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deadcactuswalking · 1 year ago

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REVIEWING THE CHARTS: 09/09/2023 (Kylie Minogue, Kenya Grace, Tion Wayne/Nines)

Content warning: Discussion of death and some sex references

Doja Cat dethrones Olivia Rodrigo at #1 on the UK Singles Chart, with “Paint the Town Red” becoming her first ever song to top the chart. Welcome back to REVIEWING THE CHARTS!

Rundown

As always, we start with the notable dropouts, which are songs exiting the UK Top 75 (that’s what I cover) after five weeks in the region or a peak in the top 40. This week, we say farewell to “On the Radar Freestyle” by Drake and Central Cee, “FE!N” by Travis Scott featuring Playboi Carti and Sheck Wes - kind of - “Pakistan” by D-Block Europe featuring Clavish, “How Does it Feel” by Tom Grennan, “Everywhere” and “Dreams” by Fleetwood Mac, “Everybody Wants to Rule the World” by Tears for Fears, “Kill Bill” by SZA, “Another Love” by Tom Odell and finally, “Riptide” by Vance Joy. And stay out.

Always infinitely more interesting are our notable gains, which this week includes “Party All the Time” by Hannah Laing and HVRR at #57, “DNA (Loving You)” by Billy Gillies featuring Hannah Boleyn at #54, “I Remember Everything” by Zach Bryan featuring Kacey Musgraves at #50, “Rave Out” by Turno, Skepsis and Charlotte Plank at #41, “Feel It” by Jazzy at #35, “Bittersweet Goodbye” by Issey Cross at #23, “Rush” by Troye Sivan at #22 thanks to a remix featuring PinkPantheress and Hyunjin of Stray Kids (it’s alright), “Asking” by MK and Sonny Fodera featuring Clementine Douglas at #14 and finally, Fred again.. and Obongjayar get their first top 10 hits as credited artists with “adore u” - even if I’m not a fan of the song, still happy for them at #9.

Our top five on this week’s UK Singles Chart is pretty standard: we have Peggy Gou’s “(It Goes Like) Nanana” at #5, “What Was I Made For?” by Billie Eilish at #4, “vampire” at Olivia Rodrigo down to #3, “Cruel Summer” by Taylor Swift at #2 and of course, “Paint the Town Red” at #1. Now off to look at our interesting list of new entries.

NEW ARRIVALS

#75 - “HONEY (ARE U COMING)” - Maneskin

Produced by SLY and Rami

As soon as I saw this title, I had my concerns about this Italian rock band dipping into incredibly unsexy “I WANNA BE YOUR SLAVE”-esque territory, but whilst the double entendre may still be there, the song is more about sheer adrenaline… and it goes hard as balls. I’ve never been a fan of Mr. David’s nasal delivery, but he rides the riff pretty effectively here, even going into a falsetto he can’t even really hit for the purpose of just having chaotic fun, which seems also to be the reason for the switch between a slimy sing-songy flow in the chorus and its ending screech. The riffs here are infectious, with some great subtle overdubs in the verses, and once again, Ethan Torchio on the drums does a lot to keep this song’s momentum going with a basic but propulsive drum pattern that hits heavy in the chorus and plays really well off of the nastier bass as it rattles around the mix during that post-punk-esque bridge. I do wish the final chorus had a better build up than the smash-in technique it goes for here, but this still kicks a decent amount of ass, even if it’s not all that interesting or unique for this band.

#73 - “Back on 74” - Jungle

Produced by J. Lloyd

It is incredibly painful to see a song called “Back on 74” debut at #73. So close. Anyway, Jungle are a real unique group - you could call them a soul group, an electronic music group, but I don’t think they can effectively be pigeon-holed really. They’re probably best described as a funk group active since 2013 and consistently snatching top 10 albums in the UK. It was of no surprise to see their latest, Volcano, peak at #3 there but it is a bit of a surprise to see them on the singles chart, this being their highest-peaking song in the UK Singles Chart ever and first since 2014’s “Time” which peaked all the way down at #94. I’ve yet to listen to that album yet, but this is a great cut with Lydia Kitto on lead vocals, keeping in a breathy, sometimes clipping higher register amidst a rolicking groove and cute acoustics that exemplify probably the most appealling part of this song to me: sincerity. It’s a nostalgic-feeling jam with seemingly the best intentions with each little vocal harmony, especially when the guys join in on the second verse with Kitto or provide that deep-pitched “oh-oh” doo-wop lines during the chorus. Kitto has some really flailing vocal riffs here too, poking out of the mix kind of desperately in a way that reflects that mantra of “let it go!” The warm synth keys, almost reminding me of Tyler the Creator in how they replicate what would be a brass instrument in an older song, come in later and really seal the deal for me, trickling down until… the song just kind of ends, abruptly, and slightly disappointedly. We do return for a soulful acoustic outro consisting mostly of vaguely psychedelic improv, but it doesn’t feel like a substantial conclusion to a song with so much drive. Otherwise, I mean, it’s still a good ride to hop on, just could have found a better destination. I would be surprised if this stick around too but, hey, I wouldn’t be complaining - it’s rare that something like this ends up even this high.

#72 - “Miillion Dollar Bill” - Beyond Chicago, Majestic and Alex Mills

Produced by Beyond Chicago and Majestic

This is a bit of a deep cut, guys! For context, “Million Dollar Bill” is a throwback-sounding disco and funk track by the legend Whitney Houston herself, released in 2009 and produced by Alicia Keys and her husband Swizz Beatz, yet somehow not ending up sounding in any way modern. This is probably a good thing for Whitney, as her performance here and the instrumental she’s on has never felt perfectly right to me; she still had the pipes in 2009 obviously, but she approached the song in a way that didn’t feel as youthful as it should, as proven by Alicia Keys’ fresh-faced backing vocals that kind of just make me wish she kept the song for herself. It’s also just kind of a boring song, with very little up its sleeves other than relying on sheer belting prowess from its lead star. Regardless, as the lead single from her final album, it still peaked at #5 in the UK, and is clearly remembered enough for a remix by UK DJs Beyond Chicago and Majestic, who you may know from his remix of Boney M.’s “Rasputin” which peaked at #11 just a few years ago. Now on one hand, this song does what the song should have always done, increased the punch of the percussion and picked the pace up a bit. On the other hand, we no longer have the iconic Whitney Houston and are stuck with the completely serviceable - most of the time - Alex Mills, who covers the song without the subtlety that Whitney inherently brought at times in that original version. That’s mostly a good thing when it comes to the incessant French house flip that this song has, still maintaining a replicated version of some of the original, more organic percussion for the pre-drop but going all-out elsewhere on basically digitising this single. I’m still pretty torn on it - it makes the song what it was probably written as, with little regard to who it was written by or for. It slaps harder but less interestingly, it’s got more vocal leap but less personality. It’s structurally completely fine so it’ll function in a club, and I guess that’s this song’s only real purpose so I’m sure it can be a fully ignorable version of a pretty uncommonly-brought-up single from the tail end of a legend’s career.

#65 - “I KNOW ?” - Travis Scott

Produced by OZ, Coleman, Travis Scott, Buddy Ross and BBYKOBE

When listening to UTOPIA, this song may have been the track that exemplified just how much I was bored and frustrated by Travis, as this entire song seems like an exercise in testing patience. It’s plopped right in the middle of the album, between the mysterious Beyoncé-featuring “DELRESTO (ECHOES)”, an aimless, wandering lecture on how to lose all momentum, and the album’s attempt at a grimy banger, “TOPIA TWINS”, so the link between the two complete opposites kind of needs to be substantial, or smooth or at least effectively transitional. This is a piano-led stodge with distorted and time-stretched samples placed in and out as haphazardly as possible to connote “experimentation”. This could potentially fit into a hypnotising, drugged-out atmosphere as Travis has often fell into before but the layers of synth aren’t there, the vocal samples cut in and out, including his own ad-libs which are mixed interruptingly loud, and he has twenty girls sucking him “like bisons”. Regardless, the mindless repetition is enough to make this a catchy song, and hence a fan favourite that has lasted way longer than I expected in terms of its streaming traction. It’s not offensively bad like many other cuts on that album, or even all that frustratingly boring like the rest of it given its shorter runtime, but it’s still just about as worthless.

#53 - “Demons” - Doja Cat

Produced by d.a. got that dope

This series has for the most part always been “all about the music, man”, even if I do often get political or make off-hand comments about scandals. The one thing I tend to avoid - half because I just don’t care enough and half because it accentuates that musical focus - is the music video for a song. I will rarely ever watch a video for a song, genuinely, and this hurts several songs that I end up reviewing. This was a bigger deal from the mid-2010s and earlier, dating back to the 1980s, where videos were a big event that often came with the song to create cultural phenomena, but it’s not like we’ve had a “Thriller”-level match of phenomenon single and cinematic video since, well, maybe “This is America”? Music videos are a lot less important it feels nowadays, at least in the Anglosphere, and I bring this up because the video for “Demons” seems like it was made completely in conjunction with the song. Doja’s teeth-grinding yelps aren’t as villainous without the cloned pitch-black devils echoing them, the trap metal beat from d.a. got that dope of all people doesn’t blast as well without the knowledge that it’s the endless soundtrack to this helpless woman and her kids trying to escape the demonic creatures, and Doja’s sing-songy cadence sounds childlike without the condescending looks and that typewriter scene that practically explains why the second verse’s flow is so awkward. I’m not a music video reviewer though, I review songs and yes, surprise, surprise, I still like this. The horror movie strings are immediately punctuated by a shoddily-mastered bass and maniacal laughter from Doja, who cuts off her own gasping-for-air ad-libs with creepy empty space that is even more noticeable when the stiff beat seems like it should be doing more to cover her minimal, nursery rhyme verses. I’ll admit that the hook gets a bit stale, but the sarcastic pettiness and gross sex bars in that second verse increase the theatrics in a very typically unsubtle way that ensures this won’t fade from memory anytime soon. I’m dying on a very risky hill here, but hey, if Baby Keem needed to be a woman rapping over slasher film soundtracks all this time for me to like him (her?), then Doja found the formula before he could get to it.

#46 - “Last Time I Saw You” - Nicki Minaj

Produced by Hendrix Smoke, ATL Jacob, Bak, Frankie Bash and TooDope

The Queen of Rap is back with her sequel to her debut, Pink Friday and just like the original, there are sugary tacked-on pop singles. This particular one is a bit of a new lane for Nicki though, considering it’s a slow synthpop jam, held together by a ringtone lead synth and some of the worst straw-sounding drums I’ve ever heard on this kind of production backing a harder backbeat that actually functions, perhaps a bit more than Nicki’s mush-mouth singing that is still quite limited, even if it’s far from a bad performance, and coated in enough reverb and Auto-Tune to drown out many of the flaws. In fact, this restrained, kind of muted singing fits pretty well for a song about regretting being not as close as she could in a relationship before it ended. The rap verse may not really take the restraint angle, and it’s not exactly a good verse for Nicki’s standards, but it functions basically as a guest-rap verse on her own song, which is a cute decision, and doesn’t distract much from the song’s flow. In fact, on repeated listens, I began to really like this. Content-wise, the song is just vague enough to reflect any relationship, but does make it clear that it’s not purely romantic, and makes some leads toward it being about her late father, with her struggling to complete the sentence “I killed it”, which resonates with me particularly because there’s always a sense of guilt and loss that you weren’t the perfect person for someone when that person close to you dies, and being as closed-off as Nicki as in this performance, not really wanting to talk about it, was my instinctual reaction too when my father passed. The bridge is what really sold me on this though, with that speck of ambiance amidst all the backing vocal layers, a distant electric guitar signifying his death, before Nicki observes the stars in a nostalgic interpolation of Madonna’s “Lucky Star”, naming her father as the first star she notices in the sky that night. Then the vocal and synth layers continue to pile up, repeating mantras of sentences, whilst the drums transfix into this jerky Jersey club rhythm that never fully comes to a conclusion, just fading into a drumless chorus that is honestly pretty beautiful, especially with what sounds like a subtle male backing vocal harmonising with Nicki on the first line of that final hook. I… may have just talked myself into loving this one. I’ve got to stop doing that.

#43 - “AMEN” - Tion Wayne and Nines

Produced by Smokey.jam and GUSTO

The two grit-voiced UK rappers team up for a collaboration that makes all too much sense and yes, whilst it is mostly a Tion Wayne song with a Nines guest verse, Nines still must have injected some fury in Tion here considering how he comes in with a lot of violence here, making his typical pop culture potpourri of references just that more fun. He’s over a pretty nasty beat too, blending shuffling boom bap drums with an eerie acoustic loop and some gorgeous female vocals standing airily in the back of the chorus. The call-and-response with the choir in the chorus is a brilliant choice to make this song anthemic, and to my surprise, Nines doesn’t really mess it up either. He comes in as sloppy and conversational as he’s always been, but his lowkey basically-just-talking flow is a nice respite from Tion’s aggression and he occasionally sounds smooth even. As a whole piece, this may not be perfect - it’s not exactly the most potent either have been - but it’s a great pumping rap banger outside of the trap and drill subgenres, which I feel like we’ve been missing lately. Hell, if this whole G-Unit revival sound in the UK is going to bring songs like this, I can’t be too upset at Digga D for helping start that.

#20 - “Strangers” - Kenya Grace

Produced by Kenya Grace

This one kind of came out of nowhere, especially for a top 20 hit, but this is Kenya Grace, a singer from London with just a few songs out as of writing, and this is her massive breakout hit, “Strangers”, which I see as a more futuristic and cinematic version of what PinkPantheress has been doing, replacing her more vintage-sounding samples with a plastic 80s synth and ominous vocal loops, whilst keeping the rhythmic, wistful delivery. Sadly, the chorus really doesn’t hit here, as it’s just two extended, kind of awkward lines with that “uh-huh�� mantra filling in the blanks. Interestingly, just like PinkPantheress, the song feels unfinished, but in a completely different way, not that there’s a great song that just needs a proper emotional climax, but in that this song feels like a template for what could be a brilliant track, and never gets there, which is especially annoying since it uses the momentum of a drum and bass track to propel itself, which makes it incredibly unsatisfying when nothing aligns together as it should. It’s a good effort but I’m more hoping for a more realised follow-up than listening to this one anytime soon.

#19 - “Tension” - Kylie Minogue

Produced by Duck Blackwell and Richard “Biff” Stannard

And from a singer who was a practical unknown until recently to perhaps the most established and no-introduction-needed artist in this list. The second single and title track from her upcoming album, is “Tension” going to live up to the big comeback of “Padam Padam”? Well, perhaps it won’t be a similar phenom, but it applies a similar formula with the robotic repetition and bordering-on-cringeworthy lyrics amidst a slightly bubblier production than the last single, going for a 90s piano house lead and very fizzy synth bass plucks following every angle of the mix, even in the intensely-filtered pre-chorus which is practically a call-and-response, but with Kylie’s heavily affected cooing that eventually transforms into this completely unrecognisable glitched fabric mixed sloppily onto a slap house rhythm as the bass dominates the mix until what is practically a drop-within-a-drop, that brings in a freaking sick bass guitar line and releases a lot of airier synth soundscapes. The second verse has some fantastic choir-like backing vocal layers, and the rest of the song’s progression just continues to overwhelm in a way that seems set to establish Kylie’s sexual and pop culture dominance. As she’s basically a mystical figure in pop at this point, this new practically alien futuristic house sound that’s minimal in idea, maximum in execution, is a sound I really love for her. It actually brings her into the modern pop scene a lot smoother than you’d think, because it incorporates elements of her existing stage and media persona. This is great - silly, but not bordering on stupid like “Padam Padam” - instead, it’s just fantasical and out of this world in a really gripping way.

Conclusion

What a good week. There are only three songs of nine I wasn’t a fan of and even then, they’re far from terrible. Travis Scott does end up with Worst of the Week for “I KNOW ?”, but a Dishonourable Mention isn’t needed. Instead, how about two Honourable Mentions for “Back on 74” by Jungle and “Last Time I Saw You” by Nicki Minaj which was very close but does mean that Best of the Week goes to Kylie Minogue for “Tension”. There was a lot of good stuff this week though; I’ve yet to listen to Olivia Rodrigo’s newest but I hope she brings some of that same quality next week. As for now, thank you for reading, rest in peace to Steve Harwell and I’ll see you then!

#uk singles chart #tion wayne #nines #kylie minogue #kenya grace #song review

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