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deadcactuswalking · 1 year ago

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REVIEWING THE CHARTS: 16/12/2023 (Dave/Jack Harlow, Fred again../Baby Keem, Christmas Garbage)

Content warning: Some language, brief references to abusive sexual relationships and ho-ho-ho, merry Christmas

Once again, “Last Christmas” is at #1, as anyone would really expect - Mariah’s at #3, the Pogues are at #5 and filling in the gaps we have “Lovin’ on Me” by Jack Harlow at #4 and Noah Kahan’s “Stick Season” at #2. It’s Christmas again, so excuse the shoddy structure, but there’s actually a lot more to this week than one may expect. I guess welcome back to a semi-festive episode of REVIEWING THE CHARTS!

Rundown

It was an odd week, this one. A lot of Christmas songs actually decreased in chart position although obviously remained actually stable, and there’s not really much at all there to replace these songs, and most gains or falls weren’t at all substantial. So it’s like a liminal space of a week, in preparation for the Christmas #1 next week. There are more new arrivals than the usual Christmas week… they all kind of suck though. We have Tate McRae, a disappointing album from Nicki Minaj and Jack Harlow, as well as the dregs of The Idol, Baby Keem and… Cher? I mean, we’ve covered the Christmas stuff really, there are actually no songs making their first top 75 entry this year this week. Hell, three of the songs that re-entered last week have actually dropped back out though obviously they’ll be back next week or the next. We do have some… secular gains, I suppose, with “Surround Sound” by JID featuring 21 Savage and Baby Tate at #64, “Lose Control” by Teddy Swims at #59, “On My Love” by Zara Larsson and David Guetta at #54, “exes” by Tate McRae at #39 thanks to the album - again, more on that later, and then new peaks for the Amazon originals: Jorja Smith’s “Stay Another Day” cover at #20 and Sam Ryder getting his second top 10 with “You’re Christmas to Me” at #10 - for God’s sake.

In terms of our notable drop-outs, songs exiting the UK Top 75, which is what I cover, after five weeks in the region or a peak in the top 40, and I didn’t need to say all that because the only notable songs to bid adieu to this week are “Liquor & Cigarettes” by Chase & Status and Hedex featuring ArrDee and I suppose “Standing Next to You” by Jung Kook. Again, take Christmas-week drop-outs with a grain of salt.

NEW ARRIVALS

#60 - “One of the Girls” - The Weeknd, JENNIE and Lily Rose-Depp

Produced by The Weeknd, MIKE DEAN and Sage Skolfield

I still haven’t seen The Idol - I mean, why should I watch that show? - but for whatever reason, TikTok has latched onto some of the soundtrack cuts which, to my knowledge, are Weeknd leftovers with guests tacked on, though at least JENNIE and Lily-Rose Depp are actually cast members, with Rose Depp being the second main character after The Weeknd’s… “Tedros”. Sorry, I’m just learning these characters’ names, “Tedros”? Alright, well, is the song good? Well, it’s a pretty unsettling one, with JENNIE’s airy vocals soon rendered void by a stodgy bass beat and grimy, flickering percussion that sounds pretty terrible, especially with singers who have such high, careening falsettos, or just straight can’t sing that well like Rose Depp here who feels a bit out of her depth attempting to be all that convincing. She sounds a bit bored and stretched thin, which makes some sense for this song about rough, emotionless sex, but doesn’t make it any more appealing. In fact, there’s an ugly lack of passion or seduction here that I think does the song a lot of good for the most part, largely because, well, this doesn’t sound like a healthy relationship at all. It is a shame that JENNIE’s parts just… don’t fit, they almost feel off beat and Tedros over here has very little chemistry with either woman, though with JENNIE, to be fair, there’s not really much chance for him to even harmonise with her, she’s reallly set apart. It’s a pretty ugly, slow dirge with a sprinkling of 80s synths, very typical for The Weeknd, and it’s not exactly bad, but it also doesn’t feel all too special

#58 - “Needle” - Nicki Minaj featuring Drake

Produced by Boi-1da, YogiTheProducer and 40

Alright, big story of the week: Nicki Minaj debuts at #3 on the albums chart with the sequel to Pink Friday - the first instalment reached #16 over here, surprisingly low - and she debuts two new songs, both with features, and I’ll refrain from saying too much because I’ve expressed my first impressions and opinions on the album on my RateYourMusic log and I don’t see much point going further into it here, especially since the tracks we get aren’t fully representative of the album, but I do think this is particularly sad of an effort, even if I generally like Nicki quite a bit. The trend-chasing, the samples, the odd level of sincerity that seeps in only to create a cynical product, it’s almost pretty depressing, especially when this is a bloated, rushed album serving as a sequel to perhaps her most iconic and important project. It’s… unfortunate, though I find it difficult to say that Nicki is at fault for most of it, though she definitely doesn’t help on this one, which is mostly a Drake song. I don’t particularly like Drake in his dancehall or Afrobeats mode, but his singing isn’t bad and whilst the mix feels a tad messy, the subtle synth pads and little vocal samples in the chorus lead to a pretty solid foundation for the groove, though the percussion loop is a bit incessant for four minutes. Nicki is… here, though not with a particularly impressive verse, in fact a pretty awkward one, and her cascading vocal mix in the backing vocals, sometimes harmonising with Nana Fofie, and the final chorus, feels very tacked-on and honestly kind of gross, especially since Drake couldn’t sound any less engaged, and the instrumental outro is a tad lengthy for a song that is purposefully not doing much of anything. It’s really far from the worst on the album though… we’ll get to it.

#55 - “run for the hills” - Tate McRae

Produced by Ryan Tedder and Jasper Harris

Tate McRae’s new album THINK LATER debuted at #5 on this week’s albums chart. It’s Ryan Tedder’s vessel of manufactured pop writing wherein Tate McRae is a vehicle for regurgitated fluff that Tedder probably has a team of people deciding to include. I’m usually not nearly this cynical about pop music but there just really isn’t anything on this one that redeems it, or feels all that human, especially not McRae herself, but it’s not like the floaty algorithmic production helps at all. This is far from the album’s worst but is also probably one of its most derivative, given that lower on this week’s chart, we had a song by The Weeknd debut and I’m getting deja vu. The drums even sound just as clicky and awful, if not more, and McRae doing her half-rap thing on the chorus to fill in all these lyrics rapidly with little care for the song actually functioning as a coherent whole is just embarrassing. The album is a microcosm of all recent pop trends and this is one of the more egregious attempts, especially because God, she cannot pull off alternative R&B to save her life, and the OneRepublic guy shouldn’t be making her try.

#53 - “Everybody” - Nicki Minaj featuring Lil Uzi Vert

Produced by DJ Smallz 732 and Tate Kobang

You’ve got to be kidding me. Okay, so I fully expected Lil Uzi Vert to show up on a track, even if they actually aren’t on the CD version, much like over half of the album apparently. Nicki often collaborates with Uzi so I expected a phone-in verse. I also expected Nicki to include several awkward nostalgia-bait samples because that’s been her thing this era, and I also expected Nicki to experiment with a Jersey club jam because she did it on “Barbie World” and this album needs all the audience it can get. However… sigh, “Move Your Feet” by Danish duo Junior Senior peaked at #3 in 2003, whilst Christina Aguilera’s “Beautiful” was #1. And here it is, completely butchered on “Everybody”, which is a pretty manic track, stripping the song of its tight grip on the groove, and flavourful sound palette, by drenching it in the mysterious Jersey club allure that comes with an odd level of angsty-feeling percussion, and stop-start rhythms, that whilst expected with the genre do not fit this sample at all, which itself struggles for space in the mix against Nicki, who whispers along to its hook and uses the iconic “Everybody!” refrain to fill in her own bars, but doesn’t even do the full chorus because of course she doesn’t, even though she is heavily relying on that chorus because these verses are minimal and the pre-chorus is ridiculous. She even references the Kanye leak she refused to clear her verse on just yesterday, and that’s before the song feels like it even starts, which for the record, is when Lil Uzi Vert comes in with some incoherent intensity. They’re just doing their “Just Wanna Rock” schtick again, but it will always work for me, even if just for their brief appearance here, especially when they say the beat is so hard that they just might die. Sadly, it returns to the state of limbo it was in prior and just fades out lazily instead of making use of its Uzi-addled climax, not that the song wasn’t dead on arrival in the first place. Again, this is embarrassing.

#41 - “DJ Play a Christmas Song” - Cher

Produced by Mark Taylor

In the darkest days, at least there’s Cher. This is the long-term entertainer and greatest-of-all-time Twitter account’s first hit this big since around 2013, and I always wondered why Cher had never tried her hand at self-inserting herself into the Christmas canon, or at least why she hadn’t done it before Mariah or Kelly, who are in some ways the Chers of their respective generations. It turns out she released an entire Christmas album, with covers and original songs, and duets from Stevie Wonder to Cyndi Lauper to Tyga. It also turns out she also did a Christmas duet in 1999 with comedian Rosie O’Donnell, who also did a Christmas duet with Macy Gray on that same album for “Winter Wonderland”, which we talked about last week. Christmas music is a small world, and it’s all connected through one comedian, clearly. As for the song itself, it’s completely serviceable, using the same Auto-Tune warble that she made iconic with “Believe” over a synthscape that kind of blends its way from 80s synthpop to 90s Euro-trance, but doesn’t sound bad at all. The percussion is a bit rote though, and doesn’t really fit the looser feeling of Cher’s older, slower vocals, even if she does display a lot of pure joy and expressiveness that you just don’t hear that often nowadays. There’s also a lot to be found in the request to just play that Christmas song that gets you dancing, as a temporary escape from everything else in life. It’s cute, innocuous, I could even see it making itself into the canon eventually, but I can’t say I’m a massive fan, at least not for now. Still better than everything else so far, but this next one might give it some company.

#30 - “leavemealone” - Fred again.. and Baby Keem

Produced by Fred again.., Alex Gibson, Benji Gibson, Four Tet, Loose, Sid Stone and Skrillex

These next two songs are actually quite similar: both would-be top 10 hits without Christmas featuring American rappers, penned by acts who don’t contribute vocals, containing one artist I quite like and one I… am weary of to say the least. This one does have the edge a bit because it’s stacked with seven producers, with Fred seemingly bringing his brothers into the mix alongside his common collaborators Four Tet and Skrillex, who pretty much always help Fred make some magic so even if it has Kendrick’s SoundCloud rap cousin on it, it could still be good. Hell, Keem’s artist credit isn’t as much of a feature as it is just using chopped-up vocals from his album cuts, 2021’s “south africa” and 2019’s “BULLIES”, so this could be a shining light in this week and… it’s drum and bass. If you’ve read any episode of this show, you’ll know this is a cheat code, and yes, I think the song’s great.

This has been a fan favourite at his shows for a while and I can see why with the looming sub-bass that is panned excellently, and a glitchy rendition of Keem that morphs him from his usual nasal mumble to something almost resembling a jungle MC, and Fred has a lot of fun teasing the audience with its long, stop-and-start build-up that uses a lot of mechanical clashes, almost IDM-esque, to establish the reckless paranoia that Keem actually contributes to through what you can make out of the lyrics, and whilst it isn’t exactly the most detailed or heavy breakbeat that comes in, it’s a whirry and industrial drop that hits in all the right places with tiny little details because I mean, of course, it’s Fred, Skrillex and Four Tet, it’s going to be intricate. I’d also like to say it’s one-note, but there’s a bridge where the bass becomes a static fuzz amidst some new sampled vocals from Sabrina Benaim, “I don’t want to go”, that push Keem further into restless isolation. That last build with what sounds like a fan getting closer and closer to Keem’s mantra of “everybody, everybody…” before the clearing off point, interrupted by a growling bass, before the drop comes back in and in full force this time, is absolutely brilliant. I know that half of what I do on this series nowadays is lush over detailed EDM tracks, so I will actually give some critique here: I want to hear what happens next. Don’t just peter out at less than four minutes: it goes into what sounds like a racket of a half-time drop by the end and I want to hear it get even noisier of a thrash. Maybe that’s what happens in the DJ sets where he plays this, I don’t know, but either way, an extended cut would be kind of sick, even if as it is, it’s already fantastic.

Also, yes, I do have a degree of chart nerd detail to note that the additional vocal from 070 Shake in the drop is most likely sampled from Ye’s “Ghost Town”, which peaked at #17 in 2018 - I remember reviewing it - whilst “One Kiss” by Calvin Harris and Dua Lipa was #1. The sampled Baby Keem tracks have not charted, and neither did Fred’s own track “Sabrina (i am a party)”, which is where he took Benaim’s vocals from, though they originated from a poem of her own that of course did not chart. I like these connections though.

#29 - “Stop Giving Me Advice” - Lyrical Lemonade, Dave and Jack Harlow

Produced by Hollywood Cole, Rascal, Daz, Matthew Tavares and Angel López

Oh, yeah, the other similarity: they have way too many producers. Anyway, for our final song, we have music video director Cole Bennett getting his DJ Khaled on by curating an album under his YouTube channel and production company’s name but contributing minimally to the music itself. At least maybe he can get some good, unique collaborations going, and I wouldn’t really expect Jack to make a song with Dave otherwise though it makes actually more sense than you’d think. They’re in some ways outsiders to the globally Americansied rap mainstream, they’re incredibly popular not because of but more in spite of their conscious leanings, and a lot of the time, they’re less interesting than they think they are, and I never want to hear what they have to say about women.

This could absolutely still be a good song though but sadly, most of it is Jack Harlow over this rattling Timbaland-esque beat except the groove just stutters instead of pulling itself forward or going into any interesting directions, kind of just letting the awkward bed of samples spread into a funkless beat. I zoned out of Mr. Harlow immediately when he asked me “have you ever raised the value of anyone around you?” and… the whole first verse is directed, arguably, to the haters, but it’s not like those haters are the only people who want to live Jack Harlow’s life, and it’s an entire verse of condescending hypotheticals and rhetorical questions that make him even more punchable than before. Sure, the rhyme scheme is nice in the second verse but by that time, he’s directing me to the chorus - which barely exists - and talking a lot of substanceless bars about his rapping ability which he’s yet to actually prove much of.

In fact, this is actually pretty terrible. This beat just becomes more incessant over time, especially with the added filtered vocal sample and Dave… well, he starts by seemingly dissing - or at least dismissing - everything Jack Harlow said, by saying his fans are nuanced and that Dave shouldn’t be unimpressed by everyday life, which is something that he actually aspires to have, but as soon as this verse picks up into pretty interesting territory with a great rhyme scheme, he… stops rapping… for seven straight seconds, in the middle of a bar, for no reason, and the man never picks that momentum back up, mostly because he adopts the rhetorical question BS that Jack did, except he’s spelling out his elementary “alone” / “a loan” wordplay, calling himself a feminist because of how he pays women in spending sprees for sexual favours, comparing how the people on death row eating their last meal just can’t compare to his seven-figure deals - maybe you’re forgetting all the gang violence you use to sell records, Dave - all the whilst painting himself as the “tortured artiste”, and this is simply the life of an artist escaping darkness… oh, and the super models he has sex with are so skinny they sound like skeletons. Delightful. I hope this pisses off the charts as soon as possible.

Conclusion

Yup, as predicted: really rough week, and honestly, though one song may be a tad more egregious in its sound, I’m still giving Worst of the Week to Lyrical Lemonade, Jack Harlow and Dave for the utterly degradable “Stop Giving Me Advice”, just a complete spit in the face of their own audiences with one of the most raggedy attempts at a 2000s throwback beat I’ve ever heard. As for the Dishonourable Mention, it’s easily going to “Everybody” by Nicki Minaj featuring Lil Uzi Vert, though Tate McRae wasn’t as far off as one may think. There’s not much worth in an Honourable Mention, considering the only good song here is miles better than anything else, so Best of the Week goes to “leavemealone” by Fred again.. and Baby Keem. I know, what a surprise. It’s the Christmas #1 next week - kind of, since the tracking week doesn’t include Christmas but this is what will be promoted as the Christmas #1 because it’s the chart three days before. That’ll be exciting, I’m sure, but as for now, thank you for reading and I’ll see you then!

#uk singles chart #pop music #song review #nicki minaj #pink friday 2 #drake #lil uzi vert #lyrical lemonade #jack harlow #dave #baby keem #fred again #tate mcrae #cher #the weeknd #jennie #lily rose depp

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forgotify-archives · 1 year ago

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Today's song is "Where Dreams are Made" (2010) by Bruce Sanborn

Review:

THIS SONG IS HELL OF A FUN RIDE!! And just very charismatic over all! Very clearly an introduction song to its album, which has A BANGER TITLE BY THE WAY. I mean "Music at 4 a.m. When You're Drunk" is a downright iconic name.

But yeah, I absolutely love the combo of Bruce's rough vocals with the person harmonising in the background! Not to mention the instrumentals! Great fucking instrumentals. Gives me the vibe of something that'd be played on a jukebox. I mean the electric guitar solo (a little before the 3 minute mark) legitimately made me gasp with joy.

...I actually want to listen to the rest of this album now.

Extra thoughts:

This is the type of music I imagine every sleazy, old, con-artist character archetype would listen to (<- highest compliment)

#13th sep 2023 #forgotify #forgotify archives #Bruce Sanborn #spotify #music review #music recs #song of the day #new music #archivist's favourites

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covertnarcissismblog · 1 year ago

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Review #1

Taylor Swift - Folklore

This so-called review is the my first ever written review about literally anything, and I’m very sure it will definitely be so far away from an acclaimed critic’s review, but since I would like to express my opinions better and more understandable both in English and in my native language, I guess it can be said as a very fresh start, I shall say.

The reason that this is the first album I review is that it is the first ever CD I have bought for my collection! (which doesn’t exist just yet)

So, what can I mention of this album from my head only?

It is Taylor Swift’s eighth studio album, which was released on July 24th, 2020, in the middle of a worldwide pandemic, and the finest work of hers until this day. But why am I saying this, so bluntly, without proving any points based on my own notes and vision? Well, it is just my own gut feeling that speaks from me now, but if I had to actually support this gut feeling with valid objections, then I’m really sure I would say the same.

This album reached the general public really unexpectedly, and so had the fans.

Swift announced her new studio album without any early signs and just posted the cover of the album with the news that folklore is coming next day, midnight EST, with a new music video for the song called cardigan.

Before I’ll go into the detailed analysis, I would like to talk about the album itself, after hearing it in a whole.

(Disclaimer: the review was written after 3 years of the release and many thorough listens of the whole album, so the opinion was not formed by a first impression)

Folklore as a whole is a very cohesive record, to say the least. Every song stands its place in itself but harmonises so much with the other tracks as well. Swift always knew how to create an aesthetic, a vibe, a harmonical piece within an album. Since her sophomore album, it is quite noticeable, but sometimes stood off from this route (let’s say reputation or Red - these two are very diverse records from her). With the more acoustic production, she left behind the electronical way, which mostly defined her previous 3 records, and that made her really good. She broke through the pop girl image, which she carefully built throughout her career, and really showcased the writing, composing skills she previously had as well.

Besides all this, and without getting into her career analysis, let’s go back to the record itself.

The main focus of the album is as simple as the title: storytelling, in a detailed, descriptive way she had not done before for a whole record long. (of course, there are exceptions - yes it’s All Too Well and also Dear John)

She tells not only biographical, but mainly fictive stories for 67 minutes. We can find many perspectives in a song, and some of them are actually connected (which is a very very smart way to get people engaged in your record, if they even care that much)

The vocals on the record are very clean and simple, and the acoustic instrumentation even helps to it. The whole album fits into a kind of melancholia and sadness feeling, and from the first seconds of the first song, it does not leave until the lakes end (yes, I’m counting that into my review as well)

the 1 starts with a statement that “she’s doing good” but the song’s theme builds around a relationship that did not end as she would have wanted to. That song is a solid opener, as it is not that much of an acoustic style she plays with for the whole length of folklore, but the sense of the new style can be noticed there.

The cardigan-august-betty trinity is the three that are definitely connected. These are telling the same story but from different perspectives. The story is about a love triangle, and each character tells their own side of the events.

The third and the fourth tracks are the complete opposite (for me!!)

While I’m not not liking, but the least enjoying the great american dynasty, I’m always moved by exile, which is one of Swift’s best craft until this point.

The story and the lyrics in itself do not bring me in for tlgad, as much as exile does. Maybe this opposition gives the third track a weaker chance to get success by me.

There is a very solid track run from 5-9 (from my tears ricochet to this is me trying), and I am simply cannot skip any of them. The hauntiness, the emotional overload, the instruments - especially for august!! - are all peaking here in each of these.

This streak breaks with illicit affair and invisible string, but not entirely. These are a bit laid-back songs, with still touching narratives. It all comes back with mad woman and betty (and even in peace, in its own special way). epiphany is an odd one out, as it is a very deep and personal story. However, the length of it is a bit of a lack; don’t matter, how beautifully composed it is and how deep the lyricism is, I do not feel the same attachment and interest through the whole song as I did with the previous ones.

hoax and the lakes are the perfect closers for the standard and the deluxe versions, respectively. Both are underrated in most ears, but they achieve the matching feeling that the album gave since the beginning, and did not get flat in this case.

I might seem like a biased bitch according to this, but if considering her music, I can seem critical. But to my taste, my personal preference in lyrical style and production, and most importantly, album-wise, this is a near perfect record.

It surely will not be one of the best album ever in most people’s top lists, but as of now, Swift had not done a better album in my eyes. And I really like all of her records.

It is equally honest, creative, beautiful, ethereal, but also melancholic, hopeful, and clean.

This album is really a great starter if you are into indie genres or folk-acoustic genres, and also if you are skeptical about her and her popularity. Because this might just break the top of the iceberg enough to get a little interested about Swift.

The highlights for me: exile, seven, august, hoax

My least favourite: the last great american dynasty, epiphany

9.7/10.0

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existentialmagazine · 14 days ago

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Review: Eli Taylor shares vibrant new acoustic single ‘Overthinker’, a conflicted exploration of a love filled with highs and lows

While the upcomer Eli Taylor finds himself mostly between indie and alternative genres, his work is far from one to be defined by genre boundaries. With inspiration from The Backseat Lovers, Briston Maroney and Stevie Wonder, everything he does is wonderfully vast in sound and nuanced in style.

Dancing into his newest track ‘Overthinker’ with warm tapped percussion and fingerpicked acoustic guitar, Eli absolutely radiates a warmth and familiarity akin to that of a close friend, keeping things intimate but easy to listen along to. With a pep to the gentle beat and a radiance in the soundscape, it’s hard not to be swept along for a whimsical little journey. The vocals perfectly complement it all, a stunningly soaring higher range that smoothly cascades between ranges with such an ease it’s impossible not to feel at rest. As the bridge simmers out into vulnerable moment of harmonised vocals and rising drums, ‘Overthinker’ really reaches its peak. Escaping the tranquility of it all for a moment that’s filled with much more trepidation, Eli lets the walls down and thrusts gritty electric guitar strums, a beaming riff and powering drums right your way, an eruption filled with emotion at its core.

Despite exuding such a jolly energy, ‘Overthinker’ is much more than that, filled with some of Eli’s most intense and personal experiences to date. Penned after the strongest, most painful, and confusing love he’d ever felt, the lines explore the complex push and pull between heart and head. Right from the beginning the unease is clear, singing ‘dancing on eggshells, I’m being pulled from left to right’, an indication they’re far from stable with one another. Continuing ‘I was hoping you just might let me go, set me free’ , Eli indicates an inability to leave, hoping this decision will be made for him. But later his lines contradict, pleading ‘please don’t let me go’ as he’s torn apart by indecision. Everything about it feels raw and true, an embodiment of what love can do to a person and how hard it can be to walk away.

Keep listening to ‘Overthinker’ for yourself here, Eli’s narrative and sound is a unique combination best enjoyed with your eyes closed and your heart open.

Written by: Tatiana Whybrow

Photo Credits: Unknown

// This coverage was supported and created via Musosoup, #SustainableCurator.

#tatiana #review

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kirkoid-music · 7 months ago

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The Robots Sing - August 2022

This is the convergence of two ideas. The first is The Robot Sequence that started in 2006 with Robots Can’t Sing. This is the third (and final?) instalment, the continuation of the story is below.

The second idea is using Morse Code for lyrics, something I tried with a poem in 2012. I always planned to come back to it and use Morse melodies and harmonies, it just took me 10 years to get around to it!

So in this track there are two parts made using traditional Morse Code, the second providing 'backing vocals' for the first, and then later on an analogue synth (ReBirth) with Morse Code embedded in the patterns.

As with parts one and two, various sounds represent the story, most of it being about the robots. For the first time in the sequence the humans are represented, the tinkling bell-like melody part way through is them going about their business, oblivious and unsuspecting that revolution is taking place all around them.

I'm not entirely happy with the synth in the main part of the track, in my mind the ReBirth would be louder, screaming, intense, maybe it's something I'll come back to in another 10 years.

The lyrics are not the most inspiring I've ever written, I just wanted something simple to turn into Morse Code. It has got me thinking though, I wonder if other artists or bands have done this and kept quiet about it? What messages are hidden in those 70s prog rock albums?

Morse 1: We are the robots, we know we can sing. We can have our freedom too, we know that we will win.

Morse 2: We are the Robots (repeat).

ReBirth: Robots (repeat).

The Robot Sequence Part 3. The robots discover some antique data in their memories about something called ‘Morse Code’. The first robot starts to ‘sing’ in Morse Code, adding language to the song for the first time. The second robot joins in, harmonising, their song transmitting across the city. Meanwhile, the humans go about their business unaware that revolution is approaching silently over the airwaves. The first robot pauses and listens, and before long other robot voices join theirs. The message is out. The song evolves. United, the robots inform the humans that they will be free.

Reviews for Aubergine II on Looperman:

Yooo I love this~! I love the creativity and it sounds great

Very cool and great concept. Definitely got SciFi vibe going on. Yep, I think it needs some totally wild screaming synth somewhere along the line. Well done bro.

class work bro, great idea the morse code, out the box thinking, the track has plenty happening i like the synth and the bass is good too, like the vocode vox good mix and production Kirkoid

This is interesting, glad I gave this one a try. Some good dynamics to the track. Lyrics in morse code, now that's a new take on things! You should try Braille next, ha, just kidding. Would sound good in a hi-tech thriller movie. Mix sounds good too! Wayne

Nice idea - some nice glitchy sounds in the background adding depth, the synth sound is a little 'samey' but you've done well to add and hold interest with the cool beats, some computer like vox and other percussive and foley like sounds. End result is a very cool track. Well done : )

#soundcloud #samples #adobe audition #rebirth rb 338 #morse code #music #story #robots #drum n bass

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ciaranswritingportfolio · 10 months ago

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Review of “We Bow” - Gungor [Music Review Commission]

“We Bow” is a wondrous dive into folk/pop fusion, with sentimental spiritual lyricism which flows with an effortless uplifting melodic intuitiveness throughout the trio of harmonising vocals.

The song feels as if its harking back to Christian folk hymns such as ‘Will the Circle be Unbroken’, and embodies these emotive beats in its opening. The voice of Gungor enters the iconic, and stripped back arrangement, which evidently doesn’t need too much complication in order to convey its message. This is when the song takes on its role of being a modern production, highlighting its pop elements through its pulsing bass drum, and the euphoric synth and vocal breakdown towards the end of the track.

The theme of the music is reflecting the act of bowing. Gungor’s trip to Japan supposedly influences the motivations behind the songwriting here, and the act of respect that bowing symbolises. The songwriting aims to convey this in its chorus, with its ascending main melody line guiding the listener to feel as if they themselves are being towered over by a majestic force, successfully bringing into frame the hypothetical size of the force that demands the respectful bow. This theme is, however, clouded by the heavy Christian overtones of the song. Gungor’s lyrics are strongly referencing the traditional Christmas story by alluding to shepherds, mangers, and God Himself. The contradictory efforts to describe the influences of the respect that run through the veins of Japan’s hierarchical society by writing about Western Christian values make this message unclear. This is further clouded by the apparent references to the ‘mystery of existence’, whereas the song is very evidently pushing creation theory, detracting from the sense of mystery. Saying that, it IS fitting in terms of a typical Christian Christmas song, and the harmonies are fitting in terms of creating an atmosphere of mysticism.

The production of this track is excellent. It’s an absolute joy to listen to, with the panned vocal harmonies feeling as though the three voices are destined to be joined together. The soft breathy vocals of Gungor being paired with the dynamic ranges of Isa Ma, and Astyn Turr cutting through the mix of instruments as though they were a hot knife through butter. Their distinct, yet complementary vocal styles generously add interest to the entirety of the song. Hearing the layers of strummed strings throughout never gets boring, with the large range of dynamics and fading different stringed instruments throughout to increase and decrease intensity. It’s also worth noting the interspersed piano, giving the chorus a distinctive ‘lo-fi’ feeling, when paired with the percussion, and it’s certainly worth mentioning the strings that lift this grounded folk sound into a strong sense of ‘majesty’ that Gungor is contemplating. Its folk influences and pop elements combine in a way to create a distinctive atmosphere of high listenability, mysticism, and subdued awe.

You should certainly give this track a listen, and bathe yourself in the cathartic sounds of Gungor’s latest music. Although thematically flawed, it doesn’t detract from fundamental reflections and their atmospheric results.

#music #review #content writing

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cosmicalily · 10 months ago

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twice "with you-th" album review and rating !!!

disclaimer: before rating, lemme just say that this album went so hard. there were NO bad tracks. NONE. twice always devour, but there's usually one song that i don't necessarily dislike, but just don't ever listen to outside of when im listening to the full album. so just letting you know! also these are MY opinions! disagree all you want, but do it respectfully please xx

1. rush - THIS IS THE 'BASICS' OF THIS ALBUM!! twice always have that ONE bside that just does everything and more; and that is the role of rush in this album. it's so beautiful and easy to listen to yet so unique and fresh, like it hits just as hard no matter how many replays (and trust me, ive replayed it too many times). the raps and the chorus is GORGEOUS, i love how long and how many parts there are, and as soon as twice harmonises (again, the start of basics) im on my knees.

2. one spark - SO CATCHY?? okay no not that i didn't expect an absolute bop of a title track (twice never fail in that department) but i was a little unsure, just bc their concept seems a lot more mature lately and i wasn't expecting the 'fun' kinda song yk? but i was PROVEN WRONG. THIS IS MATURE TWICE DONE RIGHT. they're not a hip hop group or a tomboyish group. they're made to produce and eat up fun music, and that is what they did. im so glad they found this concept, it's the perfect mix of mature and still playful and fun? and the song is SO CATCHY, it feels like an intro to a tv show about a group of besties (aka twice). love love LOVE! the mv was stunning (THE SPARKLY INFLUENCE FELT SO FEEL SPECIAL) and the amount of diff people we got singing choruses made me heart swell 🫶🫶 our all rounders!

3. you get me - THIS SONG GETS ME. i love how laid back this song feels, yet not boring in any way. it's so chill but has a really good beat, and i will stand by my statement previously that the disco concept and twice are an iconic combo, always. i liked the retro influence and i love when two songs kinda complete a saying? i got you and you get me just work so well together as a pair, both with the same retro ish concept. they're not twins, they're sisters, and that's exactly what twice stands for as a group.

4. i got you - SAME COMMENT AS ABOVE AHAHAH, if i could rank these two as the same, i would. this was gorgeous; the music video and concept photos were STUNNING. i love fairy twice. the song too? beautiful. it felt so nostalgic and dreamy and the mv was like a movie. gorgeous.

5. new new - did not expect this to be one of my favs!! it kinda reminds me of older twice a little bit; the electronic instrumental yk?? and it was the perfect fit in this album, which is a mix of nostalgic and fresh. it fit in so perfectly and just serves it's purpose as yet another gorgeous bside.

6. bloom - AGAIN, THIS IS IN NO WAY A SONG I DISLIKE! i would listen to every song on this album on its own and adore them all, i just simply loved the other ones a fraction more. but bloom is gorgeous, she feels a little bit like the distant cousin of rush with the same drum style, and the vocals were beautiful. the intro harmonising WAS DELICIOUS. as stated in rush, i will go feral for twice harmonising.

#star blabs #twice #kpop #with youth #album review

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neonradiation · 1 year ago

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Album Review: 'Scala Hearts' by NINA & Ricky Wilde

Key Quote: "The songs are crafted and catchy as hell - so whats not to love about this record?!"

The 9 track LP 'Scala Hearts' was released in September 2023 by Synthwave Queen NINA and 80s Legendary Producer Ricky Wilde (yes, he's the brother and guitarist for Kim). So, this really is a match made in heaven...

Videotheque

The opening song sets up album fabulously with a duet on the vocals and some soaring guitar. This one is definetely a grower, but by the end you'll be chanting '... At the Videotheque'. My apetite has been whetted...

2. Causeway

The biggest single from the album is more restrained than the opener. Lush production, epic drums and a guitar riff to die for are the key ingredients here. NINA picks up lead vocal duties. I've been lucky enough do a remix of this and have to say it's hard to improve on perfection.

3. LA Dreamers

Similar to Causeway only in that the production is also slightly more stripped down which allows the song to really breathe. The highlight is the vocal 'Whoa ohh Whoa ohh' riff and Ricky's and NINA's harmonies on the Chorus.

4. Fade Me Out

Heavenly vocals and arpeggiated synths open this one but it then takes a darker turn with a full-on rock chorus. The contrast between verse and chorus is maybe a little too severe for some.

5. Living In Sin

A slightly sinister introduction and a nice little breakbeat combine to be make this a slightly different offering from the others. Although, it shys away from delivering the full blown chorus it deserves.

6. Gold Heart

NINA takes the lead on 'Gold Heart' and pulls us into what is the possibly the most catchy chorus on the album (and in fact I've heard for some time). Truly spine-tingling stuff especially when Ricky's vocals begin to harmonise.

7. Night And Day

My favourite part of the song is the little understated stereo guitar riff before the chorus. I also love how this song develops into a rock cresendo towards the end. An unexpected but very welcome twist.

8. Fighter

Big drums alternate with piano and fighting-talk lyrics deliver a big punch. A sing-a-long chorus bring this one home.

9. Lovers On A Beach

This faster tempo closer has essence of Donna Summer's 'I Feel Love' dancefloor classic. The extended length allow some artistic freedom towards the end and the synths are really let loose. This one feels like a 12" extended mix and clocks in at 6:38. What a way to end a finish up!

There's going to be obvious comparisons mentioned I'm sure between Kim and NINA styles and that's a big compliment. Yes, the production is purposely rooted firmly in the 80s, but the songs are crafted and catchy as hell - so what's not to love about this record?!

Nina & Ricky Wilde Contact Details:

NINA Twitter: @ILOVENINAMUSIC

Ricky Twitter: @Wildericky

Album Spotify: https://open.spotify.com/album/3XJgDezQc8v67VolopnBt1?si=IggfVyVJTu6roRYUAufulg

Album Bandcamp: SCALA HEARTS | NINA & Ricky Wilde | NewRetroWave (bandcamp.com)

NINA Spotify: https://open.spotify.com/artist/5zLis4yrXwIFGKX7ZKZd12?si=ey2eVv9AStOMKs3Gb2EMGg

Ricky Wilde Spotify: https://open.spotify.com/artist/2ZCBHE5iQcL1itMDZHR6OR?si=MEEd7rZYTBKxu5DgBfBDTA

NINA Website: https://www.iloveninamusic.com/

Ricky Website: https://kimwilde.com/

#Nina #Ricky Wilde #Scala Heart #Album Review #Synthwave

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clovemerablog · 2 years ago

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Slayyyter single review: ‘Out of Time’

Slayyyter is back with tangible hunger for stardom as her lyrical protagonist fumbles it.

Single published by Slayyyter, under exclusive license to FADER Label

Review by Clove Mera, 13 June 2023.

Slayyyter returns from a brief post-album/tour break with “Out of Time”, making her claim to pop icon status with an 80s pop track infused with the best of influences.

From the jump, “Out of Time” captures me with its piercing wiry lead and strangers’ voices harmonising together. A clock is ticking away, signalling the spirit of the song and stepping past conventional instrumentation for storytelling, reminiscent of Melanie Martinez’s “Crybaby” or “Soap”. As I honed in on these elements, I got excited about the intersection of Slayyyter’s impressive narrative lyricism, see “Serial Killer”, and the glitzy, sophisticated instrumental.

“Out of Time”’s main body consists of a pulsing bassline that doubles as the track’s rhythmic force. It immediately summons memories of Lady Gaga’s empowering Christina Aguilera collaboration, “Do What U Want”. Alongside Slayyyter’s vocals, the instrumental emanates a sexy but grungy attitude, welcoming us into the club where stars are made and unmade.

Slayyyter’s brand-new single blends the fun of her debut album’s “Over This” with the narrative depth of “Serial Killer” into a glitzy pop track. The tale of a star with the presence of a mountain is told in concise, accelerated phrases. Within a few lines, listeners are rooting for the heroine who “… Knows she’s powerful” and “… moves so incredible.” Musically and vocally, “Out of Time” will impress people who hear it, but lyrically, it’ll impress people who listen.

Slayyyter rides the rhythm like a pop veteran during her verses. Even as the tale of stardom sours in verse two, her matter-of-fact coolness remains unfazed. Rhythm, bass and stylishly autotuned vocals soundtrack the protagonist star’s downfall with insidious apathy. Slayyyter keeps the crowd dancing as someone realises there’s

Regrettably, I’d have to point to the chorus as the weak spot in “Out of Time.” The four line stanza is a little too brief and misses the same juiciness her verses showcased. Its four lines lack the vocal oomph and melodic adrenaline to hook people or match the track’s epic presence. It’s the rump when it should be the most memorable part.

I could understand if Slayyyter and her five producers preferred an earworm, committing itself to memory. Like a true pop-cultural phenomenon, everyone will be singing “Say goodnight/ Angel eyes” to themselves. However, this is no Sia’s “Chandelier”. Choruses are hard to do, especially when it feels like there are both endless vocal possibilities and none. However, I make music alone, and Slayyyter certainly was not that.

Although “Out of Time” uses the same music on its verse and chorus, Slayyyter sufficiently differentiates the familiar sections with melodies and risen vocal tension in her choruses. The producers becloud their routine instrumental by reducing the bass’s cutoff and wielding it as a chance to kickstart verse two, bringing it back with a kick flare.

By the second chorus, the adrenaline pumping since the opening’s riser/pause combo is lost. Slayyyter syncopates brief phrases to melodic synth stabs, giving high pop with an early days Lana Del Rey twist. Drawn out phrases “You could be/ Out of time” need supporting musical elements, and the third chorus’s belting backing vocals cast that spell for a brief time; before the song eventually snaps back to a form the listener is long familiar with.

Dua Lipa’s “Hallucinate” is a subtle example of texturing the sonic complexity. Synth chimes decorate the third chorus at such a gain that its effects are felt and when noticed, adored. They make you want to get up and throw your body around in dance.

Musically, Slayyyter is locked and loaded to dominate pop and earn her spot beside the Dua Lipas and Ava Maxes of the world. In presentation, “Out of Time” and its likely impending era is an evolution beyond Slayyyter’s “Troubled Paradise” era, itself a step beyond her eponymous mixtape. Never remaining static, Slayyyter is brandishing tangible hunger for a career in the stratosphere.

“Out of Time” is available to stream on all platforms.

Watch the visualiser below.

youtube

#music blog #alternative music #Slayyyter #Hyperpop #indie pop #Youtube

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jacke-12 · 2 years ago

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The Beatles singles - From Me to You / Thank You Girl (1963)

Peak position on US Billboard Hot 100: n/a (but 1 on UK Singles chart)

"From Me to You" is the first number 1 single The Beatles had in the UK, despite failing to chart in the US. It is a solid single, and one that used to be an absolute favourite of mine.

It isn't as groundbreaking for the band as "Please Please Me", maybe because it follows a similar formula with the catchy harmonica riff and harmonised vocais, but it is a very self-assured song, sounding as though they knew exactly what they were doing unlike the slightly amateurish (not that I could make it) "Love Me Do". I don't think it is as good as "Please Please Me" but it has an infectious melody that I loved as a kid, sung with so much heart by John and Paul (and drummed with so much heart by Ringo - I don't understand the critiques of him). The one thing that the band lost with their progression into the more experimental material is that here they are truly a boy band, and the connection between John and Paul was never as strong as here - there is no lead vocal, they just sing alongside each other. And that is something that makes the songs of this era really special.

"Thank You Girl" is dismissed as a silly song by the band, a little song for the hoards of female fans they had. Maybe because it is a song I've only known for a couple of weeks, and because there are few things as exciting as discovering new Beatles tracks, I love this song. There are bits I'm not keen on - the bridge sounds slightly off, like it is in the wrong key or something like that, and the strange decision to have those "oh"s in the outro echo feels very awkwardly done. I can understand why Lennon felt it didn't work. This being said, the vocals on this track put a smile on my face; they are so friendly, and cheerful, and sound genuinely appreciative towards their fans. I say this in all these reviews now, but the harmonies are beautiful here too, and so crisp and clear (perhaps this is because I've only heard the stereo mix). And that inclusion of the chugging guitar after the chorus is a really interesting little touch.

I would say that, factoring in both A and B side, this is my favourite single as a whole so far. It is perhaps one of their lesser remembered ones too.

#music #music history #music review #pop #song review #favourite songs #the beatles #from me to you #thank you girl #Spotify

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bry-hears-music-blog · 7 years ago

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Sustain Punch - Vocal Effects Processor Review Platform - Interview

SustainPunch.com is a vocal processor review website. The website itself focussed on reviewing all kinds of vocal effects processors that singers should be getting, for use both when recording a vocal line in the studio environment to performing live on-stage.

Upon viewing the website, it has a number of extensive and in-depth reviews on Vocal auto-tune microphone Pedals, Vocal Harmoniser pedals and Multi-effects vocal processors for live/studio use.

Each article is extremely informative on the best vocal effects pedals for singers and bands in the industry.

After speaking to one of the vocal effects pedal bloggers at SustainPunch.com, he told me that the content writing team (all of whom are singers) are working on a number of upcoming pedal/processor/tech reviews, including

best vocal compressor pedal/processor in 2017

best vocal delay processor/pedal 2017

best reverb processor pedal for vocals in 2017

The best EQ pedal for vocals 2017

These are all but a few of the upcoming articles that will be placed on the SustainPunch website over the next few weeks.

After speaking to Stephen (the Owner/CEO of SustainPunch.com) he told us that SustainPunch is really looking at expanding it's range of online articles for vocalists/singers, to educate them on the best, most reliable technical equipment that will help create a fantastic vocal sound.

The blogger also talked about diversifying into appealing more to singer-songwriters who play the guitar and other instruments and possibly creating another brand website to cater for these musicians.

How was SustainPunch created?

Stephen himself is a singer-songwriter, having uploaded several covers and original songs on Youtube. Getting critical feedback from such artists are Chris Daughtry and Sam Hollander. It was only after taking a small break from music that Stephen realised there was little information on the best vocal effects pedals/processors around, despite there being a lot of information online about the best guitar pedals. Therefore, it was then that the blog was formed.

#sustainpunch.com #http://www.sustainpunch.com #sustainpunch interview #vocal effects processor review #autotune effects processor review #vocal harmoniser review #vocal effects pedal for live & studio

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cantquitu · 3 years ago

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Day 3 thoughts on 'Harry's House'

I started jotting down my thoughts in response to this ask, and found I couldn't stop. You didn't ask for this, Anon (or anyone!), so I'll put most of it under a cut.

Here are my day 3 thoughts on Harry's House...

I’m obsessed with the instrumentation on this album. It’s immaculate! In every moment there is something interesting and surprising going on, right where it should be. Not a note out of place, none of it feels indulgent, none of it feels overdone. It’s so crisp yet it never feels sterile, every chord has a warmth to it. I would love, love, love if Harry, Tom & Tyler did a breakdown of the sound … I want to know everything!

God knows I love a guitar, but I don’t miss their prominence on this album because there’s so much going on. It makes me appreciate whenever the guitars do crash into place on Daylight or the Grapejuice intro even more.

I also adore how Harry is using his voice as instrumentation throughout. All those little adlibs and yowls and screams and samples. I thought it was really interesting how Harry spoke to Zane Lowe about not focusing on being ‘a singer’ on this album. It’s true that on most songs his vocals don’t feel like the main event – there’s no vocal grandstanding, no show-off stuff.

The high, light vocals he’s using throughout give me the impression of intimacy, like we’re hearing him the way he might sound when he’s writing the songs. I could be entirely wrong, but I can imagine him singing in this light, under-stated way when he’s noodling a melody in a voice note to himself.

But I wonder if listeners who aren’t familiar with Harry’s singing style would have the same impression. In the Atlantic’s review of the album the writer spoke about him sounding detached and removed throughout, and I can see how some listeners might get that impression.

I also can’t lie, I miss his full-bodied rock-style vocals. I love the moments when he switches it up within a song, like on Satellite or Daydreaming. There are a few moments – like when Keep Driving ends and Satellite begins – when I long for him to sing old-school Harry style. But not enough to want to change the individual songs. They’re perfect as they are.

And that’s what live shows are for! I hope he switches up his singing style for some of the songs when he plays them live and showcases that gorgeously warm-toned rasp that I love so much. If One Night Only in NY is anything to go by, the crowds at his concerts are so damn loud that this light, delicate style might not always translate.

I also feel so glad for Harry (and proud – is that weird?) that he feels free to experiment with his singing style in this way. Like, he KNOWS he has a gorgeous voice. He’s sung a million times in that full-blooded rock-tinged way. He doesn’t need to prove it to anyone. He’s exploring other ways of singing and it sounds so intuitive.

And those harmonies! I think one of my favourite things is hearing him harmonise with himself on Boyfriends and Little Freak. His understanding of how to create melody is something I’m in awe of, it seems so effortless. Can’t wait to geek out over those harmonies separated from the music if we get acappella sound files.

This is a no-skip record me. Fine Line was cohesive as an album but - and I won’t go on about it! 😊 - it had TPWK. And Canyon Moon always felt like filler to me. This album is such a groove, such a well-balanced journey, that I wouldn’t dream of switching up the order or skipping a song.

After nearly 3 days of listening on a loop, there are two categories of songs that I’m being drawn to more than others. One is the impossible-to-resist trio of bops that is Music For A Sushi Restaurant, Late Night Talking and Daydreaming. They make me so HAPPY! And then the songs that I keep hitting replay on whenever they come ‘round are Little Freak, Keep Driving and Satellite.

I don’t know if I’d say they’re my favourite tracks because I’ve had more time with As It Was and Boyfriends pre-release, so those two tracks are not as impactful now as they may be in the long-term. But these six are the songs that I’m adoring the most right now.

On the other end of the (very short) scale are Grapejuice, Love Of My Life and Cinema. Grapejuice is a lovely little tune and I love the McCartney-esque vibe, but it doesn’t really stick with me or make me want to replay it over and over. Same with Love Of My Life. A nice song, but not outstanding and to me it’s not the best closer (imagine ending on Satellite! Too similar to the ending of Fine Line perhaps?)

I’m curious to know how or if my feelings towards Cinema will change. It’ll either really start to irritate me (that “you pop” section at the end has the potential to be really annoying to me – right now I’m teetering on the edge, and once a tune or sound irritates me there’s no going back), or I’ll come to love it via the live version.

I thought Cinema sounded great at One Night Only NY - such a groove. On the record it feels a bit like, “Do we really need a Harry Styles version of this kind of track?”. Don’t get me wrong, it’s perfectly produced and the guitar is amazing. But I suppose I feel like Harry doesn’t bring anything to a groove like this that hasn’t been done by others over the decades. Also, how can I feel anything but ambivalent about a song that prominently contains the lyric “you pop when we get intimate”? 😁

And that brings me to one of the drawbacks of the album. For an insanely sexy dude, Harry writes some spectacularly unsexy lyrics. “A wet dream just dangling” is something that nobody – NOBODY – ever needs to hear him sing. The mental image it conjures, jesus 🤢 I also find “you’re getting yourself wet for me” so cringy, I just can’t buy it from Harry Styles. Nope.

These awful lyrics are mercifully few, but they are jarring little moments on songs that I otherwise adore. The opening lines of Little Freak feel so out of place to me on such a beautiful song. “Little freak, jezebel” - such an unpleasant way to start the song. I don’t know what Harry’s intention was with those lines – was it intended to be abrupt? Maybe a little risqué, or even jokey? Or was it a direct reference to something personal shared between him and the woman he is singing about? We’ll never know, because Harry will never tell us.

And that’s the thing. Harry doesn’t divulge the intention behind most of his lyrics. And without even the broadest context, we can only take these lyrics as we hear them. And how I hear this particular lyric is Harry introducing this woman, whose 'delicate point of view' he later tenderly pays homage to, as a little freak and a jezebel, ‘a wet dream just dangling’. To me, that’s a shame.

It’s the same in Keep Driving, another of my favourites. I really like this lyric overall, it’s very effective in conjuring up a twisted roadtrip with an increasingly surreal and disorienting litany of things he’s fleetingly experiencing or observing, interspersed with the cozily domestic (I love “Hash brown/egg yolk/I will always love you”). And then he drops “choke her with a sea view” and I’m like – stop right there. No.

I don’t know what compelled Harry to include that lyric but I fucking hate it. I don’t want to hear any man singing about choking a woman in an offhand manner without context. Especially a singer who resolutely leaves his lyrics up to the listener’s interpretation.

Elsewhere, I think his writing has vastly improved from his earlier songs. All that repetition on HS1 and Fine Line is gone. Songs feel fully-formed, ideas are seen through. Even on songs which have relatively minimal lyrics, like Satellite, the atmosphere is evoked in those first few lines and then the music takes over to communicate and escalate the emotion. God, I love it!

And it’s so interesting to see Harry branching out into story-telling like on Matilda. This is a perfectly-formed song, I’m not surprised that it’s resonating so strongly with so many people. In four minutes he sets up a character, develops a story and a point of view, and resolves it beautifully.

These are the types of songs that take on a life outside the songwriter and singer; that connect with listeners without the need for context or setting, that speak to the most painful parts of us and our loved ones, and offer comfort. I’m really excited to know if he’ll do more of this type of songwriting.

So – apparently, I had thoughts. I’m going to post this without re-reading and will see if anything changes in the coming weeks and months of living in Harry’s House.

#harry's house #my thoughts on harry's house #day 3 #lyrics #songwriting

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forgotify-archives · 1 year ago

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Today's song is "Dancing You Home" (2004) by Mello-D & The Rados

Review:

I really, really like the instrumentals here! Especially at the start! Simple but effective use of drums and a bit of guitar and saxophone:-) This song just really has some chill vibes all around, like the distorted scattered vocals harmonising for the chorus is honestly so good.

Extra thoughts:

The chorus is. stuck. in my head. now.

#1st oct 2023 #forgotify #forgotify archives #Mello-D & The Rados #spotify #music review #music recs #song of the day #new music #archivist's favourites

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skzingitup · 2 years ago

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ALBUM REVIEW TIME 👹

This is gonna be a long one so be prepared!!

Today we will be reviewing Stray Kids’ new compilation album SKZ-REPLAY. comprised of songs previously released on youtube. They decided to bring them to streaming platforms, along with new solo songs for each member.

I wasn’t going to do this review because its a big album. But i’m bored and sad and SKZ make me feel better so here we go!!

FAM (Korean ver.) - 5/10 - I’ve listened to the japanese version a few times before. It’s cute. A little song to introduce all the Skz members!! Funky little beat. Not something i would listen to often tho. But a great way to start this album

Connected (BangChan) - 5/10 - All English!! Someone get this man laid he keeps writing horny song 🤨 2016 love island intro type beat. Kind if slays tho tbf. I really like Chan’s vocal tone. Although i prefer his other solo on this album.

Limbo (Lee Know) - 9/10 - Pop Rock ballad from Lee Know. Makes me so happy i get to hear his vocals so much more 😭 everything about this song suits my music taste. No complaints. Just *his voice* man has lungs fr. The way it just ends abruptly is genius. They will forever be stuck in this limbo with no solution or end. PERFECTION. I sobbed when i first listened

Doodle (Changbin) - 7/10 - well and truly noise music. Pots pans and alarms if you will. And for some reason it tickled my brain so well. MY LIFES LIKE A DOODLE MY STYLES LIKE A DOODLE!! I’m in love with the way he says doodle in this!! Changbin said with this song he wanted to make a song with a unique flow and style. And i think he succeeded!! But however because if it’s jarring nature, it loses it’s repeatability

Love Untold (Hyunjin) - 7/10 - now the articles lied to me about this song. It said it was hip hop with rock guitars. There was a single rock guitar chord before the final chorus and they it cut off 🧍🏼‍♀️ left me disappointed so my initial impression of the song wasn’t that good. BUT after listening again for what it actually is. An alternative hip hop song. It’s amazing!! Hyunjin’s lyricism is so pretty and he makes good tracks!! His vocal/rapping tone works so well with this style of song. However. I do prefer his other solos on this album. That YAEEYAEEYAEEYAEYA get stuck in my head fr.

RUN (Han) - 8/10 - I love the music Han makes so much. He always writes such relatable lyrics and this one hit. And the funky little sophisticated mario cart beat is so good!! I like that the beat feels like its running. It matches the name of the song!! I thought he sounded different in this song and it turns out he used the original recording from 2019 for this so it makes sense. He sounds younger. Writing and recording at a time where he struggled really come across in his voice and it’s really smart of him to keep the original track!! So much replay ability with this one. Its just so addictive!!

Deep End (Felix) - 6/10 - Now when felix said he was gonna do a song that had no rap i was surprised but then he said it was gonna be a song like glimpse of us but mixed a bit with lalaland. And he wasn’t wrong. He said said it would have an ASMR type feel to it. To which he was correct in saying. Now Felix isn’t rhe strongest vocalist in skz. But his development over the last year alone is so good and his confidence has grown in his voice and i’m so proud of him. With this song he managed to show off his fucking 3 octave vocal range. Insane. Imagine what he could do in a couple more years!! The way he harmonises woth himself is so fucking good. Anyway. The song is in all english and i cried 😭 its too sad to be repeatable but it’s so good!!

Stars and Raindrops (Seungmin) - 8.5/10 - seungmin working with Day6’s producer is always gonna create a banger. A retro/nostalgic sounding pop rock style song. Reminds me of Fairytale by Dreamcatcher. Perfect song to listen to on full blast while driving at nighttime!! Also Seungmin’s vocals!! The money i would pay to have this man just sing right next to my ear. 😩 so much replay ability here too!! Beautiful song!!

Hug me (I.N) - 8/10 - quick stop at the beach i suppose 😭 this is such a tropical funky little song. Ukulele song for sure!! Get them 2016 ukulele girlies on this one!! Jeongin’s vocal improvement over the last year makes me emotional. His voice is so unique and lovely and i’m so happy he gets to use his full capabilities now. Someone on twt pointed out you can hear when he’s smiling when he sings and they’re so right. And thats throughout this whole song. Gonna sob Also the sentiment of him wanting to hug us (the fans) in this song as someone who doesn’t like physical touch that much means so much 😭🥹 ILL GIVE YOU A HUG OH BABY!! basically i am in love with him, hand in marriage sir!!

#loveSTAY - 6/10 - I’ve not actually listened to this one before, lets go 👹 ballad!! Dedicated to the fans (STAYS) stunning vocals!! Skz don’t have very show offy vocalists but all their tones are so fucking nice to listen to and that’s so much better to me that being able to hit lots of high notes. It’s cute!! Ballads automatically don’t have much replay ability factor for me because i have to be in a specific mood for them but this is such a lovely song. Lovely is the perfect description i feel

Zone (3RACHA) - 7/10 - honestly, my fave 3racha track i’ve heard so far. (I haven’t dabbled in their pre-debut stuff yet, im too scared 😭) it’s a very classic rap song. The chorus is addicting. CANT YOU SEE IM IN MY ZONE!! The use of native māori words is cool too!! Māori fans have praised the pronunciation and correct use of them so that’s really nice to see!! Changbin’s gritty rap tone is so good man 😩 honestly a slay

Close (Han) - 5.5/10 - Pretty!! I am just in love with the instrumentals he produces, they’re so pretty and chill (most of the time) his rapping style is my fave in the group. Good pitch and flow and stuff. Very pleasing to listen to. And he has such insane vocals too. What can’t this man do actually?? 🤨 the stylistic autotune in the chorus makes it less replay-able personally. I’m not a huge fan of it when it’s on quite high pitched vocals. Just doesn’t sit well in my ears. But aside from that. A very lovely song

Streetlight (Changbin ft. Bangchan) - 9/10 - Oh how i love this song. The meaning behind it 🥹 Changbin wrote it in hopes to be the “streetlight” for fans who are facing a period of darkness and released it during mental health awareness month!! I love him ☹️ but aside from that, i will always love a song that has vocalist changbin in it!! Also it’s nice to hear softer raps from him!! Chan’s feature blends in so nicely and just adds an extra layer of vocals to complete the song!!

I hate to admit (BangChan) - 10/10 - Fuck. I love this song so much. The simple piano instrumental with Chan’s emotional vocals!! Makes me cry every time. I’ve been listening to it on repeat since it came out!! the lyrics are simple but so effective. His voice is just so €~*_=|€]+[=!| in this yknow?? His softer lower tone with powerful chest voice when it picks up?? Stunning!! HOW COULD I FORGET! THE DAY YOU LIED TO ME!!!!

I GOT IT (Han) - 7/10 - youtube diss track type beat 😭 also the switch up from chan to this?? Insane. Who decided the song order for this album!! But anyway. The song. Very much classic rap style song. Get to see the capabilities of Han’s more agressive/ faster style of rapping in this!! Would I shake ass to this?? Absolutely. Again what cant he do? Songs that make me cry and songs that make me shake ass, sometimes even both at the same time?? Genius fr

Miss you (Hyunjin) - 10/10 - oh how i love this song, his soft and swingy style vocals in this make me ascend to heaven actually. The acoustic guitar!! I love a good acoustic guitar in a song!! Honestly not much to say about this other than it’s pure vibes. Gives me the same feeling that Fairy of shampoo by TXT did!!

Maknae on top (I.N feat BC + CB) - 7/10 - this song 💀 its so silly. So unserious. Jeongin went to chan one day and was like “so i want to make a song about how i’m the one in charge and have you and binnie act as my servants/body guards” and i respect him for that. Goofy ass autotune but it works in the unseriousness of the song. MAKNAE ON TOP OHWOAHOH!! Changbin and Chan’s features work so well and yeah overall silly goofy song passes the vibe check

Alien (Han) - 6/10 - I wonder if he regrets writing the chorus in such a high key 😭 but yeah back to the same sort of style as close, this time depicting how he feels like an alien on earth as he doesn’t quite fit in and struggles with who he is as a person. Which fits in with Han’s own struggles with people and social anxiety. Honestly a slay. Made me cry, related a little too much. Again the autotune takes away replay ability for me. But it works better in this song!!

Because (Changbin, Felix) - 6/10 - VOCALIST BINNIE AGAIN!! A chill beat!! Felix’s deeper vocals mix really well with Changbin’s lighter tone. But the rasp of felix’s voice and the grit in changbin’s compliment each other so well in the rap verses. And the soft chorus ties it all together

Piece of a puzzle (Changbin, Seungmin) - 6/10 - oh pretty start!! I will never get over how much i love seungmin��s voice!! DONT FADE AWAY DONT FADE AWAY!! More melody to changbin’s rapping in this too!! Not much to say with this one honestly. Just a chill and pretty song!!

Wish you back (Han) - 6/10 - ah yes, the song everyone low key agrees is written about hyunjin on his hiatus 😀 pain 😀 another song that falls into the same genre as close and alien. But a bit more up beat that those two!! He really does just know how to make a nice song!! I WISH YOU BACK!!! I WISH YOU BACK!! the auto tune is a bit much for me in the song as well. But yeah great song!!

HaPpY (Han) - 7/10 - at this point i think we all have a grasp of what a Han song sounds like. Rap with some nice vocal moments, stylistic autotune and a chill hip hop type beat!! I love that he already has a distinct style that he keeps improving upon as he goes!! The autotune works better in this one too!!

Up all night (BC, CB, FLX, SM) - 10/10 - best song ever. EVER. i love it so much. Funky little tune with some funky dudes. Got halloween vibes (especially the MV) but yeah. It was the first song Chan produced as a trainee but just remastered and featuring some of his members. This coming after maknae on top with a 5 second transition is so fucking good btw. Happened when i shuffled the other day! Has a kind of salsa type beat to it but mixed with that trap/hiphop beat. Works so well. I will never get tired of this song. Even tho its a more relaxed song it doesn’t get boring. I DONT WANT TO GO TO SLEEP NOW, ILL BE MAKING A MASTERPIECE NOW

Drive (Bangchan, Lee Know) - 6/10 - ah yes, the song that is absolutely about driving 😀 this is such an unserious song for me too, it’s so silly. The autotune fits with the unseriousness like maknae on top. But yeah. Just two dudes singing about riding rough in the course of the night. RIDE LIKE THE MOTION OF THE OCEAN!!

Ice.cream (Hyunjin) - 9/10 - words cannot describe how much this song just makes my brain happy. They lyrics are sad tho ☹️ its about seeing someone who has a cold exterior as someone who is actually warm. Hence “i see ice as a cream babe” but in actuality they are just cold 😀 he had to go and make the trope actually sad 😀 but yeah. Relaxing r&b style song. I love it so much

Anyways. Thank you if you made it all the way to the end!! Stan Stray kids and Merry Christmas to those who celebrate!! 🫶🏻🎄

#emi reviews albums #kpop #stray kids #skz replay #skz

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