your side and then my own side. I wasn’t raised by anyone but myself, I just try and keep myself to myself” I shrugged “you have a good heart that is why and like my husband, he got pushed back a lot, but he made it and he is fine, you be true to you. If my son’s end up like you, I would be lucky. I hope and pray they respect girls like you do” putting my head down laughing “appreciate it Rihanna” nodding my head “don’t give up on my daughter either, because breaking down her stupidity, she loves you. And you are her first and I imagine her first in everything, she is learning on the go and she isn’t doing her best, but she is trying. She just needs to learn, I think you are really her first real relationship” chewing on my bottom lip “this is why I did say to her explore, do what you want because, you know maybe we just good as co-parents” Rihanna smiled “she isn’t going to let you go, and I am telling you the truth” rubbing the side of my face laughing “I will keep that in mind Rihanna” I mumbled “call me Robyn, that’s what my family call me. And you are family now” I let out an oh, then I let out another oh when she hugged me, but it wasn’t just any hug, it was a motherly hug. I felt stumped and a little frozen in the moment, not something I felt since I was about ten maybe “Chris and I will always be here for you, if you ever need us” she said in my ear, I swallowed hard and placed my hand behind her back.

Rubbing my hands together, I was going to go before Rylee came but she came out now with Aziel half-naked with his nappy out “I am glad you’re here because, I want to go out for a meal with my mom on a day, I don’t know yet but can you like keep it free for me” nodding my head “erm yeah but like I don’t know a day, text me then. You can drop him to me” I said “where do you live now?” Robyn asked “I have a house now, it’s in the south west, like it’s nice, it’s a home but it’s not like Rihanna nice” she laughed “it’s a house, and it’s out of where you need to be. That’s ok then, you got a house” nodding my head looking at Rylee “you want to go to cinema, I was erm supposed to go with Wadz but he let me down for a girl just now, it’s not a date” I added “you’re saying that so you don’t pay” I laughed “you right but I don’t want to go alone, it’s weird” I shrugged “tonight?” nodding my head “go for it, I am here anyways, use it to your advantage” Robyn said “oh ok then, I will go. Is it boring? It’s Oakley type of thing boring isn’t it?” I shook my head “it’s action, you’re going to love it, or hate but yeah. See you there then, and yeah you paying for my Nando’s since it’s a friend outing” I said while walking off “you’re so annoying” she is acting like I would make her pay, I am just playing with her, but Wadz did let me down, I need someone to go with and Kairo is annoying, also it was going to be my brother but that happened now.

From: Lee

Coming

As soon as I read that the car pulled up “women” Kayson said to me “jarring right, had me waiting out here” I hope Rich isn’t coming with us but he got back in the car again, Rylee is dressed down and I like that. She doesn’t need make up at all “what time you call this? You knew to text me coming when you was right here” she laughed doing a little run “no makeup on and you still late” it was fluid, it was just fluid to give her a hug when she got to me “I’m always late, you know me” she is late for everything really, moving back from the hug “nice earrings though, it’s like you’re owned” she swatted me “shut up” she has Chanel earrings on with the CC which I have the chain that represents my rap name “I thought I would wear sweatpants and this cut off top” nodding my head “yeah your body is banging so why not, it’s late and I’m late. It will be dark” I’m not happy she is late, Kayson walked ahead of us “but I didn’t know if I wanted my hair in a bun or straightened out, it’s hard making decisions” stuffing my hands in my pockets “but you made the best decision, no makeup” Kayson pointed at the desk, he missed the whole queue without a care and just pointed, I don’t think people are happy. The guy just froze and then did a double take “hi” he just said “what’s up bro, can I have three tickets Godfather remake” Rylee gasped “you’re joking” shaking my head “there is better movies out, this is wrong” laughing as I got my card out “can I have the corner seats, like the two together and then a seat missing and then he can sit, just space. Also bro nobody sits there in that spare seat” the guy just smiled “you ain’t asking for much are you” shaking my head “you know how it is” he eyed me up “nah, nah nothing like that, come on now. Just peace there” Rylee is so quiet “well bro we know what the corner seats used for” paying for the tickets “it’s not like that, my friend. She liked to be an independent woman, she on that vibe” dapping him “enjoy yourself bro” I laughed “blessed, thank you” letting Rylee walk ahead of me to leave, people are staring and of course taking pictures.

As I knew the lights are down, this is all her fault, but we got snacks. Kayson didn’t care he put his spotlight on, turning the corner “we have to walk up all the way there” this cinema is packed too, Kayson took the light off luckily “I’ll walk at the side of you both as you go up” gesturing for Rylee to go ahead and I followed behind, I just kept my head down, I do not want to fall because these stairs be tricking you while walking in the dark. I can whispers and people shushing but I think people are noticing “sit down” Kayson said to someone. We got to the top and I let Rylee sit in the corner, I know her. She will asleep, she won’t hang after she’s ate “thank you though” I said “for?” Placing my drink in the holder “for coming, like I didn’t want to come alone, and I know you don’t like this thing” I pointed “oh it’s ok, I’ll sleep but you feeding me, and Nando’s is closed” she is right it is “we will go to the local bossman” Rylee groaned out “not that again” I chuckled “why was that guy laughing about sitting here in the corner?” Looking at her “what you mean?” I said in a whisper, I mean the movie has started so we being loud “like he was dapping you and laughing about sitting here” I laughed a little too loudly “serious?” Oh she is serious, clearing my throat “couples do things here in the corner, like you know maybe handjob or blowjob, make out” Rylee pulled a face “I mean it can happen anywhere, just a thing” I shrugged “you had that before? Here?” I laughed “I mean yeah, it’s a thing. You ain’t done all that” she shook her head “anything I’ve done is with you, like that’s it. And I’ve lived really a sheltered life, I would not do that to anyone and yeah, it’s not my style” nodding my head “and that’s ok, not a bad thing, not judging you” smiling at her “so do I have to give you one? Is that a rule” she is being dead ass “no!” I spat “sorry, apologies” that was loud “no, not at all. It’s not that, it’s minor, just here. Your nachos, relax” she is on some things, she’s lived a very sheltered life, I am shocked “you know like you was my first and then I mean I was only seventeen I didn’t live life like that, I wasn’t raised that way, with regular people” she is defending herself “Rylee, please. It’s fine, relax” she don’t need to do all that.

Rylee went to the bathroom a while ago now, looking over at Kayson, I was about to ask him to check but she is walking up the steps slowly. She took her time, watching her intently as she made her way up. Rylee sat down in a huff “what’s wrong?” I asked “I’m cold” she mumbled, getting up from the seat and taking my hoodie off “here” she looked up at me in shock “you didn’t need too” waving her off as I sat back down, she seems a little off but I will leave her to it, she is more than likely bored with it all. Watching the movie, I mean this shit is like 3 hours long, so I know she is fed up. She is shuffling around at the side of me, she is being annoying, but I won’t look at her. My head turned to her as I felt her head rest against me, I shifted to the side a little and she moved onto my shoulder, I knew it. I knew she would be sleeping but it doesn’t matter, she accompanied me, and I liked she did, Wadz let me down badly but it’s fine I guess this is ok. I feel nervous now because I can’t move, I don’t want to disrupt her at all. Looking to the side of without moving my head so my eyes moved, my arm resting against the armrest, she is using my hoodie as a blanket and I don’t know why but I just did it, I opened my hand out. I am such a dickhead because what the fuck, but she placed her hand in mine, I am not even looking, I am just doing this from the corner of my eye and I felt her love her head, I know she has looked at me but then went back to resting her head on my shoulder, my thumb lightly grazing the back of her hand.

Still eating the popcorn as I waited outside the bathroom, Rylee be in this bathroom the most “you want some?” I asked Kayson before throwing popcorn at him “man, my ass really hurts. Did you actually enjoy that?” nodding my head “I did you know, I don’t enjoy the waiting around though” I huffed “Central Cee can we have a picture, oh my god we love you” turning around “alright” I smiled “oh” I said, this seems messy, looking at the female bathroom and the attention, seeing that the news is going around “I mean I would but then I am going to have to do it for everyone else, I appreciate the love though” I Wish Rylee would hurry up “you going to check what she is doing?” I said to Kayson “fuck no” he denied, I feel so awkward “you are so cute in person” I laughed “thank you, you can have this though” passing her the popcorn and the girls just screamed for nothing “let’s go” Rylee has come out “watch out, move out!” Kayson spat “took your time” I said to her “you was entertained, that is all I heard in the bathroom was your name and that you’re outside and how fine you looked so you had entertainment” nodding my head “and you now have warmth, you got my hoodie” she took that “I know” she has been off since “excuse me, please and thank you” they are so many people here now, Kayson just came out of nowhere just moving everyone out of the way “woah” I said as I got pushed behind Rylee again, this is the second time “relax, damn” they are crazy out here.

Dapping the guys as I walked into the local “bossman” I laughed “what time you call this, closing time?” he said “I know but I am hungry, you got me” leaning against the counter, Rylee side eyed me, she hates these places but like they make the best chicken “what you want?” I asked her “I don’t know” I chuckled “it’s late, no place is really open like that, bossman will sort it out. Look at the menu up there” I pointed “how you been though boss?” I asked him “me good, you bring a lot of business to me since the video” I nodded my head “I got you, you got me when I was young, you know what I want two piece for me and can I get some wings, in a separate box” he smiled at me “on the house, from me friend” waving me off “nah, nah I will pay and can I get a Fanta too, what you want?” she is taking forever “strip for the lady, you know how women be, I will be down there” I pointed “I want a drink” Rylee asked me “then get a drink, tell him” walking off “get what you want” I said to Kayson, sitting down on the seat. They are locking the doors, I am glad. Nobody to harass us “did you get a drink?” she pulled the chair out “I did but like, yeah” I groaned out “why are you being weird? What’s wrong?” she shrugged, looking at Kayson “something is up so what is it?” I know she is off “you just you know, you blatantly said that you got a handjob in the cinema before” I busted out laughing “Rylee, are you serious? I was young, I lost my virginity at fourteen, I didn’t wait it out, things happen. I was like eighteen I think when that happff we need, I don’t know. Is that why you was angry, all this time? Over that” Rylee waved me off “you making me sound stupid, shut up” she is funny “right” shaking my head, women are funny.

How is this girl eating mad too “why don’t you just speak, I won’t laugh” I mean, it’s funny but clearly she doesn’t like me to laugh “because I am boring for you really, I mean like all these things. I wasn’t raised that way, I didn’t even need to leave my house to watch a new movie, I had a cinema in my home, I didn’t do that. I think I sexually lack” looking out of the window “right” I just said “like ok, I had sex with you, and I what, laid there first time” shaking my head “it’s gradual, things happen, you are still young, you learn new things. That is down to your partner to you know, help you. Like I mean you fell pregnant, then it stopped” she is funny “I am actually boring in bed aren’t I?” I laughed “nah, you not boring in bed. I think like, what I see it has, at times I have to push you a little, I feel you need to use your sexual appeal to your advantage and you at times don’t know how to do it. You close off, I see it, I notice it. Really you shouldn’t when really you have a banging body but I think yeah, you have things to learn” I shrugged, she needs to stop worrying about that “did I sexually please you?” she asked “you did, look what it is with you. You can tease someone into bed, then you kind of switch off in a way. I think you did things with me because you’re comfortable” I said to her “you are my comfort” she admitted, biting my bottom lip “stop pushing yourself, you good” Rylee smiled at me lightly, she is just so random at times “you the only one to make me climax” I chuckled “thank you for the compliment, but you will get an understanding guy I hope. Someone that knows you, well how to treat you, you want some more fries?” I offered “no” she just said bluntly.

Parked outside the apartment “I will watch you go in, thank you for coming though” I said to her “yeah” she just breathed out “I don’t get it” she said “get what?” here she goes “you held my hand in the cinema, now you saying if you find another man, I don’t get it” licking my top lip “it was perfect for that moment, Rylee I don’t know what will happen to us, you could find someone or maybe I will, I ain’t looking for nobody but I want us to be friends at least” she shook her head “you just admitted that I am comfortable with you, so why would I want that?” rubbing my forehead “why do you have to push a narrative and let things flow?” she can be so pushy at times “it’s not that, I am just letting you know I am not looking for others” clenching my jaw “yeah noted” I mumbled “what other things have you done?” Now she is being dumb “I’m not going through my sex history with you. Just please, I want us to break today off as it ended good. If you need anything in there” she needs to quit it “ok fine, thank you anyways” nodding my head “thank you too” I just don’t want no hard feelings about things.

#Chrianna #Chrianna FF #Fanfic #Fanfiction #Chrianna Fanfic #Chrianna Fanfiction

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britishhiphop · 1 month ago

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WhyDee - Jack In The Box [Video]

Written, arranged, and engineered by North West London talent WhyDee himself, co-produced with P YouGotThat (Digga D, Arz, Ndotz), distinctive style and blazing authority is quickly established across his debut single “Jack In The Box“, with infectious trap textures laying groundwork for his intricate wordplay to shine with typical finesse. His vigorous reflex seamlessly distils modern youth…

#Charva 2 #Jack In The Box #P YouGotThat #WhyDee

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keeper-of-books · 1 year ago

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H P

Harry Potter

It's me

Ich komm reingeported

Und zerstöre den Beat

Ich bin der größte Held und jeder kennt meine Geschichte

Und du wärst nicht der erste dunkle Lord den ich vernichte

Ich zähl mein Gold digga

Gringotts kobold money rich

Du bist nicht der Babo

Vielleicht eher Luke's mommy bitch

Ich weiß du wärst gern auch ein Held aber keiner lässt dich

Wir beide haben Narben aber du bist richtig hässlich

Ich zerre dich nach Askaban

Und lass dich nicht mehr raus danach

Wie ich mich kenn krieg ich dafür auch noch den Hauspokal

Und wenn du dann zerstört bist

Reis ich in der Zeit zurück

Und mach dich nochmal fertig

H P

Harry Potter

It's me

I'm coming through the portal

And destroying the beat

I am the greatest hero, everybody knows my story

You wouldn't be the first dark lord that I'm destroying

I count my gold digga

Gringotts kobold money rich

You are not the Babo

More like Luke's mommy bitch

You'd like to be a hero but nobody lets you

We both have scars but they really got to you

I'm bringing you to azkaban

No I won't let you out again

Gonna win the house cup, cause I know I can

And after I've killed you

Travel time for the second round

Cause I'll also win round two

#HP vs DV #rezo #don't even know why I keep trying to translate lyrics

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royaltyrules816 · 1 year ago

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Happy Birthday DJ Kay Slay‼️

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deadcactuswalking · 2 years ago

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REVIEWING THE CHARTS: 25/02/2023 (Niall Horan, beabadoobee, Lana Del Rey)

For a sixth consecutive week, Miley Cyrus reigns on top of the UK Singles Chart with “Flowers”, and it’s a messy week otherwise so let’s just get straight into this. Welcome back to REVIEWING THE CHARTS!

Rundown

There was a lot of movement this week, partly because of ACR having a particularly long hit list in recent weeks but it’s also a week of general fluctuation, some for the better and some for the worse. As for our notable dropouts, which are songs exiting the UK Top 75 after five weeks in the region or a peak in the top 40, other than seeing a bunch of our debuts from last week drop off, including “Call Me What You Like” by Lovejoy, but also leaving are “Nobody Gets Me” by SZA, “Superhero (Heroes & Villains)” by Metro Boomin, Future and Chris Brown, “Kiss Me” by Dermot Kennedy, “go” by Cat Burns and “Someone You Loved” by Lewis Capaldi. I’m not complaining about any of that.

What’s here to fill up the blanks? Well, “Mr. Brightside” is back at #75, but pushing that aside, our notable gains are pretty interesting as thanks to songs above them collapsing, we see a decent surge, particularly at the top of the charts. We see Ed Sheeran’s “Shivers” and “Bad Habits” at #62 and #61, “Until I Found You” by Stephen Sanchez at #60, “Under the Influence” by Chris Brown at #59, “Rumble” by Skrillex, Fred again.. and Flowdan at #52 with a slight album boost, “Oh Baby” by Nathan Dawe and Bru-C featuring bshp and Issey Cross at #42 (hope to see it even higher soon), “Here with Me” by d4vd at #39, “Die for You” by The Weeknd at #37 (it’ll be even higher next week), “Rush” by Ayra Starr at #36, “Just Wanna Rock” by Lil Uzi Vert at #32, “Ready to Fly” by Sub Focus and Dimension at #29, “If We Ever Broke Up” by Mae Stephens off of the debut all the way to #23, “Lavender Haze” by Taylor Swift at #22, P!nk seeing album boosts for “Never Gonna Not Dance Again” at #19 and “TRUSTFALL” at #14 (more on her later), “Us Against the World” by Strandz taking a Digga D remix to #12, and three songs that weren’t in the top 10 last week now sitting comfortably at the tail-end. Sure, “10:35” by Tiesto and Tate McRae returns to the top 10 at #8, but otherwise, we have “ceilings” by Lizzy McAlpine at #9, becoming her first ever song to hit the top 10, and same goes for... Coi Leray with “Players” at #7. I suppose life is full of ups and downs.

Despite a lot of commotion below it, of course, our top five is pretty stable. “Calm Down” by Rema is at #5, “Sure Thing” by Miguel is at #4, “Kill Bill” by SZA is at #3, “Boy’s a liar” by PinkPantheress is at #2 and of course, “Flowers” is at the very top. Now for our pretty big and pretty diverse set of new entries.

NEW ARRIVALS

#71 – “In Ha Mood” – Ice Spice

Produced by RIOTUSA

I don’t get it. I got “Munch (Feelin’ U)” – it isn’t unique but it’s a short breezy song with an actual hook. This being the bigger, actual breakout hit for New York rapper Ice Spice confuses me in just about every way. The chipmunk vocal loop in the background is of complete irrelevance to the plummeting Brooklyn drill beat and I feel like rappers don’t understand how stiff drill beats are when the rappers over them sound defeated, uninterested and just repeating the same flows, same words, and all of it is triumphant flexing that isn’t convincing when Ice Spice sounds as cold and unresponsive as possible. There is one moment where I can see this working – the second pre-chorus has Ice Spice drip off a lot more confidence with a sneaky flow switch over a Jersey club rhythm, and it does genuinely feel like a great moment of tension that’s alleviated with the final drop into the chorus. I just wish that one moment was the whole song, but with plenty of Jersey drill out there that can do just that, there really isn’t much to me that pops out about Ice Spice other than the Chucky from Rugrats hair... which I suppose is the point, since she’s known for her viral traction rather than the music being anything particularly refreshing but it really didn’t need to be, it just needed to be good. I’m sure she’ll have her moment regardless but I do want to hear a more confident Ice Spice in the music itself when it’s clearly what’s helping her appeal in her videos and on social media.

#67 – “Whistle” – Jax Jones featuring Calum Scott

Produced by Jax Jones, Jon Maguire, Josh Wilkinson and Neave Applebaum

Jax Jones made another dance-pop track with a chintzy, fake lead that sounds incredibly cheap, a four-on-the-floor beat and over-processed vocals from Calum Scott. The only thing that makes this differ from any other given Jax Jones song is the increased tension, with the build-up getting awfully busy before plopping itself into a slap house drop that actually isn’t all that anticlimactic. It would hit pretty hard if not for the whistling, which is the main motif for this lovestruck single that is really relying on that one motif... which is not present for most of the song. Also, Mr. Scott sounds horrible with all the obvious Auto-Tune and awkward vocal inflections that reek of not understanding the assignment. The way he sings the bridge particularly just confused me. Why are you here? Why did I even let myself get this far into the song?

#63 – “Beautiful Day (Thank You for Sunshine)” – Rushawn and Jermaine Edwards

Produced by ME13 or Trinix

This song does not exist. Okay, at least according to how it’s been credited on the Official Charts Company website, this song does not exist. Instead, we have a series of songs that vaguely connect into one song that is actually the one that is the most popular and therefore contributing the most points to this entry. We start with Jermaine Edwards and his 2014 song where a very Auto-Tuned Edwards thanks the Lord for a beautiful day over a very 2010s electropop instrumental. It’s not all that great, but it’s very charming, and Edwards’ singing has a lot of charisma behind it, even if everything he’s performing on is about one inch away from a trainwreck. This Jamaican kid called Rushawn Ewears was in a viral video recorded by his teacher where he very cutely sang the song, but this video was made when he was 10 and only recently found virality on TikTok thanks in part due to a remix by the South African musician The Kiffness, and since something’s viral on TikTok, it will need some viral remixes. One particularly viral version that came up when I searched was by French duo Trinix, turning the cover into a lowkey R&B song with some distracting synth bass and vocal chops alongside a lead synth that just sounds like royalty-free YouTube music. The undeniably biggest version in the UK, and honestly a confusing choice on OCC’s behalf not to credit, is the version by rapper Prinz which of course flips the track into an atmospheric, melodic drill track. The beat produced by ME13 is simple but combined with the wonderfully optimistic vocals from Rushawn, and what might be the first non-Stormzy verse from a UK rapper to chart that is explicitly about Christian worship, where he thanks the Lord for allowing him to prosper whilst also acknowledging his own role in that success, it’s surprisingly quite good. Sure, it’s less than two minutes – there’s not a real song here – but Prinx even harmonises with Rushawn in a way to ensure this is still a viral moment instead of a full song, so I don’t think the intention is to make much of a career off of it, though both Rushawn and Edwards now have record deals. It’s a cute, hopeful song that does pretty much nothing wrong in executing the very simple thing it wants to do, and sure, whilst I’d prefer a longer song that maybe does a bit more with the sample or goes into more detail about why God is so important to Prinx, it would possibly detract from the wonderful simplicity of it all, so I think it’s fine as is.

#49 – “Barbie” – D-Block Europe

Produced by Nathaniel London and MiikkaT

This song starts with the trap beat already fully in force with disgraceful bass mastering and the percussion being way too busy for a melodic, acoustic guitar-based beat wherein for some reason, everything in the song feels a tad too quiet. Young Adz essentially just auto-croons about convincing this girl he loves her through buying her things, though he has a worrying meander into suicidal ideation in the second half of his verse amidst typically odd vocal inflections and honestly, one of the least interesting DBE songs ever. Dirtbike LB does outshine Adz with the very little time he’s given, as his defeated cadence really has grown on me and his flow isn’t as monotonous as Adz’s. With that said, they’re not that far removed, and it’s definitely not enough to save this from just being mediocre.

#48 – “HOPE” – NF

Produced by Tommee Profitt, NF, Jeff Sojka and Patrick Tohill

Out of all recurring themes to pop up this episode, Christian rap was not one I expected, but I’m sure everyone is excited about NF coming back, right? Well, Middle America’s favourite since Eminem denounced Trump has an ambitious, two-part lead single with a big-budget big-concept video and I don’t care, is it actually any good? Well, I am really not close to NF’s target demographic and I feel like half the time, I have to understand his lore or whatever to really come to grips with what’s happening, but that may just be because he tends to say a whole lot of nothing, so I may be the absolute worst person to judge that. In fact, as soon as I heard the strings in the background of the intro, I knew I wasn’t going to like this, and it is purely because of the production: NF makes music that sounds like superhero film trailers, with the mix clipping and substanceless melodrama included, as well as flow switches and adjustments in the beat that feel like jumpscares. I understand that in this song, particularly, a lot of those flow switches and sound effects show his emotional instability but that singing intro has basically nothing to do with the first verse, which is self-motivational, sure, but I feel like it really should have been about a lot more than what it is. Annoyingly so, when he finally starts being introspective, he interrupts himself with “They get it”. That last verse about parenthood is pretty well written, but then that dramatic monologue becomes some kind of mantra and back-and-forth between him and his demons, and I can’t say it’s not ambitious or a cool idea but it doesn’t feel worth the energy and intensity that we get here. Some of these verses could easily be chopped up and reworked into a song that more directly focuses on either the “facing demons” aspect, or the absent mother aspect, or the self-improvement aspect, or damn near any of the topics he covers in the song yet together, it’s all a bit clunky. Again with NF, I respect the intention way more than I actually like the song.

#44 – “When I Get There” – P!nk

Produced by David Hodges

P!nk’s newest album TRUSTFALL debuted at #1 on the UK Albums Chart, and this is the newest single being pushed. This particular ballad, not written by P!nk but dedicated to her late father, from whom she first found her interest in harmonising and playing acoustic guitar and had even sang some of her father’s Vietnam War-era material, is really sentimental amidst the strings and almost country-esque guitars, and whilst P!nk’s delivery is earnest as always, it doesn’t really resonate with me much in particular. It probably should considering mitigating circumstances, but it just doesn’t go far enough into personal detail, probably because she didn’t write it, so the only links made are through vague knowledge that it seemed the writers about P!nk’s connection with her father – about as much as what I know and said in this review. I can’t complain about it really, and I’m not enough of a P!nk fan to direct anyone to better ballads from her discography that tackle this subject matter, but as for this song, it will either hit you or it won’t and for me, I’m not phased.

#41 – “A&W” – Lana Del Rey

Produced by Jack Antonoff and Lana Del Rey

I’m not a Lana Del Rey fan by any means, and I am a bit taken aback by the fact that this seven-minute, decidedly not radio-friendly track debuted so high, especially because the lead single from Lana’s upcoming release was not one I even had to mention on this series. Regardless, it’s here, and what do I make of it? Well, it splits itself into two halves, the first of which is about a loss of purity through sex, reminiscing on childhood, using not doing cartwheels in years as a way to signify how she’s been in some way “tainted”... and yeah, it gets pretty heavy from there, with an acoustic backing that is typically cloudy, as well as a distressed falsetto wherein Lana admits she ends up not caring after years of being an “American whore”, making parallels to her stardom being just as shameless and superficial when fans are going to body-shame her. That tumultuous relationship with media and society as a whole culminates in a third verse that takes aim at the culture in the US that will shame and blame women for the rapes committed against them, indicating that she’s scared to testify because being a woman who proudly admits to having sex is already too much to incriminate her in the eyes of the patriarchy: her story’s already dismissed. We get from the second verse that really, the character isn’t doing anything particularly out there or abnormal, so the persecution is definitely a fault of the unjustified systemic misogyny that doesn’t accept a proud woman, branding the same shamelessness that men will engage in as the behaviour of an “American whore” when a woman is open about it, with Lana bringing up the inherently misogynistic idea of the “fallen woman” in that first verse to show the falsified control that men believe they should be able to have over female bodies. Lana’s broken voice really sells this vulnerable content, and then it goes all industrial with eerie drum machines, zipping-up sounds, increasing TV static, glitchy guitar fragments and percussion that spirals around Lana’s vocals before finally settling into a dejected groove wherein vintage, low-fidelity strings are placed against heavy 808 bass hits as Lana mantras about this guy called Jimmy who only loves her when he wants to get high, explicitly taking advantage of this woman but the helpless character can do little more than embrace the fact that she will be branded as the “bad guy” whatever she does so she calls up his mother to tell her that her son’s messed up and admits in the club that she’s already lost her mind, amidst all the industrial fuzz. It’s a great ending to the song since it acts as kind of a revenge, fully taking on and weaponising the unfair expectations placed onto her, as well as all of the hateful rhetoric that surrounded that first half. I’m sure it’ll make more sense in the context of the album – which I don’t know if I’ll listen to – since this does feel like part of a grander narrative, as a singular piece, it really hits hard and feels like it encapsulates an entire story in this seven minutes, to a good level of nuance but also with some of the most poignant performances I’ve heard from Lana, amidst a great production you can expect from Antonoff, who really is at his best producing for indie acts. Of course, it’s not really my place to comment on how effective the storytelling is in terms of realism, since it hits on some sensitive topics I have genuinely not experienced up-close to the level that Lana is describing, and there is some mirroring towards Lana’s relationship with the media that of course are beyond me in terms of feeling but it makes for a fascinating and honestly quite distressing listen. It’s definitely not going to last, and a shortened radio edit would completely butcher it in my opinion, but it’s impressive that it charted and is definitely one of my favourite tracks from Lana in years so I’m glad I got to talk about it, even if I probably can’t do it enough justice. Like with NF, I’m not clued up to the artist lore which I imagine will make this song even more either cathartic or tougher to stomach if I knew everything that had led to this point in her catalogue. Regardless, it’s an excellent song, and we actually stick with the indie girls – though definitely on a less heavy note with...

#38 – “Glue Song” – beabadoobee

Produced by Jacob Bugden and Iain Berryman

I did not expect British-Filipino indie darling beabadoobee to chart beyond albums having critical success and that one terrible song she’s sampled on the hook of, which I refuse to name because both the artist and title make me irrationally upset because of how clunky it all is. Yet we’re in a different kind of era now with the likes of PinkPantheress and Steve Lacy, so it doesn’t entirely surprise me that bea has a new top 40 hit, and it’s a two-minute lovestruck track about finding the words to express how much she loves her partner, eventually setting on the tried-and-true glue metaphor. The acoustic backing with all the strings is pretty elegant and it definitely feels like a wedding song, almost to its detriment because it feels a bit impersonal in effort to be universal, especially since I feel like this kind of cute slow-dance isn’t really bea’s forte (and I’m not really a fan of the whispery vocals here). It doesn’t really go anywhere either, just willing to mellow out in its cute, self-contained glory, which is completely fine. It’s nice enough.

#18 – “Heaven” – Niall Horan

Produced by Joel Little and John Ryan

This is decidedly less subtle, with my personal favourite 1D member going full pop rock again, starting the song with a mess of phasing synths and multi-tracked harmonies before pushing right back into a solid rock swing that reminds me, if anything, of old Phil Spector productions considering how cutesy and lovestruck it is with a lot of echo and willingness to just throw nice chords and sounds at you with as little filter as pop music will allow. Niall doesn’t go for the melodrama as much as he goes for complete earnestness that turns itself into silliness, which is the best mode for someone like him, as what could be described as weird vocal mixing fits perfectly when he’s saying that the love he shares with his partner goes so out of control that it will literally change what Heaven looks like. I adore this song in the same way I’m sure someone adores “Glue Song” and ultimately, I think the appeal of them both is that they are incredibly cute and honest songs about being so obsessively in love it’s hard to describe without being silly. It’s just that the earnestness broadcasts itself in two different ways, and very unsubtle pop rock is definitely a bit more of my thing so I end up preferring this one, and I just had a massive grin on my face the entire time I was listening to it.

Conclusion

I think what may have been the recurring theme this week was honesty and openness, as most of these songs are attempts at expressing emotion as accurately as possible, bringing those instincts to the songwriting and even the production. Oh, yeah, and D-Block Europe, who get the Worst of the Week for “Barbie” which is just useless, and same goes for Jax Jones and Calum Scott with “Whistle” as the Dishonourable Mention. In a batch of songs that feel as open and genuine as they can be, these stand out to me as the least compelling but also the least real. As for Best of the Week, Lana Del Rey does really run away with it with “A&W”, but I can’t deny how much I love that Niall Horan song on a purely instinctual level, so “Heaven” gets the Honourable Mention. I think new music releases are starting to really kick into gear now, so I expect some busier weeks coming forward into the Spring but for now, thank you for reading, rest in peace to Trugoy the Dove and I’ll see you next week!

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melodic7thsign · 2 years ago

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Dead Eyez performing live at Sammy’s patio in revere ma open up for rah digga Rah Digga Tour for live 23 fundraiser series full blast bookings #fullblast2023 Melodic Jason Andrade AB Nogueira Gilberto Soares Kenny Mercer Full Blast Booking #sammyspatio #reverema #lionofcapeverde #lmmg #reb7rth #chiefwisdom (at Boston, Massachusetts) https://www.instagram.com/p/CnpWfwguWx-/?igshid=NGJjMDIxMWI=

#fullblast2023 #sammyspatio #reverema #lionofcapeverde #lmmg #reb7rth #chiefwisdom

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chanelfunnell · 2 years ago

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Mail

A) anon, Kaner's son Max Domi and so Seth Jones are playful and keen to join any activity with Tazer or Blackhawks. Kaner is home body now. I was surprised that S Jones kicks by his left foot.

B) anon, a lot of dogs are cute and I like a lot of dogs of a lot of nhlers across the franchises. On the photos lol

C) anon,

Auston Matthews with a beard, looking weird with his p..rn stache.. Play offs facial hair is the worst look.

D) anon, there is just a pyckbunny history for Markle and an anon weirdo writing me about nonsense mixing flat caps, Harry, his warmonger friend Langdon and something about Hossa's whirlpool.., Marketa. Id steer away from any bs and dangerous people such as a arm smuggler Mann. Any bs outside ice hockey and unelected ruling class with lazy mean women such as Markle, Middleton or Camilla. Markle should pay for her all wedding costs, dresses and idiotic Mount battens should not allow her to have a big scale wedding in the church.. Old fartvking is smuggling more than 10.000 euros in the bags compared to self made Snoopy Dog with own cash and Marketa as a royal is denied and as self made biz girl bulkier and mocked by lazy gold diggas with it a buck such as Camilla or bulimic Kate. Read her mother's response in the suit how Kate hired as a simple idiot with just interest in clothes and media a media lawyer woman called Prince lol for a nominee trust.

These idiots have no clue that it is not in estate registrar but shluld f.. Ck offg ASAP from her estates like ugky Wisteria sister Pippa no own bucks pushes people for stepping on the lawn just for an inch. Stupid, vapid, no work, no dowry, no class. Not just a puppet Harry as Montecito laughs from him. Market's long term bf lawyer's family reside here, Markle is a stalker gold digga but she keeps quiet. So should drug junkie Harry Goldsmith who was sent to speak by his nasty abuser sister Carol to rant in the tabs. So like old bag Camilla's posing in tabs but none work done.

Check Princess Anne and her typical work as normal, Marketa waiting in the wings and app somd idiots mesee her surname Windsor and denied her election and mocked for self made status. What I know Kate wrote to Christian Ronaldo on Myspace after Marketa's presence at Red carpet of Pirates of Carribeans. All ugky, lazy, mean posing mean girls without money, class, typical with barking druggie uncle. Arm dealer loon like Mann as Harry Hewitt's company is dangerous so the Mountvaten and their gold digging mean chavs's toxicity, greed and unelected status or non royal origin and nothing on their own merit than shagging deluded royal farts.

OK athletes are trashy, posing and in chains but money made by them and with common sense than any common mugger like these women from Markle to Middleton women or Vamilka. Read the Middleton response in suit, to self accomplished workhorse who is a princess. Worse than climbing caste obsessed pushy mother with two Cinderella's ugky sisters camping illegally at the princess kand. We know Markle is a psycho but both of the d just mean, trashing other girls, heading rich men using the bed than own work, actually no dowry or manners, lazy, spiteful, stupid fir b assic PR. Not just Harry who is definitely a cavalry officer's son not a Prince. His father published similar book, all crybabies but trolled M or others keep quiet. These mean women just add them more like cross Che King a super player in NHL while they are a pond hickey hoikers. They ask a brother druggie like Hunter if friends or trashy star to pitch their appraisal to press how perfect and Saint they are. So Markle. Do you think Marketa's ex bf of 8 years lawyer from wealthy US family has no clue what these nasty women in law, a king and Harry are about? Markle present in Russian House yet borrowing other houses for her personality PR. So these crazy useless Mount battens and their penniless climbing gold diggas. Harry has attached dangerous people to his hip, the rest is atrache with their puckbubnued and own stupidity. Do you think they would make if in profi sport and into the bed a wag? Lol not apable or just plain or just ugly looking and too desperate chasers. King Charles was app kicked from Birkhall that is a part of Marketa's Balmoral estate. Well done, they are just greedy liars croks parasites joining forces with similar tuned charlatans and gold diggas. Their ancestor was stupid Alix Tsarina meddling into anything but lacking basic skill like never working media posers Camilla, Catherine.. Also her blind obsession with charlatan Rasputin reminds us old history. No surprise two bimbos Markle and Middleton are fighting about clothes, both looking either unkempt or frumpy after acts of flash, crotch shots or naked selfies luring their idiots into the bed, their only claim to anything such as money, house, standing in society, claim to fame lol. Spare me, so spare tyres... If not less paid, the land lady abused so kicked out. It is the same with no results, no t playing. If you are paid 5 mils bucks you need to deliver on the ice as well as juicy bits in the book and PR. That idiot has anything to sell and run buz bcs hardly able to run a ware tap and so their bimbos

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cafe-tschuesch · 2 years ago

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🍻 Letzter tschüüüsch-Samstag in 2022.. . ..also lasst es nochmal krachen & chillt euch bei #bier von @quartiermeister_official & Feine Sahne #Futurefood zu uns ins #tschüüüsch! 💜💜💜✨️ . Werbung #unbezahlt . #future #sozialesbier #socialmedia #cosyberlin #restaurant #berlineukölln #beer #beerberlin #indiancuisine #berlinvegan #countdown #fuck2022 #neukoellnifornia #digga #coloursofberlin #enjoyyourmeal #enjoyyourbeer #saturdayrocks #saturdayfood #dinnerberlin #berlindinner (hier: Neukölln-Nord) https://www.instagram.com/p/CmRvk3zs53v/?igshid=NGJjMDIxMWI=

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magnificentpeanutperfection · 2 years ago

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Everybody request to talk about Rah Digga https://www.instagram.com/p/Clo6hrAPoI0/?igshid=NGJjMDIxMWI=

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i-eat-worlds · 1 year ago

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Mine have been

shelp (over and over and over again, popping the p)

Dut dut digga da dut dut

clicky noises with my tounge

current vocal stims:

- (meowing)

- arm chopping is not a love language

- yeet

- waaaaluigi (????)

#worlds babbles #vocal stimming

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tabooone · 2 years ago

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<PARTY INFO> 2022.10.1(sat) 23:00 OPEN JUICY SOUNDS presents “DOPE BLOCK GRILLS” at.clubasia 新宿歌舞伎町CLUB CASABLANCAから渋谷clubasiaに移動しての第三弾は、更にDOPEな面子が大集結‼︎ 今やLIVEを見る事は超レアなMSCのコアユニット「ILLBROS」が往年の名曲を引っさげ登場‼︎ 新ブランド"9g"を立ち上げ、全国各地をLIVEで駆け巡る「D.O」も渋谷に降臨‼︎ 今の「BES」があるのは、このドッグスの存在があってこそ…東京 DOG EAR RECORDSの主宰「ISSUGI」との最高のTAG‼︎ JUICYオリジナルメンバーでもあり、先日のclubasiaでのリリパも記憶に新しい「MULBE」下町は墨田区から唯一無二の存在感を放つ「BURAKUMAN JOE」と、同じく墨田区の新世代を代表するEAST COREな粋な奴等が集まる大所帯クルー「HATEFULL DOGG'S」 BEAT LIVEには山口宇部のドス黒い演奏家「GENJU」を召喚し、札幌ストリートの案内人「ACE a.k.a. DangerousRaggaMuffin」とのセッションは耳を掴んで離さない。 1F MAIN FLOORのDJと1F LOUNGE FLOORのDJはJUICY SOUNDSがブッキングを担当し、2F LOUNGE DJは"JOMO"が声を掛けたまるでIKB BEDのような面子が集結!! マンチになったらJUCIY BURGERとWÓDKAへ是非。 10月の始まり、渋谷円山町clubasiaに各地のBLOCKからDOPEな面子が大集合!! 最高の音と色と飲で、真っ黒な一夜を朝まで堪能しようではないか‼︎ 10.1(sat) @clubasia OPEN 23:00 DOOR4000円(1D) TICKET3000円(1D) <出演者> ILLBROS(漢+TABOO1+DJ BAKU) D.O BES & ISSUGI MULBE BURAKUMAN JOE HATEFULL DOGG’s <MAIN FLOOR DJ’S> DJ BAKU(KAIKOO) DJ G-FRESH DJ GATTEM G JONES DJ 太華 <BEAT LIVE> GENJU as Dirty XL Digga from ASIAN ABDUCTION RECORD$ feat ACE a.k.a. DENGERRAGGA <1F LOUNGE DJ’s> DJ D.A.I DJ DOMMON DJ DICE-K DJ 9incy <2F DJ’S> MANTLE as MANDRILL JOMO as Ill Clinton 泥鶴 ARACHY ICHIRO IORI Kidnap <GOGO & WODKA-GAL> Ann a.k.a Badkitten DIRTYBITCH_NIKA <FOOD> JUICY BURGER WODKA (clubasia) https://www.instagram.com/p/CiClVsHJUhZ/?igshid=NGJjMDIxMWI=

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aku-zone · 3 years ago

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ich liebe dich auch Bruder /p

(I used Google translate but shhh I'm trying)

Danke digga <3 /p

#don't worry you're fine #also like thank you for playing along #i honestly thought i was gonna get ignored lmao

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deadcactuswalking · 2 years ago

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REVIEWING THE CHARTS: 18/02/2023 (Linkin Park, Central Cee, Lovejoy)

For a fifth consecutive week, “Flowers” by Miley Cyrus is #1 on the UK Singles Chart. Welcome back to REVIEWING THE CHARTS!

Rundown

As always, we start with the notable dropouts – songs exiting the UK Top 75, which is what I cover, after five weeks in the region or a peak in the top 40. This week, the list includes both some more recent tracks like “Nonsense” by Sabrina Carpenter, “Shakira: Bzrp Music Sessions, Vol. 53” by Bizarrap and Shakira, “About You” by The 1975 and “snowfall” by Oneheart and reidenshi as well as some more long-term hits like “Moving All Around (Jumpin’)” by Schak featuring Kim English, “Rocket Science” by Clavish featuring D-Block Europe, “How Do I Say Goodbye” by Dean Lewis, “Mockingbird” by Eminem and finally, “All for You” by Cian Ducrot.

What’s filling up the blanks? Well, there are some returning entries, all of which are older songs just popping back up like “Someone You Loved” by Lewis Capaldi at #75, “Shivers” by Ed Sheeran at #69, “go” by Cat Burns at #64 (potentially the BRITs helped with these) as well as “When I Was Your Man” by Bruno Mars getting viral traction back to #50. The song originally peaked at #2 here in 2013, so I doubt its second run will reach those heights. This also brings us to our notable gains, which have some relation to the ever-disappointing BRIT Awards but also more general streaming gains. The gains this week include “Until I Found You” by Stephen Sanchez at #67, “Oh Baby” by Nathan Dawe and Bru-C featuring bshp and Issey Cross at #54, “Rush” by Ayra Starr at #44, “Just Wanna Rock” by Lil Uzi Vert at #41, “Never Not Gonna Dance Again” by P!nk at #40, “Forget Me” by Lewis Capaldi at #37, “Us Against the World” by Strandz at #27 – that’s a surprising amount of traction for that song since its debut, and it is likely to increase with the Digga D remix – “ceilings” by Lizzy McAlpine at #21, “Green Green Grass” by George Ezra at #14 and finally, Harry Styles reaped the benefits of his BRITs winnings with “Music for a Sushi Restaurant” at #57 and “As it Was” all the way back up to #7, because that song having a resurgence is definitely just what we needed.

Elsewhere in the top 10, we have our top five and it’s pretty predictable: “Sure Thing” by Miguel is at #5, “Kill Bill” by SZA is at #4, PinkPantheress gains up to #3 with “Boy’s a liar”, and we have the duo of “Escapism.” by RAYE featuring 070 Shake at #2 and of course, “Flowers” at #1. We have an interesting batch of new arrivals to look at next, most of which shouldn’t be unfamiliar names or faces, so I suppose let’s just get right into them.

NEW ARRIVALS

#74 – “Running out of Time” – Paramore

Produced by Carlos de la Garza

I’ve yet to hear the new Paramore record, This is Why, which of course debuted at #1 on the albums chart, and I’m not sure when I will because whilst I’ve heard decent reviews, I’m not that big of a fan when it comes to the singles they’ve released thus far. Will this be the one to convince me? Well, the song is one I can relate to when it comes to struggling to make time for anything other than the best intentions: “running out of time” is more running out of energy to focus on certain things at once, so a lot flies by the wayside. The lyrics detail a pretty disastrous daily routine over a jerky post-punk groove and pretty detailed guitar work that still ends up sounding quite of flat once we get to the chorus. Sure, there’s a drive to the riff, however staccato, but not enough when you have a refrain that is purely that one desperate excuse. It feels a bit too steady for a song which has content so outside of the lead vocalist’s control. Hayley Williams is as always an incredibly expressive vocalist with slightly on-the-nose lyrics, but outside of the almost universal feeling I get from this, I can’t say I dig it as much as I want to. This is the best single from the album I’ve heard so far, probably because it feels the most complete, but I still feel like there’s just a little something missing is all, and when Hayley’s putting in all the effort in the world with her vocals and songwriting, it seems especially disappointing that the band behind her is not exactly contributing in a way that feels like it fits the vision of her lyrics and performance.

#66 – “Special” – Lizzo

Produced by Ian Kirkpatrick, Max Martin, Pop Wansel and Daoud

To my surprise, Lizzo is still promoting this album, with the title track now getting a single release particularly due to a remix which for some reason is not credited on the Official Charts Company website when it is the only version getting a single push. I suppose I’ll have to cover the original version here, then. Like with most of LIzzo’s music, it’s definitely well-intended, basing the motivation in her own story, even if the narrative seems a bit clunky, but to be completely honest, this sounds terrible. The horns are as farty and plastic as they’ve ever sounded, and Lizzo is pushed so forward into the mix sometimes that her presence feels particularly overwhelming, especially when it follows the same spiteful self-motivation arc that a lot of these recent singles have had, which has never seemed particularly likeable to me, especially because it’s sugar-coated in an annoying empowering chorus wherein Lizzo seems unsure of her own lead melody, dressed in “luxurious” strings if your definition of luxurious was written by DJ Khaled. The drums are really weak in the chorus too, with the stiff R&B groove that barely registers as “alive” in the first place being completely drowned out. Then there’s the anger against cancel culture in the second verse which seems completely misplaced, especially because – I’ll say it again and again – it doesn’t exist, and if it does, it’s on the right wing. It’s a completely unnecessary and odd verse to place in there, and I feel like it both says nothing and doesn’t go far enough, making it occupy this awkward spot between being too abrasive for the song and sliding in there more subtly. The remix with SZA gets rid of the FIRST verse – you know, the only good part of the song – leaves the random bitterness in the second verse, and keeps pretty much everything else that made this insufferable, with SZA’s contributions mostly being backing vocals, and whilst she’s a more convincing presence than Lizzo – which is saying something – I’m still absolutely not on board with this. It’s just frustrating in a particularly annoying way because all intentions seem to be good with this one, but the song just sucks ass. I’m sorry.

#62 – “Love You Anyway” – Luke Combs

Produced by Luke Combs

It seems that if the UK is deciding on a token country star to prop up this side of the Atlantic, it’s going to be Luke Combs, and I’m not exactly complaining about that choice but it is strange to see a new country single find itself in the UK Top 75 this quickly. This particular song is entirely self-written and self-produced by Combs himself, and sadly, it kind of falls flat for me. I like the more organic sounds backing the typical country pedal-steel but the drums sound a bit too canned and as a result the song ends up being a bit of a slog despite the fact that it’s supposed to be a lovely ballad about how that nothing Combs’ partner could do would make him stop loving her. It’s a cute, well-written song, but I feel like its real place may not be on the charts but in a karaoke bar in Nashville. Thinking about that setting actually made me like the song a bit more: it has a “wham line” but it doesn’t emphasise it as much as it emphasises the entire chorus, so I feel like drinks are in hand and said hands are swaying in the air. With some better production, this could feel really transcendent, but as is, it offers a nostalgic enough vibe and the typical Luke Combs honesty and for that, it works well enough. I still like it.

#60 – “Here” – Tom Grennan

Produced by Jordan Riley, Lewis Thompson, LOSTBOY and Tom Grennan

I am still waiting for the moment that Tom Grennan releases a song that I actually like. That seems mean-spirited but the guy is so close to making music that is well up my alley... and he just doesn’t. “All These Nights” got really close – and honestly, I return to it more than I’d like to admit – but maybe with this new track, which he could have had more involvement with since it’s partly self-produced, he’s going to finally get there because I desperately want to like this guy. You know, it’s not the ideal sound I want to hear Tom Grennan over – 80s pop rock is still the play – but I... kind of love this? Sure, it’s faceless, with the odd vocal mix that is way too compressed and starts off with a really awkward intro, and the piano sounds like Downtown Abbey stock music, but Grennan brings his typical passion in a way that particularly hits this time around. Whatever he’s singing, it will always sound sincere coming from such a gruff yet waivering voice as Grennan’s, and given that this song is about pure love and devotion, him standing confidently amidst misty strings and a droning bass in that first chorus really caught me off guard. Then once the drums come in, they sound typical and digital, sure, but the echoing mix, alongside those backing vocal harmonies, make the song feel absolutely mountainous. Naturally, I’d prefer some real instruments rather than a rattling trap hi-hat in the chorus and bridge for some reason, as this really is a song that needs an organic grit to work as well as it can... but even with the trap drums and processed vocals, that final chorus hits hard and the droning confidence of the song feels like a mantra, with a gorgeous piano outro that kind of convinced me that this is also very, very close to actually being great. Come on, Tom, man, you’re nearly there! You’re getting closer and closer!

#45 – “If We Ever Broke Up” – Mae Stephens

Produced by Morgan Avenue

Another week, another young singer-songwriter with a semi-viral breakout single... yet this one is different because yes, ladies and gentlemen, Mae Stephens is from Kettering. North Northamptonshire stand up as we finally have some representation on the pop charts. On another note, the song is ass: its main motif is clunky and hard to follow, simultaneously not allowing for a nuanced perspective whilst also not allowing for an emotive performance, Stephens sounds half-dead for most of the song, leading to an even number performance on a disco beat that drags its feet through gross synth leads and a bassline that deserves more, with an attitude to composition that would be fun and impromptu if the song didn’t end abruptly without climax or if you know, anyone involved was actually alive because this sounds like it was made by a board room of corpses who have been reconfigured by AI to discern what the youths want to hear and produce some kind of posthumous-sounding pop hit for TikTok. With all that said, Mae, hey, I am just someone with a blog so if you see me in the street in the next couple months, which is actually a decent probability for once on this show, please understand that I do not mean any harm. Listen, at least you don’t get the treatment I give... certain acts on this blog. For example:

#32 – “Call Me What You Like” – Lovejoy

Produced by Dan Priddy and Mark Crew

It’s official: Minecraft YouTuber indie rock is here to stay. To be fair to Mr. Soot and his group of strapping young heartthrobs, I think they’re defined more by this band now than they are Creepers and Endermen, but if you start as a Minecraft YouTuber, as far as I’m concerned, you die a Minecraft YouTuber. When you start the song with “I never was a fan of the Internet”, I’m not sure if you’re even trying to hide it. As for the song’s quality, I actually think the lead despondent riff is pretty catchy and the drum production is genuinely excellent as it has enough aggression and violence when it comes in for the chorus but it never gets muddy, and you can hear every lift, every hit: it hits particularly hard against the fuzz of guitars that also sounds excellent: the lone squeal of one of the guitars parallels Soot’s falsetto in the chorus and oh, my God, I think I like this song. As for the content, it’s more barely witty self-deprecation, this time regarding his insecurity about what value he holds in a relationship, to the point where he’s basically accusing her of cheating, but it never really comes off as repulsive because he’s very aware of how slimey he’s being. The chorus is never anything other than awkward and the bridge is literally a goofy spoken word monologue about how much of a dumbass he is that is wonderfully 1980s and somehow 1920s at the same time. By the end of the song, it’s hard to believe he’s directing any of this towards his partner anyway, as his irrationality has clouded way too much of his judgement for it to be any more than self-contained frustration, which hits particularly hard with the tried-and-true half time drums on the final chorus. If Lovejoy are going to take more risks as well as having consistently excellent production and mixing for this specific niche, I’m excited to hear what they come up with next. Genuinely, I never thought I’d say that.

#31 – “Me & You” – Central Cee

Produced by E.Y. and RazorOnTheTrack

Alright, I’ll bite: what nostalgic track does this one sample? Well, this time, it’s not even original: not only have Lil Wayne and Young Thug flipped it, but fellow UK rapper Not3s took the Donell Jones sample of “Shorty (Got Her Eyes on Me)” less than two years ago. “Shorty” peaked at #19 here in the UK and was the 1999 follow-up to his only major hit, “U Know What’s Up”, one of the catchiest R&B songs of the 1990s. Sadly, MIST already took “U Know What’s Up” so Cench settled for seconds and this is genuinely awful. I know that’s what Central Cee does now: sample something recognisable under a drill beat and it doesn’t need to be good because it’s a joke song, and as long as he does some kind of playful flip of the sample and adds enough of his ad-libs, it’ll chart. That doesn’t mean it’s any less lazy even if it is his schtick. The sample is so badly mastered that the guitar sounds like came from an AI stem-splitter and Cench tries to play with a vocal loop of Donell Jones by allowing it to complete his sentence but the chipmunk distortion makes it basically indecipherable so he just sounds awkward as all Hell. The percussion is oddly gross and cheap-sounding this time around too, and Cench’s vocal mix is terrible, and that’s before even considering the lyrical content... and honestly, I don’t want to. It’s a gross two verses of desperate guilt-tripping, misguided and clunky analogies and then apologia for his own terrible actions, even cutting in a reference to his “Doja” song by saying he didn’t mean the infamous line in a “degrading way”. Hell, the vocal mix sounds particularly bad on that line so my guess is that he saw this wasn’t going to do as well because it was utter garbage and threw that line in there as a last resort to ensure it got into the top 40. Whatever goodwill I had for Central Cee on the back of a few good songs has been sucked dry with his recent string of singles because not only is the consent absolutely rife with manipulation alongside the flexes, the beats just get lazier and lazier, and no one around him is telling him no. So whilst I know he absolutely isn’t reading this, I’m going to tell him no: think about it in a business way. Sample drill isn’t sustainable – Cench made a song about manipulating his girlfriend, calling her an “endangered species” and then tripling down on the stupidest rap line of 2022... just for Donell Jones to reap all the profits. At least he knows what’s up.

#18 – “Lost” – Linkin Park

Produced by Don Gilmore, Chester Bennington, Dave Farrell, Mike Shinoda, Brad Delson, Mr. Hahn and Rob Bourdon

I like Linkin Park. I know that’s the coldest take of all time but Chester Bennington was really something special when it came to dynamic vocalists, and the band around him kept on changing their sound to mixed results but always with the same degree of passion, of which I’m glad is living on through these anniversary releases. Last time they celebrated the anniversary of Hybrid Theory, they released what may be one of my favourite Linkin Park songs ever, “She Couldn’t”, as a previously unreleased single, which sadly didn’t chart despite being one of their most resonant and heartbreaking songs ever. As I get older, I tend to prefer their more lowkey, reflective moments like that song but the crushing nu-metal they’re known for is what’ll get them to chart, and naturally, to celebrate the 20th anniversary of Meteora, we have the previously unreleased “Lost”. Since 2003, when a five-second clip of Chester singing became a staple of Linkin Park fans’ wishlists, and the song had been constantly teased until finally, 20 years later, the holy grail is officially out. Was it worth the wait? Well, for devoted fans, I imagine that this is a relief of great proportions. For me, I love the dated industrial bleeping that was typical of this era of LP, and I almost wish all of the song functioned in this electropop model, because the turntablism, Shinoda’s echoing paranoia and incredible synths sound a lot better to me when not crushed under grovelling nu-metal, especially for a song about feeling lost and uncertain, wherein a looming paranoia seems more fitting than aggressive cathartic release. I can tell why this was never officially released – Chester’s vocal doesn’t sound final, the lyrics are a bit vaguer and incomplete, especially the really repetitious bridge, but it’s close. He’s as expressive as ever, especially on that chorus, and hearing Chester in any context posthumously hits in a specific way... but for someone who’s not a super-fan, it just can’t hit the same as someone who’s been following the song’s release for as long as it’s been known about. For some fans, this’ll mean the world, and I can’t take anything away from that.

Conclusion

This was a... mixed bag at least. Thankfully, there’s enough that’s decent here to balance out some of the outright garbage. Best of the Week goes to Lovejoy of all people for “Call Me What You Like”, which is a surprise for me, with Honourable Mention being kind of a toss-up but I think I’m particularly fond of Luke Combs’ “Love You Anyway”. As for the Worst of the Week, Central Cee takes it expeditiously for the disgraceful “Me & You”, with a Dishonourable Mention for “Special” by Lizzo which is again well-intentioned but sounds horrible in most aspects that aren’t SZA, and she’s not even on the original version. As for what’s next on the horizon, I have no idea, but thank you for reading and I’ll see you next week!

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