#sir this is the verse and rhyme space we speak in verse and rhyme here

[garbagequeer]

people wanting the riverdale timeline to follow some logic so that things are accurate to their time period is like if people wanted an explanation for the magic in magic realism like girl thats not why we're here it is illogical because that's their style of storytelling and the story would not be the same if it had to answer to outside logic

[diyunho]

The Joker x Reader - “Raven”

Y/N is a very unusual metahuman that can use her powerful abilities just once before being turned into a Raven forever; that’s why it’s really strange she decided to sacrifice herself in order to save The Joker’s life. But there’s a reason for everything and maybe the unbreakable curse is nothing more than a blessing in disguise.

“It doesn’t look good,” you hover over The Joker, analyzing the gunshot wound that keeps on bleeding through his green shirt.

“It’s not bad,” he growls, pressing his abdomen.

“Where are you, prick?” someone yells and the echo carries over the words around the abandoned building.

“Do you believe you can escape?” another voice resonates in the vast premises.

“Tick-Tock, Clown!” another man howls in the quietness, certain The King of Gotham has no escape.

“Fuck…,” J tries to get up but he slides back down against the wall.

“I think it’s pretty bad,” you state the obvious. “You’re injured, out of bullets and they are near: your crew won’t find you in time.”

“Shit…,” he groans in pain, the throbbing ache intensifying with each passing moment.

“I’m gonna help you,” Y/N shares her scheme and although the news should make him happy, it doesn’t.

“W-what do you mean?!” The Joker stutters even if he knows the implications of such statement. You’re quiet and he continues: “Why would you do something like that?...”

You smile at his bafflement, the affirmation completely surprising him:

“Because you’re the only one that never asked.”

“You shouldn’t use it on me!” J’s truthful reply is interrupted by the henchmen entering the desolated space where the fallen Prince of Crime has found refuge. “Who am I supposed to talk to if you’re gone?” the genuine question makes you realize there’s actually a soul in this world who’ll miss you.

“We didn’t really talk too much,” you softly chuckle and turn to confront the men halted in their tracks seeing you’re positioned in front of The Joker.

“The freak is here,” a goon whispers loud enough to be heard by the ones arriving behind him.

“Hey Y/N!” their leader detaches from the crowd. “What are you doing here?!”

The lack of an answer combined with the feral expression on your face prompts the mobster to wave his pistol as a sign for truce.

“Let’s not do anything hasty, shall we?... …. Hm?... I’m aware you had so many offers over the years; consider mine again: if you wield your powers to finish the green haired asshole, I will triple the amount of money from the highest bidder!”

You scoff at the absurd idea, describing how stupid you considered the monetary proposals suggested by numerous individuals in the past:

“And what am I supposed to do with the riches once I cease to exist?!”

A bullet shrieks by your ear, ending up in the wall behind where J collapsed a couple of minutes ago.

“Sorry I missed, boss!” the man apologizes and this is enough to set you off; you turn your head to gaze at The Joker, delivering a last warning.

“Close your eyes or you’ll go blind!”

“Don’t let her clap her hands!” the kingpin shouts but it’s too late: a deafening bang fills up the air and the strong light emanating from your body burns J’s closed eyelids. He covers his face with bloody fingers while the screams and smell of torched flesh makes him nauseated; it’s so disgusting he gags yet the insane King can’t help a smirk at the sweet victory, even if comes  with such a heavy price.

Gurgling noises and muffled cries persist for another 15 seconds before they abruptly halt.

“Meet me in dreams,” is Y/N’s final sentence and immediately after the sound of flapping wings queue The Joker to finally open his eyes.

The view is cringe worthy: puddles of steamy, boiling tar scattered all around bearing witness to the consequences of your rage: nobody’s alive anymore except J and the Raven picking at the clothes you wore earlier.

His cell phone goes off and he has difficulty searching the purple jacket for the item he has no need for.

“Sir! We’re coming! Almost on the 32nd street!” Frost reports in a frenzy and The Joker sneers, wheezing from the effort of trying to stay awake.

“Nice timing,” and he hangs up, muttering to himself: ’”Goddamned jerks…”

The bird suddenly flies in his lap, curiously checking him out.

“I think I’m gonna pass out…” the damaged Clown slowly blinks before losing conscience which is alright since he had to speak to you anyway.

Every time you meet in dreams, you are always waiting for him on this deserted, calm beach staring at the waves in the distance. Today is not different.

He takes a sit by the woman that saved his life, silently analyzing her features: The Joker knows he won’t see them again except in this place.

When you said you didn’t speak much, it was true; if he tries to remember the first instance you showed up in his life, the moment blurs out and disappears in the background of his troubled mind. You would just randomly pop up while he was alone, keeping each other company for hours and often barely uttering a sentence. The eerie Y/N preferred J’s presence simply due to his lack of interest in her unusual power and he tolerated her because she never sought any kind of reward from their awkward connection. In the matter of fact, J never even tried to touch you; it was relaxing to be with an individual that plainly didn’t want anything from you whilst the rest of the world begged for attention: how many requested you aid them and manipulate your ability in order to annihilate their enemies? How many promised compensations beyond measure in exchange of your mighty gift? Way too many.

Yet The Joker didn’t care about it; the most he would do was to share his favorite drink after a new brand of grape juice hit the market.

And now the person he shared with was gone forever.

“Your team is almost at the warehouse,” you address him, bending your knees until your chin touches them. “Don’t worry, you’ll be fine.”

“I’m not worried,” J indifferently replies. “Told you it’s not serious.”

You snicker at his stubbornness, pointing out the evident reality:

“That’s why you fainted and started to dream about me?”

Your escort huffs, struggling to confess stuff hard to articulate in these circumstances.

“Thank you for…umm…for…”

“You don’t have to thank me; it was my choice and I fulfilled my destiny. It’s over and I’m free. I’ll still visit, ok?”

“Mister Joker! Sir, can you hear me?” Frost’s voice interrupts J’s dream: the gang is searching the deserted property for their leader and the only thing he notices is The Raven flying in circles above his head.

***********

Three weeks later, 9:37pm

The Joker extends his arm and you land on it, gently digging your claws in his skin for equilibrium.

“Where were you all day?!” he scolds and you caw, evoking complaints from the man that can’t sleep without his bird. “I wish you were a nightingale, this way you can chirp some cute songs.”

You fly on his shoulder to peck at the diamond earring, annoyed at his remark.

“Ouch! Ouch!” he shrugs, but doesn’t chase you away. “I recognize crows appreciate shiny things, but it hurts.”

Poking escalates and J vaguely apologizes on his own terms:

“I meant Raven! Raven!!” he repeats and struts inside The Penthouse where your pillow awaits. “Are you hungry?” the Prince of Crime offers a bunch of crumbs and expensive seeds he ordered for the spunky pest. You hop on the nightstand and play with the food, not particularly captivated by the lavish feast.

The Joker rolls in bed, gesturing for the pillow next to him.

“My girlfriend’s out of town, you can crush on her side of bed,” the affirmation makes you float to her cushion, instantly plucking the fabric with your beak, then jump up and down, cawing some more.

The Clown laughs, entertained at the temper tantrum.

“I know you don’t like her and the feeling is mutual,” he caresses the soft, black feathers as you continue to shred Lara’s pillow. “Stoooop! These are fresh sheets!” he pleads and distracts you by showing his patched up abdomen from under the t-shirt. “Look, my lesion is healing; wanna see?” a corner of the bandage is peeled for the guest to properly inspect the stitches.

Y/N bounces on The Joker’s chest, cautiously examining his wound.

“Cool, huh?” he grins and reaches his hand for the book resting under his pillow, surprisingly enough containing your favorite poem. “The Raven. By Edgar Allan Poe,” J emphasizes and you spread your wings with delight, quickly rushing to his neck and cuddle against the playing cards tattoo.

The King of Gotham holds the book with one hand and pets you with the other, his husky tone recites the verses you love so much.

“Once upon a midnight dreary, while I pondered weak and weary…” the beautiful, dark rhyme soothes a tired Y/N scarcely recalling what it means to be human.

Yet being near HIM reminds her on how much she longs for what was lost when she willingly sacrificed herself to save the one that didn’t ask to be saved.

*************

Following morning, 8:21 am

The Joker is swimming outside on the terrace and you’re having a blast in the inflatable pool he set by his lounge chair for the enchanted, feathered companion. This is a thousand times extra enjoyable when his new girlfriend is not home!

She’s a complete nutcase, totally obsessed with The Clown and certainly doesn’t understand why he’s paying so much attention to a filthy, gross creature.

Who the hell gets a crow as pet?! Apparently her boyfriend, although he didn’t tell her who you truly are. Why bother? It’s a secret you and J share; nobody has to find out, although plenty of concerned parties would spend a fortune for an update: Y/N hasn’t been spotted recently and it’s troublesome.

“Raven Queen!” J emerges from the pool since he has to take it easy; the doctor said no more than 15 minutes of physical activity every day. “I have a little present,” he yanks at the towel on the lounge chair, unraveling a box full of gold rings, Rolexes and chains under it.

Oh my God, so shiny and sparkly in the morning sun!!!

You fly from your pool straight into the container, happily tapping at the treasures. The Joker dries his body and chitchats with his bird, excited you enjoy the shimmering gems.

“You can steal them and hide them,” he winks and you sure are taking advantage of it as soon as possible. “Do you have a nest?” J inquires and teases afterwards: “Did you find yourself a Raven King?”

That’s pretty rude, you think and swiftly attack him, careful not to scratch his face in the process.

“Cut it out!” The Joker demands and gives up the fight really fast. ”OK, OK, I surrender!” he chuckles as you rise up, gliding in the wind gushing above The Penthouse. The plan is simple: charge at the toxic green locks and pull on the strands, assuring at least two or three hairs will be removed as revenge.  J takes a defensive stance, preparing to catch and keep you captive in the fluffy towel until you calm down.

BANG! the gunshot halts the fun and The Clown Prince of crime watches in horror as The Raven falls to the ground in front of his girlfriend.

“Babe, are you alright?” Lara squeals, kicking the bird at her feet. “I told you having a wild animal as pet it’s an awful idea! I saw the crazy bird attacked you, it might have rabies!!” she kicks you again and the small body convulsing on the hard concrete makes him lose his marbles. “Thank heavens I returned sooner than expected,” the woman explains, nervous to detect the angry Joker stomping towards her.

“What the fuck are you doing??!!” he screams and violently pushes her, slapping the gun out of her hand. Lara stumbles on her own steps, not comprehending why her partner is livid rather than showing gratitude.

“What do you mean?” she gulps and J bends over to pick you up when you let out a cry, the sinister noise resembling a human’s wailing. “The bird was attacking you, I was afraid!”

“It wasn’t attacking me, we were messing around!”

“Messing around?!” the woman mumbles, confused.

“Get a hold of Frost and tell him I need a veterinarian! NOW!!!” The Joker barks as he enters The Penthouse.

“Jesus…,” Lara sniffles and texts, irritated at his behavior. “Why is he so mad about?! The dumb beast is nothing but an outbreak of infection and bacteria!” she maliciously grumbles, sending the message to Jonny.

Something whooshes by her and before she has a chance to see what it is, a bunch of ravens and crows unexpectedly storm at the petrified Lara: they are answering your call, mercilessly tearing and scraping at the enemy.

“J!!! J!!!!” she runs without noticing where she’s going, panicked at the multitude of birds relentlessly chasing her; it’s a miracle she stumbles upon the tiny shed which stores pool supplies and manages to squeeze inside.  

The birds keep on bombarding her temporary hideout as she begs for assistance:

“J !!! J !!!! Please help me!!! J!!!!”

Yet The Joker can’t hear: he raced upstairs to the master bedroom and placed you on the comforter, trying to assess how severe the injuries are; one of the wings is bleeding and there are probably broken bones also.

“Don’t die…” J whispers because it sure seems Y/N is fading away: the bird can barely breathe and for the first time in ages he feels sad. “If you leave, we won’t be able to meet in dreams…”

The King of Gotham crawls in bed, unsure if he should caress you or not; what if he dislocates something else by accident? Instead he kisses the top of your head, the velvety feathers tickling his lips.

The sudden glow radiating from The Raven makes him close his eyes tight: it’s so strong it burns just like when you used your powers to rescue him. It doesn’t last longer than 10 seconds and sensing the light dimmed, J decides to open his eyes. A few black quills still drift in the air and he glares at the tearful Y/N, shocked to see her:

“Everything hurts,” you start sobbing and the bloody arm, plus the bruised torso urge him to cover your naked body with the corner of the quilt. “H-how am I h-here?!” you stammer and grab his thumb while The Joker is in a trance, speechless at the witnessed phenomenon because it’s impossible to come up with a logical reasoning.

Such a shame neither of you realize that even affection coming from a rotten heart can be pure enough to shatter an unbreakable curse.  

 Also read: MASTERLIST

You can follow me in AO3 and Wattpad under the same blog name: DiYunho. 

[deadcactuswalking]

REVIEWING THE CHARTS: 21/11/2020 (Billie Eilish)

I’ve got an easy week ahead of me since nothing happened this week. Okay, that’s a lie because there are some big stories here but we only have six new arrivals, meaning that this might be a shorter episode and honestly I’m glad. We’ve had immensely busy weeks since I started this show, full of album bombs from 21 Savage, Ariana Grande and Headie One, bizarre new entries from years ago like “Train Wreck” or “All Girls are the Same”, interesting and intriguing new arrivals ranging from Clairo to Giggs and most importantly, a lot of comical mediocre garbage from D-Block Europe. This week, however, I’ve got half of my usual bargain bin of pop music and whilst some of these songs are notable and worth talking about... well, you’ll see. “positions” by Ariana Grande is spending a fourth week at #1. Welcome back to REVIEWING THE CHARTS.

Dropouts & Returning Entries

Firstly, let’s run through the drop-outs, most of which are inconsequential considering this is a slow breather week between two massive ones – BTS are coming next, folks, and bringing Megan Thee Stallion with them. I think our most notable losses is how absolutely everything from Kylie Minogue, the Kid LAROI and even dutchavelli is completely gone here, including “Cool with Me” with M1llionz, the actual single from the record. I guess we can say goodbye to the top 10 hit “Breaking Me” by Topic and A75, as well as the drop off of one 2020’s biggest #1 hits, “Rain on Me” by Lady Gaga and Ariana Grande – we can wish a perhaps premature farewell to “Jerusalema” by Master KG and Nomcebo Zikode while we’re here. The bigger stories probably lie with our returns, many of which are peaking or returning to their peak like “Sofia” by Clairo at #75, “All Girls are the Same” by the late Juice WRLD at #73 and “Martin & Gina” by Polo G at #71. The Christmas songs have also started flooding in, one of which is a new arrival that we’ll talk about later, but so far we just have the controversial classic “Fairytale of New York” by the Pogues featuring Kirsty MacColl returning to #63, “Last Christmas” by WHAM! – the biggest #2 of all time – back at #44 and already, on November 21st, more than a month before the big day, “All I Want for Christmas is You” by Mariah Carey moving up to the top 40 at #30. I don’t see much competition that’ll block this from #1 this year. Also, speaking of all this holiday music, “Holiday” by Little Mix returns at #36 thanks to silly UK chart rules that meant it was traded off with “Happiness” from last week. I’ve already reviewed all of these songs – or close enough to all of them – but one I haven’t reviewed is “Yes Sir, I Can Boogie” by Baccara returning to #57 as it becomes the new Scottish football anthem. You know, that Spanish disco track from 1977. It did hit #1 that year, but this is such a bizarre return I felt the need to talk about it... but, never mind, I think I should take advantage of having less on my plate this week. In terms of fallers and climbers, “Straight Murder (Giggs & David)” by, you guessed it, Giggs and Dave, dropped out of its top 40 debut to just #56 this week, joining the biggest faller, “Dynamite” by BTS, presumably having its streaming cut or just finally running out of the K-pop steam, dropping from #21 to #52. Other songs backing away from the top 40 include “Deluded” by Tion Wayne and MIST at #49, “Confetti” by Little Mix at #42 and “Loading” by Central Cee at #41. What worries me is there’s not much that seems to be replacing it, other than maybe “Plugged in Freestyle” by Fumez the Engineer and A92 at #45 or our biggest climber, “Get Out My Head” by Shane Codd at #30. It should also be noted that strangely, the album at #1 on the Album Charts has no presence in the UK Top 75 – which I review because, really, who cares about those last 25 songs? – probably because of how many physical albums were sold instead of digital sales and streaming. It’s an AC/DC album so it’s expected that the audiences who stream songs and buy CDs from Australian rock legends don’t overlap, even with a big lead single that nearly charted on the US Hot 100. Well, let’s talk about the songs that DID debut finally, starting with... the revenge of the Sith.

NEW ARRIVALS

#65 – “Cut Me Off” – Yxng Bane featuring D-Block Europe

Produced by DZL and Akeel

The music I’ve been listening to has been pretty much all over the place recently, ranging from 1990s drum and bass to McAlmont & Butler to bitcrushed hyperpop to Ned’s Atomic Dustbin to... Young Thug, for some reason. That’s part of the reason I like doing REVIEWING THE CHARTS. It keeps me grounded to what music is actually popular, important and what I should be looking out for. With that said, I don’t think I’ve ever felt the need to look out for D-Block Europe, but they keep on popping up on the chart week after week regardless. Well, a collaboration between these two is never unexpected; after all, they have an entire album together, which has sometimes confused me since Yxng Bane has always been a smoother Afrobeats crooner whilst D-Block Europe make stiff, comical trap-adjacent emptiness type beats... whatever that means. The collaboration, I have to say, actually works and I’ll admit, I’m actually pretty fond of this track. It’s got a pretty minimal beat off of mostly dancehall percussion, sparse vocal samples and bass, but it picks up a lot of groove during the chorus and whilst Yxng Bane isn’t exactly the most interesting frontman, he does ride the beat fine and his sing-songy flow is pretty damn catchy. He takes care of the first half of the song, before D-Block Europe even come in, and surprisingly, the first other voice we hear is Dirtbike LB. No, Dirtbike isn’t interesting but he sounds a lot more engaged than usual and he actually sounds mentally sound and happy, so that’s good, even if he rids the song of any of Yxng Bane’s subtlety. His flows are pretty solid, even if they are sometimes copped from NAV on “Lemonade”, oddly. This beat can also handle Young Adz’s fascination with leaving empty space in his verses, as he has some pretty complex melodic and triplet flows over the beat, which never loses its funk even when threatened with how awkward D-Block Europe tend to be, and that final flow Adz uses over the pumping 808s is smooth as all hell and actually has some swagger for once. He doesn’t say anything embarrassing and there’s actually some wordplay going on here, so I really can’t complain about this track as much as I wanted to. Will it stand up to replay? Maybe not, but this is pretty great actually and a massive improvement from all three of these dudes, although this may just be a fluke like “New Dior”. If these guys want to show more fluke brilliance from now on that would be great. Just saying.

#60 – “HOLIDAY” – Lil Nas X

Produced by Take a Daytrip and Tay Keith

I like Lil Nas X. I enjoy his fun social media presence and meme-heavy persona, which may grow old to a lot of folks but I still like seeing him pop up on my timeline. I admire how he is openly gay and not afraid to discuss that in his music especially when he has the impossible platform of “Old Town Road”, one of if not the biggest songs of all time. I’m intrigued by his willingness to blend genres and break down boundaries in styles of music from sound, presentation and even race, even if it loses him some points on actually developing said tracks, mostly ending up as demos – the initiative is there. However, on that last EP, and especially this song, his charisma is the driving force and I don’t think Nas can replicate the magic of even “Panini” without more than his natural, jovial and playful tone. To start off with the positives, I do like the cold, icy beat that fits with the vague, pretty false holiday theme here, and they are some nice little details like that wobbling synth-bass differing from typical distorted trap 808s, the background keys replicating the melody of the second chorus throughout, and even the morphing of the producer tags to form a sentence. Tay Keith took it to ten instead for this beat, I suppose, and it is a good fusion of the two production styles. The problem I have with this song is, unfortunately, Lil Nas X. His delivery is checked-out and bored, and that makes these hard-to-sell lyrics about his career both irrelevant to the ostensibly Christmas-themed song and just not convincing in the slightest.

I can’t even close my eyes and I don’t know why, I guess I don’t like surprises / I can’t even stay away from the game I play, they gon’ know us today, yeah

This is the chorus and he’s saying absolutely nothing here. It’s just rhyming words that would have fit for a demo but are produced with some robotic multi-tracking and engineering to make it sound professional but also dull and manufactured. Sure, the verses and pre-chorus have more depth but this type of self-aware flexing and snarky one-liners only works well when it doesn’t sound like it’s being played completely straight (No pun intended). The song and artist exhumes character and optimism but both the beat and Nas here sound sour, mean-spirited and almost ugly. Most of the throwaway pop culture references are pretty pointless and awkward as well, with some really awful lyrics.

Ayy, and I’m sexy, they want to sex me

I call redundancy, Your Honour. Oh, and what a pre-chorus. “Hee-hee, I’m bad as Michael Jackson”? In 2020? It’s not like I expected anything lyrically superb from Lil Nas X, but less filler and... unfortunate implications would have been fun. Man, I do want to like this song, and I’m excited for that “CALL ME BY YOUR NAME” track he continues to tease, but for now this doesn’t work as a Christmas single at all, unless your idea of the Winter holidays is joyless cynicism. Okay, well, maybe in 2020, that’ll work out for you but any other year, this wouldn’t cut it.

#59 – “A Little Love” – Celeste

Produced by Josh Crocker and Jamie Hartman

This song is an advertisement. So much of an advertisement in fact that the full name of the song is “A Little Love (From the John Lewis & Waitrose Christmas Advert 2020)”. The John Lewis company is a brand of high-end department stores across the British Isles and have become kind of an iconic Christmas tradition in the UK for their heart-warming but often fantasy-adjacent advertisements they release every November or so. It always comes with a song, sometimes original, sometimes a cover, and nearly always a dreary piano ballad. This year they enlisted BRIT Award winner and British soul newcomer Celeste but not even new blood and an original song written for the advert can make this sound anything resembling interesting. A lot of people thought this John Lewis advertisement was disappointing – I don’t have an opinion because I do not care about the quality of adverts. I also do not care about the quality of the song which I’m sure you can tell is very little. This advert becomes increasingly irrelevant as the years go on and not even Celeste’s pretty unique voice can make this anything more than dull and half-baked. I mean, it’s well-mixed, but so is nearly everything that charts. You really can’t say this is anything but a product that serves as promotion for another product. It’s no surprise this didn’t debut high because in 2020 – and really any year – people would and should want more than this. Hopefully this doesn’t coast off of the advert and become a hit because, I don’t know, it kind of sets a bad precedent. Maybe I’m just pretentious. Probably.

#43 – “Flavour” – Loski and Stormzy

Produced by Mike Elizondo and Steel Banglez

Last time we saw Loski, he was going for a threatening and menacing “bad guy” drill track, but now he’s making room for the ladies in that drug trafficking route, rapping over a smooth Afrobeats instrumental courtesy of Steel Banglez, who’s still around actually amongst the waves of rip-offs and producers courting his style for their own, and it’s just a hook-up jam where the guys mostly trade bars about girls. Of course, Stormzy gets the first verse, but with the deadpan delivery of both of these guys but especially Loski, the somewhat shoddy vocal mixing on Stormzy’s voice, I find myself caring so little about absolutely any of this. This beat is kind of distracting in how it mixes Eastern strings with Afrobeats rhythms, early 2010s dance music synths (the main synth pattern sounds as 2014 as possible) and trap skitters. The hook is barely existent, neither of the guys have chemistry or charisma here, not even Stormzy, and the song’s about two Loski verses too long. No, the lyrical content isn’t anything but vaguely cute, surprisingly inoffensive and shockingly lacking in misogyny for once, and I don’t expect it to be. Honestly, Stormzy name-dropping Everybody Loves Raymond is probably the highlight. I’m sure Ray Romano is beaming.

#7 – “Stop Crying Your Heart Out” – BBC Children in Need

Produced by Brian Rawling, Mark Taylor, Anoushka Shankar, Sheku Kanneh-Mason, Grace Chatto and BBC Concert Orchestra

When I did my Spring episode, I was met with a BBC Radio 1 cover of “Times Like These” by the Foo Fighters that was released to support the NHS workers during the COVID-19 pandemic and the first British lockdown. This “Live Lounge Allstars” single went to #1 and naturally, with a second lockdown we have a second single by a second BBC radio station with second-rate “Allstars”, which is probably why it’s just credited as BBC Children in Need this time. Oh, and for some reason, they credited every single BBC Child in Need on the Spotify page this time. Now last time we had you know, the actual Foo Fighters, as well as global superstars like Dua Lipa and Ellie Goulding, as well as Sean Paul, Rita Ora and members of Coldplay, alongside many, many others, all of which were or are relevant to this day. So for this second song, not only did they take an absolutely crap Oasis single from their early-mid-2000s years, way after they had stopped being worth listening to, and stripped it of any of its genuine orchestral backing and intriguing and iconic Liam Gallagher vocal deliveries. I’m not going to go in-depth like last time. It still butchers a classic, but a classic song I hate in the first place, just getting rid of any redeemable elements that Oasis still had in 2002, so I don’t care enough about the source material but really this is weak and boring, with questionable vocal mixing and unimpressive vocal performances from everyone involved. If you’re wondering who everyone involved is, it’s Izzy Bizu, Grace Chatto of Clean Bandit, Melanie C, Jamie Cullum, Ella Eyre, Paloma Faith, Rebecca Ferguson, Jess Glyne, LAUV, Ava Max, James Morrison, Gregory Porter, Nile Rodgers, Jack Savoretti, Anoushka Sankor, Robbie Williams and Yola... as well as some of the more bizarre additions, like Jay Sean riding high off of an uncredited sample of his hit last year, Kylie Minogue clearly only here to promote an album (In fact, that can sadly be said for most of the artists here), Lenny Kravitz and freaking CHER both being somehow completely unrecognisable, Goddamn Bryan Adams and KSI of all people, who doesn’t even get a rap verse like AJ Tracey and Sean Paul on the first cover. He’s just... there, I guess? None of these guys are in sync at all and the song was unremarkable in the first place but I can’t get mad at charity going to a good cause, even if all of these musicians could just cough up some of their own cash. I expect to see this fall dramatically next week.

#2 – “Therefore I Am” – Billie Eilish

Produced by FINNEAS

This, however, I predict will stick around. Billie Eilish bravely drops the lowercase for a brand new song – and maybe perhaps could possibly be a lead single – and it acts as an attack on the critics, particularly a response to all of the nonsense that has been thrown her way for being a confident young woman in the industry who decides she doesn’t want to conform to outrageous beauty standards set by the media. I think a very recent notable one was when she was photographed by paparazzi walking and looking like a completely normal 19-year-old woman (although, perhaps one with particularly vibrant hair dye) and was met with criticism from the news media and a lot of different narratives on social media, ranging from general body-shaming (which she already took a stance towards in March on her tour with a pretty cool short film) to weird professions of beauty when, no, she did not look like she was keeping up appearances and that is completely fine. That image displays a problem with how society holds celebrities and particularly women to a ridiculous fashion standard, even when they’re just walking from place to place, like they can’t look like your normal, ordinary, every-day adult woman, which, you know, they are. I think she really gets to that point when she says this:

Top of the world but your world isn’t real / Your world’s an ideal

Sadly, I think the rest of the song is rather underwritten and feels like a vague diss track towards critics, using arguments that really only apply when talking about cyberbullying and genuine toxic media press (which the UK knows well), and generalising them with all critics, making it seem like a human attack on mass-media corporations, which doesn’t really go down as well as she wants it to. The pre-chorus, chorus and even the second verse and bridge feel pretty underwhelming in terms of content too and whilst her carefree delivery is supposed to make the lines hit harder if anything it just weakens the blow. The minimal production from FINNEAS with a pretty nice 808 bass groove and distorted percussion, as well as a pretty piano flourish, does help to make this sound a bit less tired but honestly just makes Eilish seem out of place if anything, which isn’t true for anything else the two have made together, so I’m personally not a fan and think this is a rare miss for Billie and FINNEAS. I agree with the message, but this could have been executed in a much more impactful and aggressive way that would have made more of a point, in my opinion.

Conclusion

That’s not to say that the song is bad, though and I’ll give “Therefore I Am” by Billie Eilish an Honourable Mention even for just being interesting and more than the most basic, factory-produced equivalent of its genre that could be made, which can be said for most of the rest of the tracks here. Best of the Week does go to Yxng Bane and D-Block Europe of all people for “Cut Me Off”, and I can’t bring myself to dislike a charity single so I suppose Worst of the Week goes to Lil Nas X’s “HOLIDAY”, and the Dishonourable Mention will be brought to you after the messages. In other words, it’s “A Little Love” by Celeste. Here’s this week’s top 10:

I’ll brace myself for the upcoming week now, and you can follow me on Twitter @cactusinthebank if you want to see me Tweet complete nonsense the majority of the time. I’ll see you next week.

[tunerandomiser]

Stormzy’s Gang Signs and Prayers (GSAP) is set to be as iconic as Boy In Da Corner, if not more so and here’s why…

With Integrity, Konnichiwa, Landlord, Made in The Manor, and Godfather all having dropped within the last 3 years, it’s fair to say that finally grime is starting to make it. Saying that 23 year old Stormzy’s Gang Sings & Payers is greater than all these albums, would be a big statement, but certainly not a wrong one. It’s a piece of art that cuts deep into Big Mike’s rapid rise to fame, and most importantly how his family life hasn’t got away from him. Paired with fantastic instrumentals, and undeniable swagger, Stormzy’s ability to make an album true to its genre, himself, and attractive to listen to for almost anybody, is honestly unique. This album is Stormzy laid bare, it’s a thank you to God, his mother, his fans, and his friends, and the passion shines through to make a beautiful piece of art. Despite it only being early days, I see this album as iconic, not only for grime but for the sound of the UK reaching to all realms of the world.

I had such hope for this album because as I discovered and learnt about the rise of Stormzy, I couldn’t but smile.  He is wholesome to the core, and always gives me a reason to smile, whether it’s 8 year old Stormzy spitting his playground rhymes to his mum,(https://www.youtube.com/watch?v=8TH9eVdQ8D0), or in or his honest and open love for Adele’s music, ‘I was in the 02 screaming my lungs out, your never to big for Adele’. This week alone he performed a remix of Ed Sheeran’s ‘Shape Of You’ live at the Brits (https://www.youtube.com/watch?v=v4GIfNf7AYk), he dropped a quite frankly amazing remix of the Kanye West’s ‘Ultralight Beam’ (https://www.youtube.com/watch?v=eCqLR5svy9Y) on BBC 1 live lounge and a euphoric live band performance of his addictive single ‘Big For Your Boots’ (https://www.youtube.com/watch?v=G6uBpFWt65c), here’s the lowdown on his untouchable album…

 1.     First Things First – This song speaks for itself. In this opening song he spits bars straight from the heart, discussing family problems, drawing to light the contradiction of his success, leaving those he used to go to school and play football with, left on road or doing life. With a low-key persistent ringing like instrumental, Stormzy goes in very hard, taking control of the beat with deep lyrics of fending off depression and the struggles of his uncontrollable rise to the top. It’s a song where you can almost imagine him penning down the lyrics, as each 16 bar anecdote he tells seems too true.

  2.     Cold – New school grime at its best, this song will go off every time it’s played. A hench instrumental which just grows as the song progresses, quick, FX filled drums and a heavy bass making this reminiscent of Roll Deep’s ‘When I’m ‘ere’. This is the first for the four *GRIME BANGERS in this album. The punch line “I just went to the park with my friends, then manna charted” was a personal favourite of mine. Changing up the flow keeps the song going to such a speed you wonder when he found space to breathe. This song is a bossy MC track throughout, and keeps the album on 10/10 levels

 *GRIME BANGER– not to say the other 12 songs aren’t grime or aren’t bangers, but these 4 are the type of song that you go off to for the full 4 minutes or so, The Americans would describe them as ‘LlT’. This drops hard anywhere.

 3.     Bad Boys (Ft. Ghetts and J Hus) – Moving deeper into GSAP, we are presented with a song very representative of the danger, and dark nature of his ends. Over slow trappy style, hi hat filled drums, Stormzy slowly ups the intensity of his bars as a collection of strings, a deep choir vocoder, and hollow chimes in the instrumental go hand in hand with his sincerely dark bars. A song where you realise the grind he has been on to get here, mixed with the cold reality of how easily it could’ve not gone that way. Despite blowing up, Stormzy gives this song to remind us of his roots and that he is not to be fucked with. In a beautiful juxtaposition however J Hus jumps on the hook with insanely smooth vocals then Ghetts with the perfect feature verse for this song. Although one knows that Stormzy could’ve filled GSAP with superstar features such as Skepta and D Double, he choses wisely as Ghetts’ sharp aggressive spitting style is passionately caught up with the weight of this beat, while suiting the theme of the song (Bad Boy Vibes) to the core.

  4.     Blinded By Your Grace – You weren’t expecting this, or really wanting it, but Big Mike delivers a love song. Soft over an innocently played electric piano, some smooth vocals, I could say more but it’s hard to imagine Stormzy in this way until you’ve heard it. A welcome surprise, an interlude, it’s hard to explain but just listen.

 5.     Big For Your Boots – The official return of Stormzy after 9 months silence. The 2nd of the 4 GRIME BANGERS in the track listing. He says ‘boots’ weirdly, we’ve gotten over it but now can’t get that hook out of our heads. This song speaks for itself. Its been out for a week or so already and it wont stop going off. A fantastic music video, filled with iconic chicken shops, uber-clique of, has already 7.5 million views and isn’t close to stopping.

 https://www.youtube.com/watch?v=dFOErVWlsxg

 6.     Velvet/Jenny Francis - Another love story, Stormzy tells stories of his affections towards a certain someone with a pad filled atmospheric instrumental. Showing vulnerability over an appropriate beat and nailing it is something grime artists struggle to do…(I felt Skepta failed with ‘Text Me Back’) but again Stormzy hasn’t fallen short as he leads you through the track switching from bars to smooth vocals. This song is great but has been frustratingly infused with an intermission which is its only downside, the track drags on slightly too long in my opinion.

 7.     Mr Skeng - I cannot stop playing this. It’s the first song I went back to after first hearing the album in its entirety. It is so Stormzy, and it is so good. Repping himself, ‘The Wicked Skengman’ to the core with hard bars, calling out anyone who goes for him and doing it in his classic neat and attitude filled manor. If you love Stormzy you will love this song. It’s a stand out tune with the strong string and horns in the instrumental bringing the same power as the man himself.

 8.     Cigarettes & Cush (Ft. Kehlani) – Like a grown up version of recent Stormzy hit ‘Birthday Girl’, this song has happy relationship vibes, just such a groove. With a very catchy hook, a silky verse from Kehlani, and a soft story telling, anecdotal verse, followed by a second deeper verse from Stormzy, this is his take on a rainy day song, pure versatility.

  9.     21 Gun Salute (interlude) (Ft. Wretch 32) – Feels like a full song rather than an interlude due to its beauty. A melodic reverb filled electric piano plays as Stormzy puts prayers into his own words, in a short wholesome verse. Wretch 32 is on the hook and he fits so harmonically with the piano as he calls for the 21 gun salute. Ultralight Beam Vibe

 10.  Blinded By Your Grace, Pt. 2 (Ft. MNEK) – A suitable part 2. Its very different to part 1, here he brings quiet and low-key vibes but in a progressive manor using pads, a choir, and some strong drums to lead him into a passion filled emotionally exclaimed verse leaving you feeling warm inside. MNEK’s feature is utterly euphoric, the instrumental continually grows into a crescendo with a harmonically whaling electric guitar.

 11.  Return of the Rucksack - The 3rd of 4 GRIME BANGERS on this album starting with low pitch vocals over hard, simple grime drums and a small string, with brass stabs produced by the OG Sir Spyro. This song feels like one for MCs on the road because it’s simple but hard and has repeated references to Dizziee’s legendary ��Put these MCs on deep-freeze ‘ with lengy and funny bars, punch lines hitting consistently. There is a lot of great maturity in this album, but this feels like a gold plated version of a very a random Soundcloud grime song, one for the true grime fans.

 12.  100 Bags – One for his mum, a minimalist instrumental with soft drums and a rolling reverbed piano, nice to listen to, relate to, and enjoy the rhymes. Like Kanye Wests ‘Hey Mama’, it’s great to hear his appreciation and love through his music. In the second part of the song Stormzy exits with a warm vocoder accompanying his voice, easing out the song with one more chorus following that.

 13.  Don’t Cry For Me (Ft. Raleigh Ritchie) - Honestly my least favourite song on the album. Not that it isn’t quite a nice song, two strong verses from Stormzy, however the Raleigh Ritchie feature just doesn’t quite feel in place.

 14.   Crazy Titch (Interlude)  - Says a lot of what I think, I like this

 15.  Shut Up – Where it all started. Not literally, Stormzy had been around for many years but this is why this album is here. One day he put on a full red Adidas tracksuit, went to the park with 20 man and recorded the video which now has over 30 million views on YouTube. Bringing Grime back to a worldwide audience, this song speaks for itself.

 https://www.youtube.com/watch?v=RqQGUJK7Na4

 16.  Lay Me Bare – Ending the album, one of my favourite tracks. Stormzy addresses his never previously discussed father and the hardships Stormzy and his mother went through in a truthfully deep and detailed storytelling rhyme switching it up, all in such vivid detail. He lays it all out, he shows honest vulnerability, rare for a grime MC, and of course he does it naturally and artistically and fucking nails it. Finishing my favourite ever grime album. It came out today, but when you know, you know.

 If this doesn’t win a Brit… well let’s hope it doesn’t come to that.

Edited by: Heather Percival

[deadcactuswalking]

REVIEWING THE CHARTS 2020: 17/01

I don’t really have an intro for this one so: REVIEWING THE CHARTS 2020. Let’s get into it.

Top 10

At number-one, for the third week in a row, is “Own It” by Stormzy featuring Burna Boy and Ed Sheeran, and honestly I don’t really see a foreseeable threat to this song’s throne, but much like all songs in January, it’s a pretty weak stance and could easily fall to an unexpected climber.

Lewis Capaldi’s “Before You Go” is once again stalling at the runner-up spot.

At number-three, we have a surprise debut from an artist I didn’t think would ever peak this high in the UK, Future, who has partnered with Drake for “Life is Good”, a collaboration that is clenching the top spots on a bunch of charts, I’d imagine, mostly because of Drake. God knows how many top 10 or top 40 singles he has at this point, I’m not going to even bother counting them. Future, on the other hand, has had his highest ever charting song on the UK Singles Chart this week, and his third UK Top 40 single (His first hit in the top 10 ever). Congratulations, I suppose, but we’ll talk about the song a bit later.

Due to the sudden debut, most of the top 10 is falling this week. First of all, “Don’t Start Now” by Dua Lipa is down a spot to number-four.

“The Box” by Roddy Ricch seems to immediately abolish that trend as it has rocketed up 11 spaces in the chart to number-five, perhaps highlighting a possible #1 candidate in the coming weeks. It’s Roddy’s first top 10 hit in the UK.

“ROXANNE” by Arizona Zervas is down two spaces to number-six.

Lewis Capaldi’s “Someone You Loved” is stable at number-seven for some God forsaken reason.

The Weeknd’s “Blinding Lights” is up two spots to number-eight and with the video release, I could see this peaking even higher.

Justin Bieber’s “Yummy” falls hard off of the debut, being nearly pushed out of the top 10, losing four spaces to number-nine.

Finally, “Dance Monkey” by Tones and I is down four spots to #10. Sure.

Climbers

We have a rare week where there are no notable climbers at all outside of the top 10, which is emblematic of a certain period on the chart.

Fallers

In January, popular music repeats itself and the chart regurgitates the biggest hits of the year for a brief month where nothing can seemingly actually make a spin for the top spot or become a smash hit, and everything somehow collapses, and every debut goes nowhere, only to be gone by March. It should be the month where the smash hit songs appear on the charts for the first time, and it usually is, but it definitely never seems like that, as the chart is so dry and after the influx of 2019’s greatest hits, we seem to have reached a new equilibrium, so we can start waving goodbye to our fallers and drop-outs; I doubt we’ll see many of them again. “Ride It” by Regard featuring Jay Sean is down six spots to #16, “South of the Border” by Ed Sheeran featuring Camila Cabello and Cardi B is down seven spaces to #24, as is “Gangsta” by Darkoo and One Acen at #26, “HIGHEST IN THE ROOM” by Travis Scott and remixed by ROSALIA and Lil Baby is down five to #30, “Senorita” by Shawn Mendes and Camila Cabello is down five to #35, and finally, “Lights Up” by Harry Styles is down eight positions to #40.

Dropouts & Returning Entries

There aren’t any returning entries, after all, we seldom have too many re-entries to the chart, but there is a handful of dropouts from the chart. First of all, we have the three-songs-per-artist rule coming into effect for the first notable time in a while, as since there’s a new Stormzy song, “Audacity” featuring Headie One is out from #26 and I’m going to predict it’s definitely back next week. Also out is the promising new arrival “Savage” by MIST out off of the debut at #35, non-starter, “Into the Unknown” by Idina Menzel and AURORA from the Frozen II soundtrack, out from #37, and “Heartless” by the Weeknd, out from #38.

Before we get into the new arrivals, here are some songs in the top 75 that have a trajectory seemingly aiming for the top 40, that I’d like to see get there. Not all of these songs are good but they are all healthy predictions. We have “Good News” by the late Mac Miller at #49, “Power Over Me” by Dermot Kennedy at #60, “Say So” by Doja Cat at #65, “SUGAR” by BROCKHAMPTON at #66, “Eleven” by Khalid at #70, and “Roses” by Saint Jhn at #72. I’d bet money on most of these eventually making the top 40. Anyway, here’s the main attraction:

NEW ARRIVALS

#37 – “You should be sad” – Halsey

Produced by Greg Kurstin

It should be no surprise that I’m not the biggest fan of Halsey. Part of her alternative-pop-girl image was really pretentious and turned me off initially but once she fully embraced she was a pop singer, whilst I respect her more, I still found her lacking, arguably more so, as a singer and songwriter. This song, however, is pretty unique, and it comes from her album Manic, which I’ve yet to listen to. It’s a country song, funnily enough right next to the only other country song that made a big splash in the UK last year, “Old Town Road” by Lil Nas X featuring Billy Ray Cyrus, which is at #36. It’s not a common occurrence for country songs to appear on the UK Singles Chart, for obvious reasons, but I’ll take a Shania Twain-influenced country pop song dependent on more neo-traditional 90s pedal-steel—Listen, I know little to nothing about country, and I’m throwing all these random key terms around... I’m not necessarily the best person to speak on this, and I know that, but I guess I’ll see if I myself prefer Halsey’s ninth UK top 40 hit. For what it’s worth, the guitar line here is really sweet, but Halsey’s voice with an additional country twang and drowned in reverb, just sounds kind of gross and ugly? I guess that’s the best way to say it, and even though sometimes it works, she seems way too downbeat and subtle for a vengeful kiss-off... until the entire flow of the verse obstructs for the chorus, which is introduced by a really dodgy, awkward wave of distorted strings that just sound awful. Whatever tone, genre, style or mood this song attempts to build up is immediately broken by that, and whilst some of these lyrics are really specific and genuinely pretty good, I’m tuned out until that killer electric guitar riff comes in and steals the show... before it just goes again. It’s not like there’s build-up to the riff either, or that it’s a break from the momentum because everything just keeps happening in the background. It’s not a drop because there’s no climax or catharsis to it, it’s just a cool riff that’s... there. Yeah, this is wasted potential, and that’s not even including the questionable at best mixing and whatever the hell that bridge is. This song might actually be broken, like what happened in the mediating process, guys? Who leant on seven wrong buttons at the same time? God, what a hot mess of a song.

#28 – “Rare” – Selena Gomez

Produced by Sir Nolan and Simon Says

Selena Gomez has a new album. It’s where “Lose You to Love Me” comes from. It’s probably pretty mediocre. I do not care for Selena Gomez. She makes robot pop music. It is about as standard and droning as these sentences. This is her 16th solo UK top 40 hit, or without “the Scene” if you prefer—that clause alone gives me more character than a Selena Gomez album. Sometimes with good songwriters, she can get something decent out of her limited range and bland production, and with Madison Love as a songwriter and Charli XCX involved as the person originally handed the song, I actually have somewhat high expectations for this, and you know what? It’s promising. The lo-fi bass groove and steady funk/soul groove in the intro is pretty sweet, but then the whole 2019 pop schtick comes in, and some of the soul is lost, but it has a pretty quirky, fun string instrumental with nice, bubbly synths and seemingly randomly-placed hi-hats. Here, Gomez actually works pretty well as she stays calm until the chorus, and she doesn’t sound too bad there, even if she’s desperately filling up the meter with nonsense, because it does sound like a child’s nursery rhyme. Hence, she fits in perfectly with the petty lyrics and cute instrumental. The guitar in the post-chorus/bridge sounds really great too. Perhaps it is over-long though, as three minutes and 40 seconds does make the chorus wear off, although it really could not have been as good as a song without that bridge, as the slow sense of dread is keeping up in the pre-chorus, with that intense bass groove and what seem to be airplane crash sound effects, only to propel itself back into a really cute chorus, with kind of an 80s sound I’m just noticing. Yeah, this is pretty good, and it has Charli XCX kind of written all over it. I’d like to hear a remix if that’s fine with you, Selena. You’ve impressed me with this one.

#21 – “STILL DISAPPOINTED” – Stormzy

Produced by Mikey J

This is Stormzy’s 22nd UK Top 40 hit and Christ, there’s a lot to unpack with this one. Okay, so this is the 2019-2020 Grime War, or at least that’s what r/grime is calling it. There have been 32 rappers or MCs involved in the war so far, including Ed Sheeran, but most are just mentioned in diss tracks, or “dubs” as the grime scene calls them, without responding. Basically, JAY1, who has been on this show before, didn’t pay Dot Rotten for producing the song “Million Bucks”, which was credited to Steel Banglez (It’s actually a great beat, by the way, I’d want credit too), so Dot Rotten released three dubs, one of which was copyright-claimed by JAY1, thus in response Dot released another song called “Copyright Claim This, P***y”. Classy. Then two of the most desperate-for-attention people in the grime scene find themselves dissing each other: Dot Rotten and Wiley. Within four days, Dot Rotten releases eight dubs. There’s this whole mess with Wiley, Dot and Jaykae, but then finally, a fan asks if he will be dissing Jaykae. Wiley says, “Never, he’s with Ed and Stormzy now”. Hence, Wiley and Stormzy go back and forth for a while on Twitter, and the beef escalates, with Wiley posting a Stormzy dub called “Eeydiat Skengman”, which is just okay, but has a pretty killer beat. Stormzy responds with “DISAPPOINTED”, but the reception is lukewarm. Sure, the Brexit joke was funny, but he had mostly weak bars and he also called himself the King of Grime over a drill beat. In fact, might as well cover all the Wiley tracks: they all sound the same. The beef has mostly stopped for now, but it’s still going on in the lower echelon. I would argue it probably stopped because of Stormzy’s final dub, “STILL DISAPPOINTED”, which is hilarious, and actually on a grime beat, in fact it’s on an iconic beat from the first Lord of the Mics in 2004, “Mic Check 1-2” by Kano. It starts out pretty okay, Stormzy just saying that he’s a real G and all... but then:

So why you love to talk about mums so much?

The entire diss track is about Wiley’s mother, and that when Wiley’s house was threatened by bricks and guns during gang violence, he (supposedly) sent her to Cyprus instead of trying to rescue her and improving her quality of life. He then says that his mother is pregnant because Wiley is fraud (Huh?), that Stormzy will have sex with his mother, and that she is a whore, but it’s not her fault that she had to move to Cyprus, but he will still have sex with his mother and become the man of the house. He takes only a few bars to relax and stop going on this tangent detailing Wiley’s mother’s move to Cyprus, but then comes back to the topic again, and whilst some of the bars make seemingly no sense at least to me, the dub is cruel and so oddly specific that I’d be incredibly offended. I’d probably want to fight Stormzy after this, honestly, and the song isn’t even that great. It’s a diss track, so I can’t really critique it as a song and not a personal attack, but Stormzy’s flow and charisma is definitely there and this was a funny listen.

Also, this line had me cackling:

I never wanna hear you say, "Free the mandem" (Yeah) / Let's go Cyprus and go free your mumzy

#3 – “Life is Good” – Future and Drake

Produced by OZ and D. Hill

It is so weird to see Future here. Drake not so much obviously, but this song peaked at #2 in the US, nearly giving Future his first #1, all thanks to Drake. Without Drake, the song would still be entirely coherent but it wouldn’t chart at all. That’s because this is not a collaboration in any sense of the word. It wouldn’t even fit under the guise of their little collaborative effort, What a Time to be Alive. It’s a Drake song, and then a Future song. Hold on, let me change this.

#3 – “Life is Good” – Drake, then Future

Produced by OZ and D. Hill

I don’t mind guest artists having solo sections of songs, hell, Drake had one on Travis Scott’s “SICKO MODE” a year back, but there’s a beat switch in the middle that completely separates both performances. Drake has a chorus, as does Future. Drake has a verse, Future has two—under two completely separate beats. At least on “SICKO MODE”, Travis joined in with Drake and Tay Keith for a verse and a couple ad-libs under the same beat. Sigh, I guess it doesn’t matter in the end, even though Future cheated a chart placement; it’s not as obviously fraudulent as Ellie Goulding’s efforts, or John Legend’s. I’m surprised that a plain and simple trap-rap song charted this high in the first place, even if it was just Drake (And for most people who skip after the first two minutes, it might as well be). I don’t know why I’m complaining honestly, because the song is honestly pretty good. I would have usually dismissed this as dark trap-rap nonsense with no redeemable qualities, but this is one of those songs with such a lack of energy it’s almost eerie, and those creepy synths in Drake’s part are fantastic in making it sound like that. Repeating inflections from “Mob Ties” aside, Drake’s performance is pretty good, with a couple funny lines, although I’m not sure how intentionally funny they were.

Haven’t done my taxes, I’m too turnt up

[Gnarly dude]s caught me slippin’ once, okay, so what?

I think Pusha T’s diss track about you hiding a child was a bit more than being caught slipping once, Aubrey. Anyway, after a voice memo interlude from Future, we have a pretty great beat, with an admittedly stiff but still impressive trap groove, and while Future is less on beat than Drake and arguably less interesting, he rides the beat well enough, and the synths are really quiet, for whatever reason. Regardless, this is a pretty cool song with great flows from both rappers and an eerie, cool beat from OZ. 

I’m trying to avoid nonsense, get Osama spray in this b****, woo!

HUH

Conclusion

This was actually a pretty great week, with the obvious Worst of the Week going to Halsey’s “You should be sad”, and a surprising Best of the Week for “Rare” by Selena Gomez. In fact, I’m going to give a tied Honourable Mention instead of any Dishonourable Mentions, so it’s going to Stormzy’s “STILL DISAPPOINTED” and Drake’s, then Future’s, “Life is Good”. Follow me on Twitter @cactusinthebank, I’ll see you next week.

REVIEWING THE CHARTS 2020