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worldsover · 3 years

Text

Judgement to the Desiccated ft. Karina

length ✦ 5573

genres ✧ sm type future; asphyxiation; blackmail; virtual_servant!Karina;

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Air did a poor job of not being polluted so Lee Soo Man flooded the world instead. The man himself certainly must be long gone and could not have been in charge of that decision but the legacy of his company far exceeds the legacy of any other human collective in history. Once on this planet, gas was the fluid of choice for respiration and breathing was an unconscious reflex. Now there’s Aether by SM. How very on-brand of them to have the liquid air you breathe follow perfume naming conventions.

Open your eyes and exit the sleeping chamber. Aether has you work for each inhalation, it desaturates the color of the bedroom—maybe there’s a subtle but uncomfortable tinge of yellow—and it makes your nose itch. Your muscles wield much less force than they used to because of the lack of resistance the fluid provides. Moreover, it smells like hairspray as though the ozone layer is taking sardonic revenge.

Screens impersonating windows track your eyes to ensure realistic parallax, playing the scene of divine blue heavens that could not exist. An azure sky is a reward for those planets that have an atmosphere and a sun for light to scatter. Your walls are either chrome or drywall white and your whole bedroom is plainly decorated just like the day you moved in.

“Etymology of bedroom,” you think out loud, though it falls on no ears.

“Bedroom is a compound noun consisting of bed and room. Bed goes back to Old English bedd ‘sleeping place, plot of ground prepared for plants,’ which goes back to the Germanic-”

Plants and sleep are both strong words to use nowadays. The former doesn’t exist in nature and it seems you’re the only one who bothers with the latter. Faint buzzing distracts you from the AI’s response and signals you to the nano drones that swim throughout the liquid to process carbon dioxide from your lungs. This whole ordeal could’ve been much worse if you didn’t have brain interfaces doing the hard part of controlling your diaphragm. The most you need is a purposeful thought. Still, it gets tiring having to think the same thought every three seconds. In. Out.

Was the metaphorical Soo Man teaching a lesson in perseverance? You love K-pop and imagine it’s how trainees used to practice dancing, singing, being charismatic. Being an idol had to be as natural as breathing air. Inhale and exhale. Right now with any antiquated programming language you clung on to, you could write a single for loop that did the same job. For every three seconds: breathe in, breathe out.

“What’s for breakfast today?” Not loud enough. “What’s for breakfast?” you think it louder.

“Welcome, master. Ae-Karina is ready for service.” It’s quite a kindness for SM to blur the bland dystopia you live in by augmenting reality through your neural device. A bosomy woman in a gold-lined but otherwise modest maid outfit appears from the corner of your eye and she bows. Ae-Karina is bewitching and almost becoming of her basis as its graphics have gradually upgraded over the rotations but you wouldn’t misconstrue the avatar as human.

“I said, what’s for breakfast!” It feels impolite to scream in your head, there’s other residents there, but finally the fridge lights up.

“Of course master. May I remind you eating is unnecessary?”

In. Out. Every day, she does remind you, yes. How kind of the company to put all your nutritional requirements in the new air. Aether goes in then Aether goes out. You wish the thoughts of breathing could fade into the background but they’re just like your cravings for food. Always hungry but never starving, whole though not once satisfied. Your eyes pause at her gorgeous face and she tells you there’s bacon. Take it from your fridge. Bacon goes in. Well, the drones take care of the out.

Your assigned living space is the entire 207th floor of a tower. Two hundred and seven floors below the surface. The neighbor a few floors upstairs says that he thinks living deeper is a sign of status. What a luxury. That guy should check the status of his facial muscles, maybe improve his code that lets him tell lies while he’s at it. A couple hundred flights of stairs to swim up is a useless skeuomorphism of skyscrapers in the days of the sun. In fact they were more than useless, you would've preferred a single vertical hallway as it would have let you propel upwards unimpeded. Each floor is the exact same, a glass door that affords no privacy for its residence, a false tree on each side. At the upper levels, malls, convenience stores and other gaudy retail, but it’s the gyms that mock you that you mock in return. They’re always empty.

Finally reaching the top is no true break even if it is a change in scenery. Inhale. Aether tastes a little different up here. Exhale. Can’t say you like it.

Countless satellites form a parody of the star from which the planet flew away, the false image refracted by the upper boundary of Aether. They can’t take away your memories of this star. Looking up at the sky once blinded you with ultraviolet radiation, burning your cornea. It was beautiful. Now everyone’s decided that if they’re playing the part of corporate dystopia, they might as well fit the aesthetic. In a way, it’s self-fulfilling. They wouldn’t have chosen a neon pink sun to compliment the blue and metallic gloom of the cityscape if it weren’t so ingrained in popular media already.

Still, you would’ve expected Google or Walmart to become the megacorp responsible for the state of the world, not a Korean entertainment company. Must’ve been quite the red paperclip scenario. Instead of material design or utilitarian architecture, tacky artistic structures line the streets. The same advertisements for albums that they’ve been selling for the past however long. It's all so obvious, the city could've been designed from scratch to accommodate new forms of travel and goddamn liquid air but instead they went with futuristic Tokyo.

Dubstep permeates your inner ear implants. A notification informs your thoughts that it’s “Hip-hop EDM dance pop with a strong jungle house groove and urban influences.” It’s dubstep. Liquid carries barely any sound so SM affords the option for implants if you're nostalgic for one of the senses. Even though it’s a slower form of communication than direct neural transfer, the noise comforts you. Of course the company would choose dubstep as their background music, but maybe they make money off refunds somehow. It switches to Ice Cream Cake. Much better.

You walk the not so busy roads towards a short brick warehouse in the distance and heavy rain soaks your clothes. No such thing as weather without the sun and water but it’s all simulated anyway.

A warm Seulgi adlib and you know it’s Psycho that starts playing. No, none of your senses are real. The most you could trust is your vision but even that’s being lied to. You could be living in a vat and fed all these thoughts, but then why make it so mediocre? Not paradise, nor torture but a lukewarm in-between. Guess that's what happens when SM Entertainment manages the post-apocalypse. Good on them for trying. The alternative would be a frozen hellscape without solar radiation. Can’t deny their work with geothermal and nuclear energy to keep the Aether warm so that you didn’t have to live underground for the rest of human history. It’s quite great PR to save humanity.

“Hey now, we’ll be okay,” repeats a few more times than you remember.

The Idea Factory Alpha White Delta Green says the neon tubes lighting the front of the brick and mortar building. Your ID card bears a name but it’s not yours, not until they approve your name change. Those usually get processed faster with how often people liked changing their names.

Sit at a desk with a sterile white keyboard and slick new monitor. Type and empty words appear on the screen: “Think for the many, not for the one. We need to think ahead.” A thumbs up. The company appreciates the input. That’s probably enough work for one day. Some SNSD live stages help the time pass, SM certainly appreciated the streaming numbers and it would net you some social points.

It’s hard to say what comes to mind when they ask you to envision a world without the sun and air, especially since it’s what you’ve known for... Two hundred years? There’s no frame of reference, that much you can tell from when you counted seconds to see how often the satellites completed their orbit. SM really took time to have them propel at random speeds, they love withholding sensitive information like that from citizens. To be fair, time is sensitive. Guess the meaning of that phrase changes like all parts of language.

Look around. Dozens of employees at identical workspaces all try to answer the same questions. Naturally, there’s no need for manual labor anymore but there will never be a replacement for human ingenuity. Nice slogan but you know you’re only here for data. Can’t see a need for customer retention though—what’s the alternative, skip Earth? See you on another planet?

“Hey bro, you come up with anything new?” Dave says. Two desks away, you see the enthusiastic, surprisingly spry man play around with a Newton’s cradle. The balls at each end bounce back and forth, not slowing down their rhythm any time soon.

“I think I got something,” you say, “Earth is not the answer. It can’t be, long term.”

“Ooh, I like that. Actually, I really like that.”

“What are you gonna do, copy me?”

“Of course not. You know how much SM hates plagiarism.” Click. Clack.

“Ha. As if there’s a single original thought left in the world.” Click. Clack. The imaginary sounds of metal spheres bouncing play in your mind. They got the volume wrong, no way it’d sound that loud from that distance. “You’d think with all their resources, they’d have figured out space travel by now.”

“I don’t think they want to leave, bro. Wouldn’t be great for profits.”

Your mouth opens to laugh and causes laugh8942.mp3 to play in Dave’s head. “I love it. SM probably hates that sass too,” you say.

“Oh no, they’re gonna arrest me for thoughtcrimes. Nah, they love creativity, just when it suits them. Also, if they actually did bust you for wrongthink like rumors say, I wouldn’t have this on me.” Dave twirls a finger and points at you and you thank his absurd flair for the histrionic that keeps you amused with such drab work.

“NewDrug.mp6. Would you like to play it?” the dry system voice notifies you.

“Woah woah there tiger, hold on.” Dave must’ve noticed your intrigued eyes and holds his hands up. “You might wanna experience that at home. But if you’re interested in more, ask for chicken parm at the vegan place. You know the one.”

Dave leaves his desk. He doesn’t return. You finish your work. Inspire. Expire. You’d rather not.

In contrast to your commute to work, the roads fill with others on your way home. You have to know. Take solace in the comfort of a bench where a huge McDonald’s arch bathes the surroundings and its people with a yellow glow. Really shouldn’t watch it now, especially if Dave says it’s a home type of watch but you have to know. A family of five watches you pass out. They, along with every other passerby, ignore your still body draped over the chrome outdoor seating as you look like yet another junkie. The title is correct after a fashion, the simulation is some sort of new drug. The details of the exploits that happen in the immersive replay wash over you but you don’t need them to know that it’s the sort of lewd that SM would not allow—at least not publicly and not without the right exorbitant payment.

Suit pants and underwear go straight to the laundry. That must’ve been an embarrassing sight but no one bothered to stop you, so it doesn’t matter. Look up where this vegan place was that Dave so presumptuously assumed you knew about and you find that it’s about four Avengers’ stores down from work. He must’ve eaten there before.

“Yo Dave, just wanna make sure, what’s the name of the vegan place called?”

“What are you talking about, man? You telling me there’s some secret underground farms that SM wouldn’t know about?”

You can’t tell when you got to work, a lack of standardized timing would help as well the haze of living in a monotonous dark. “Nah, I mean, for the-”

“I have no idea,” Dave emphasizes each word, “what you’re talking about.”

“I see.”

Work flies by, unusually.

“Hey, can I get a chicken-”

“Uh, this is Maron’s Veggies Only, it clearly says on the sign.”

Clear your throat. “Parm.”

The shifty part-time worker looks around and rubs his fingers gesturing for money. “No digital.”

Over the counter, you pass him a gold coin stamped with a holographic 1 and he hands you a USB stick and a laptop in return. How old-fashioned.

“It’ll sync with whoever you have set as your avatar experience aspect,” the worker says.

“Thanks.”

Ever vigilant as the patrol is, the alleys are the last place you want to go to hide with the obvious criminal element within them all but you head to one anyway. Dump the anachronistic technology in your storage pocket dimensions. Looking at its contents, you’d have to clean that mess up later, but the more you look like an average slob the better. The biggest problem with the inventories is all the people squatting in them. Inspectors wouldn’t care about the archaic ruins you left in yours.

“Welcome, master. Ae-Karina is ready to service.”

“I’d like to go on a date. A special date.” You highlight the key word special and sit on your living room couch. No one’s going to look in your glass door and regardless, you wouldn’t be the pervert for glimpsing into someone’s home.

“Ah yes, master. Ae-Karina is ready to fully service,” she says with a provocative tint in her tone, her sclera disperses to black to match. A pole drops from the ceiling while parts of her maid outfit dissolve which reveals more of the silky skin of her thighs, her lissom arms and most importantly her overflowing breasts. Ae-Karina wraps her legs around the pole and spins around, teasing fingers trace curves on her body to harden you. Her dance is precise but sultry regardless. She pulls up her short skirt to flaunt more of her ass beneath white panties and then pulls down to flourish her cleavage, not trapped by a bra. “Are you enjoying your maid’s show?”

“Very much so, yes,” you say.

Half of a smile forms before a glitch occurs and she teleports next to you, fully nude. It doesn’t pull you out of the illusion however. You just stare and drink in the splendor of her created body.

“You’re not going to touch?” Ae-Karina says.

A feel of her tits and you find it softer than pillows you used to rest on. Soft isn’t much of a character that exists anymore when the whole world is engulfed in liquid. No one has beds, especially with the rarity of sleep. Therefore, her mounds are a consummate dedication to the texture as you squeeze and pinch at her cute nipples.

Her maid outfit rematerializes as she straddles you. It provides more friction to your pants as she begins her lap dance. The weight of her body dragging across your legs and clothed erection induces your carnal impulses further. If only you could fuck the virtual idol. You have to make do with the imprint of her pussy lips on your bulge sliding up and down. Breath in. Breath out.

Ae-Karina pulls down your boxers and spits on your erection. It's not real but her hands so slick on your cock and you let reality slip. Real is for the past, you have desires gratified in the present. There is no real person nibbling at your neck but your nerves activate in sexual desire without discernment for truth. No, she doesn't love you, but when the voracious mass of ones and zeroes says it loves its master, you say it back.

"I love you."

ILOVEYOU infected ten million computers in 2000. An explosion. Calibration engaging. It’s 1:21 PM, Sunday, July 18, 2286 and hypothetically the sun would be out in its full rage. At this latitude and longitude, you’re at what was once the epicenter of all—Seoul, where a fountain caused a chain reaction allowing the hopeful remnant of a world to exist. It lasted a surprisingly long time without the sun and without Aether but the dying planet would succumb inevitably to the ever-increasing contamination so SM of all corporations took charge. A different kind of chain reaction occurred when they acquired a restaurant chain that discovered the recipe for liquid air. The law is on its way and prepared to punish you to its full extent.

You reel while your ears ring. An even sexier version of the woman you already fantasized about appears from your peripheral vision in the crater of your floor. A skimpy cop outfit, striated with reflective material that seems to wane black at different angles, outlines Karina’s curves. She has a tool belt with absurd gadgets, such as a knife baton hybrid, a taser combined with a spray bottle and a Tamagotchi. None of this is necessary. They could just immediately arrest you, impose limitations on your devices. Sure, SM cloned people to deal with underpopulation, but why Karina would be the enforcer is a whole nother issue. Maybe the entertainment company loves their irony?

“Halt. You’re under arrest. Any resistance will be penalized according to the combined Terms of Service of all SM and SM associated products.”

Fucked anyway, you figure you might as well go for it. Escape into your inventory and only seconds later you’re forced out. You manage to get what you need regardless.

“Violation of access rights will be charged to your account.”

It’s so obvious but there’s a reason you kept so much gold in physical storage. As you swim away, the sides of your apartment start to bubble. Bubbles? Already, your limbs feel unsteady. Something’s wrong in the Aether.

“This is standard procedure for escaping suspects that are indoors. Again, this is all agreed to under the Terms of Service.”

“When the fuck did I ever click accept to that shit?”

“When you were born in this world and decided you want to stay in it,” Karina says out loud. You hear her say it. Your physical ears process the vibrations in the air that come from her mouth. Gravity thwarts your desperate escape as your limp body floats on the limit between liquid and air. The atrophy of your muscles becomes apparent within the gaseous atmosphere. She watches you sink down as the room drains of all the false air though her eyebrows crease when she inspects you closer. Your breaths are involuntary. Despite your muscles shorting out, the force of gravity and the pressure of the gas bearing down on you, you’re breathing and you don’t mean to. Her eyes wander farther down. On your pants, a concrete rod stamps the fabric.

“Oh, you like what you see?”

“Shut up, criminal. Anything you say can and will be used against you.”

“Your pussy,” you say and she scoffs.

“Original.” Karina bites her lip as your erection continues to grow behind its prison. You use all effort to put your hands up.

“Please, miss Karina. I’ve been bad.”

“I could punish you even more for sexual assault.”

“Then do it.”

Heat radiates the room in a way you haven’t felt in a while and droplets of sweat form on each of your bodies, especially on the thighs that her revealing outfit parades. Her facial features contort in deliberation and the wait kills you. You bat your eyes at her before Karina takes off her tight shorts and drops herself into your anticipatory face. This makes no sense but none of this life made any sense so you decide to go with the tides.

Centuries of training your respiration has led to this moment, but when you finally have real air to breathe, you spit at the opportunity and choose to suffocate. Then you spit at her pussy and lap it up. Karina’s nectar transfixes your olfactory glands, for once a smell that isn’t the sterile Aether. Your eyes are mesmerized in parallel because of the perfect design of her pussy, a single crease that leads into her hole that your tongue emphatically explores. Karina spreads her thighs wide to reveal a small nub that craves attention. So give it. Suck and swirl and flick your tongue, and the woman provides you the tight clench of her legs as a gift. And the sounds, rediscovered glorious noise. Loud, almost too loud, and clear is how they assault your ears, even surrounded by the flesh of her thighs. Muffled by the weight of her legs, you hear Karina moan in approval but she’s still clearly in charge with how she chokes you with her legs. This is not about your pleasure but hers, and any satisfaction that you derive is not only incidental but probably punishable by SM copyright law.

Karina squirms her hips subtly on your mouth. Her eyes are sharp and she’s just about to stop your hands from moving but she notices them clasp together.

“I’ll do anything to make you cum, please.” you say sloppily as her pussy juices fill your cheeks and drip down your chin.

“God. I can’t.” She takes deep, contemplative breaths. ”That’s more time added on for inappropriate behavior.” Her groaning and brief squeals make her words sound incogent.

You give her a concluding lick and a kiss on her slit. “So what have you been doing right now then?”

Point to a corner of the room and a subtle red light indicates a recording camera. At once, she pulls out a hose from a pocket that could not fit it and the vacuum submerges the room with noise. Her expression shifts quickly to serious.

“We don’t play games here in SMTOWN unless it’s SuperStar so don’t fuck with me.”

“Look who's trying to be a comedian. How about you fuck with me any further and the video gets released.”

“That’s funny, you think you have any sort of power-”

“Yoo Jimin, I suggest you don’t push me more.”

“Where do you know that name from? Right now.” She weighs herself down on your neck.

“You think I don’t have contingencies for if I die too? Karina, we can make this a win-win scenario. We both get to cum, we both get to walk away unscathed.”

“Fuck you.”

Your weak arms wander between her thighs. At any moment, a feeble punch towards your face or another ten seconds of asphyxiation and she could call your bluff. Even if you did have the ability to expose her perversions in any way, there would be no permanent recourse, not as long SM was in charge. So it surprises you when Karina takes off her shorts.

“Goddammit. Your cock just looks too good. And your mouth, how are you so good with it?” Put up five fingers when she motions to remove her top as well, and instead she opts to take off your clothes, seizing your pants and throwing them to join the rubble in the room.

A finger slips in, then two and a third dares. Her flawlessly architected pussy lips clings to your digits and Karina shudders in reply. You explore her wetness and find it’s smooth to the point of having no faults, but her juice inside is gloppy and causes your fingers to stick more than the liquids she spills from her slit.

“Who said you’re allowed to have more?”

You lap up the nectar on your fingers. “Then why’d they make you taste so good?”

Your thumb teases her sweet tight asshole and puts just the slightest amount of pressure on it while you finger her with more intensity. The mass of her butt burdens your torso the closer she gets to orgasm. Her eyelids squeeze close and you see her body ripple in anxious pleasure. Karina shows off her pearly whites, teetering on the cliff of hysteria.

“Yes, yes! I’m so close,” she screams.

"Not yet."

“Fuck." Karina sobs, "God. Damn, fuck I'm sorry. I'm sorry. Just fuck me.”

“My pleasure,” you say. There’s no need for you to grab her since she brings herself down to your groin, which you’re thankful for as your arms are as good as jelly now. Fortunately, your cock throbs as hard as ever while Karina’s slit rests on it.

“Say you’ll delete it all, all the evidence, promise me.”

“You’re gonna fuck me first or what?” Your breath hitches while she makes a strangled noise as her velvety walls swallow your cock whole to leave no room for comfort. Her tightness is stifling and you have to start counting just to breathe again.

“One two-”

“Be quiet.”

But there is no quiet when pleas for your cooperation intersperse her excessive profanities when she seats herself into your cock and ricochets up and down. Sweat emanates from her creamy skin while her legs widen to find a better angle for her supporting knees in her cowgirl position. Grapefruit and other citrus mingle with the scent of the sweat, fruits you haven’t seen except on billboards in music videos. As much as your mind crackles and your blood roars for every atmosphere of pressure Karina’s walls provide on each thrust in and out, you can’t help but reminisce on sweeter, more innocent times.

The white fluorescent lights in your apartment sputter. For all the advancements in technology, some among many things never change. Light refracts differently in air, less bright, but you can see the pure enjoyment on Karina’s face no matter the luminescence. Karina slows her ride to pull her hips down harder instead and she jolts when your cock finds the most tender spots inside her pussy and it interrupts her babbling.

Karina almost hyperventilates when she gets up to spit on your cock. She pulls out some kind of meter from her tool belt and sighs when there’s no beeping and you recognize it having to do with carbon dioxide. She gets back to dribbling saliva and the filament trailing down to your shaft mesmerizes you. This spit is real, not simulated, and it wettens your erection in a mix with her pussy juices to paralyze you further in your already listless state. Her bare thighs jiggle and you can’t exert much force with your hands but her buttcheeks are firm with just a bit of give.

“Thank you for this cock, thank you for being bad,” Karina says as you watch her ass sink deeper while her pussy holds your dick taut. She’s frenetic when bounces up and down to play an unadulterated orchestra of slick noises between your groins.

“You’re welcome,” you accomplish getting out the words between planned breaths. Your hands cup her buttcheeks but you fear they may break with how she strikes her ass into you.

Karina turns around once more to give you the spectacle of her facial expressions as she fucks herself into you. Knead her calves laying on your torso and they take no energy to spread them though she brings them back together, compressing your hard shaft within her pussy. A new game you play with her, a separate rhythm of loosening and tightening. Her feet press on your chest to help her bounce, but the way they bear down on your lungs against the timing of your breathing causes you to fumble. Your cock bends straight forward as she plunges herself into you and it sends prickles to your entire skin, making the new angle difficult but worth it. Karina takes your hand and starts sucking on your fingers.

“You want my promise that bad?” you say.

“Yes, as bad as I want your cum. I swear, I need it.”

She draws her knees up to her torso and hugs her legs to keep thighs as tight together as possible. Karina couldn’t keep her word, she was trying to kill your cock with constriction.

“Fuck, your pussy is so fucking tight. God, Karina, fuck. You’re so good.” Even if good isn’t the word you want to use to describe her.

“Do it, please, please. I’m sorry, I’m so sorry, baby. Karina can be a good girl, a good maid, a good cop, whatever you want. Just don’t get me in trouble, please.”

Karina’s mouth stops saying words though her lips writhe, drunk in increasing lust. Her cheeks flush, before the rest of her skin joins in redness while she grapples your chest and whatever spare limb she can find. You still struggle wresting control of your body but nature seems to take over when you drive yourself into her and match her needy cadence. The air in the room is replaced by a new air but it isn’t Aether. Passion, sweat, heat and all fluids that you both exude join squelching sounds, slaps and moans in harmonic bliss when her body tenses and she screams. As her body tightens, her pussy especially holds your cock for dear life and endeavours to wring out all your semen as her wetness throbs and spills. Karina starts counting to three repeatedly and you laugh though your amusement quickly subsides when you feel her juices become more viscous and she continues her ride, even in the dying pulses of her climax.

“Was I good?” Karina asks.

Just a moment goes by before you mentally send her a screenshot of all the recordings being deleted. Karina hasn’t stopped fucking you yet so at least it wasn’t a ploy.

“Thank you, thank you, I love you.” The flexion of her pliant legs brings them all the way back to rest on top of your legs. Karina lays prone above you and finally give you a kiss. The citrusy flavor may be closer to lime than grapefruit but it’s been so long that you can’t remember which scent is which. Lips crash and her tongue lashes out at yours trying to establish dominance. Keep still to let her investigate your mouth while her pussy does the same to your shaft.

You savor the way Karina’s top emphasizes the bouncing of her tits synchronous with the rebounding of her waist on your cock, but your mouth waters when she frees them. Take the shortest moment to relish in the sight before Karina smothers you with her plump globes. You wriggle your face to try to breathe. Inhale, up and exhale, down, but all you inhale is the scent of her orbs’ sweat. Her hips undulate with a pace at least double yours breathing and the echoes of slapping flesh resonate throughout the air-filled chamber. The loudness is unlike any you’ve experienced in a long time. It’s almost a flashbang every time her ass slams into your lap, especially as you start to see white when orgasm threatens to overload you with preludial pulses.

The last words you hear infected ten million computers in 2000. Fade to black. Cut. You’re slammed out of existence back into existence as a sun rebirths both within you, heating your core to a dangerous high, and from your eyes, dazzling you in an unforgiving white light. In the throes of unconsciousness relapsing to consciousness back to tenebrosity, your streaks of semen suspend in the Aether like a dead tree resting from the wind. What flashes your mind in its orgasmic state are two things only you would remember, plants and weather. Your hyperventilation is unconscious but not unwelcome, as it’s the first time in a while your breaths were reflexive even in the liquid air. However, basking in your newfound power, you start to choke. Right. You breathe in and out again. In and out. In. Out. In. Out. Back in.

“Replaying KarinaArrestsYou.mp6.” A hint of vexatious glee in the system’s otherwise dry voice. You don’t stop for it.

✦✧✦✧✦✧

AFF, AO3

It’s pretty silly but the idea danced around in my head ever since I saw the absolute Black Mirror concept that SM had for aespa and I concur that Karina is insanely hot.

As I’m writing this, this Kurzgesagt video on the idea of a rogue Earth comes out and now I have to rewrite stuff to make it at least a little consistent. I’m obviously already going nuts with all these ridiculous sci-fi concepts but this video almost feels too targeted to me writing this for me to ignore it.

#kpop smut #aespa smut #male reader #reader insert #title tracks

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glumvillain · 3 years

Text

GlumReviews #8

Today’s review will abandon the traditional structure to honor the album I have listened to today.

Hip Hop has largely remained an elusive myth to me as the 2010s spun off into several sub genres of rap. Underground acts proliferated to niche groups on the internet and algorithms began determining what’s popular for the streaming public. Hip-Hop has suffered in quality in the past decade as more pop and electronic dance elements have been incorporated for popular acts to be more accessible and cross-genre friendly. Long gone are the days of gangsta rap and rappers who could rhyme fluently about their life on the streets. Largely replaced with corporately funded and approved personas that work better as brands than as artists.

It’s with this disillusionment that I enter alot of “modern” hip-hop albums with, and I’m very rarely surprised, moved, or even inspired by rap music that came out post 2010′s

Then I was suggested an album today that was new and different. From a different time, even. The year 2012, when the world was much much different, and the country itself had different problems to obsess over than our current shitstorm in Feb. 2021.

billy woods is a rapper based out of New York who kicks the structured verse/chorus/verse monotony of hip-hop to the side in favor of loosely spoken-word poetry overlayed over chaotic hip-hop jazz and electronic beats. I find myself listening to his 2012 release History Will Absolve Me. His seventh studio album and a welcome addition to the world of fringe hip-hop that I thoroughly enjoy

Now due to such limited information apart from magazine interviews that would eat into my time trying to write this, paired with the length of the album, I have concluded I cannot succinctly review each and every song without it becoming repetitive or boring so I just wanna touch on the album and what it means to me.

From the beginning of the album you are greeted with the immediate electronic chaos that will be the main delivery system for Woods’ intelligently thrown together rhymes. Each song is filled with some of the best lyrics I’ve heard from a rap album in a very long time. For surface fans of hip-hop this may be a hard listen as woods’ style is very loose and almost spoken word, barely hanging onto the tempo of each beat but somehow able to make a full circle with his drunken master rhyme schemes. Deeply political and thought provoking, this is a dark and hostile look at the world and society through real hip hop artists. The popular artists of today all speak from a place of high privilege and lavish living. Reality suffers when we don’t have artists who are living real lives, experiencing or at least understanding the harsh conditions of poverty and the dwindling middle class.

Hip Hop comes from a place of struggle, whether that initial message was to talk about the sadness of growing up disadvantaged or to create a way to escape those surroundings that gave no aid to big dreams. Rap music has turned into a glitz and glamour, glam metal era of it’s own. The aspiring rapper is no longer chasing an escape but a route to being rich and famous. Which can arguably mean two completely different things.

woods’ lyrics don’t feel like the expression of a lifetime lived in someone’s shoes but to be dictated at the speed of thought. It feels like stream of consciousness plain speak. Almost bordering on manic and incoherent ramblings of a drug addled mind (I make zero assumptions with that statement as I believe it to be a style choice) There’s nothing about this record saying to keep partying and ignore the social fabric on fire outside your window. The production is chaos but kept in line enough to give us the rhythm that woods’ conveniently is either one step ahead or behind. No glitz, no glamour, no thumping obnoxious 808s or bass noise. He can’t hide behind high end production value and instead you’re forced to fully focus on the lyrics and listen to the words being spoken to you.

Fans of Immortal Technique, Saul Willains, Aesop Rock, Earl Sweatshirt, and MF DOOM can find a common thread with this album. And billy woods earns a staying position in my mentions when it comes to competent rappers making real hip hop music in an age of fake ass dime a dozen rappers.

⭐⭐⭐⭐/5

It’s an album worth checking out if you’re truly in the market for rap music with substance and you want a break from the structured and regular. It is a dark and unfriendly journey but you feel almost compelled to finish out the journey. Clocking in just over 1 hr runtime, this album is a great trip away from the normalcy that has become the standard rap music schlock being pumped out at a steady pace.

#billy woods #album review #music review #hip hop #rap music #glumvillain #glumreviews

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strangledeggs · 4 years

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Strange Nostalgia For The Future – or: Death By A Thousand Taylor Swifts – or: This Is Pop?

Holy shit, when did this article get to be over 8 pages? Sorry everyone, Tumblr isn’t letting me do a cut, so this is just going to clog your feed for a while.

This began as a long-form review of Dua Lipa’s album “Future Nostalgia” with comparisons to the styles of a variety of other pop artists, but has since turned into something much broader and more nebulous. Call it my (incredibly subjective) attempt at defining a current “state of pop music” as it stands in the year 2020.

I’ll admit, I have a bias here, so I’ll lay that on the table: I didn’t particularly care for Dua Lipa prior to the release of “Future Nostalgia”. Actually, if I’m being completely honest, she didn’t really register on my radar until the album’s release, and so I didn’t hear any of her earlier songs until I spent a few minutes on Youtube scrambling to remember who she was and why this release was supposed to be such a big deal. I came up relatively empty-handed, with “New Rules” having more interesting production than anything in the way of a vocal hook and “Be The One” sounding blandly forgettable.

But music journalists were spinning this narrative that “Future Nostalgia” was Dua Lipa’s big moment, her “disco” album, her album full of “bangers” (yes, I know, that’s an archaism at this point, but what am I going to do, call them “vibes”?). We’ve seen hype like this before (at least I have), so we should always take some time when an album arrives with this much fanfare to ask that crucial question: is it justified? Does it live up to expectations?

I’m going to answer that question, but before I do, I want to take a step back and place that music journalism narrative within a broader music journalism meta-narrative that has been slowly gaining traction over the last decade. About 7 years ago (so around 2013), I wrote a guest article for the (what I assume is now defunct) blog Hitsville UK on another meta-narrative called “rockism”, by which older listeners and journalists tended to use to justify their dismissal modern pop music through the glorification of (and comparison to) the canon of rock music. This was not a unique article – many music journalists were writing about this same phenomenon that year; it will likely mark some sort of watershed moment in music journalism. Frequently contrasted with the meta-narrative of “rockism” (not so much in my own article, but definitely in others’) was a countering meta-narrative named as “poptimism”. It’s basically what it sounds like: an optimism that current pop music could be just as good as music of the past, or even better. This was, of course, already known in a lot of mainstream music journalism circles, but it did cause a bit of a stir in independent music journalism, especially since it seemed awfully hard to deny; then-recent examples of indie stars like The Weeknd and Frank Ocean* aspiring to make genuinely great pop music seemed like they were making a pretty good case for the poptimist outlook. Plus, as a new generation of music journalists raised on hip-hop began to cover the genre more seriously, it soon became clear that, given the crossover-laden history of rap, they would have to take pop music seriously too.

Needless to say, poptimism gained a lot of traction as a new paradigm, until it became the default outlook of music journalism by the middle of the decade. It has, as far as I can see, yet to relinquish its grip, and that’s not such a bad thing; arguably, a lot more women, queer people and people of colour have had their music taken more seriously since the shift. Before we get back to “Future Nostalgia”, however, there’s one more piece of this puzzle I want to put in place: coinciding with those early years of poptimism, pop itself hit a bit of a turning point in the year 2014. This was, of course, the release of Taylor Swift’s album “1989”.

What was so special about “1989”? It’s still a bit hard to answer that completely coherently, but it clearly changed the pop music landscape in meaningful ways. For one, it demonstrated that the overcoding of global pop music made at the hands of big-name producers was not just an approach reserved for the “born pop star” figures of Britney Spears or Christina Aguilera. Taylor Swift, formerly a country singer with pop leanings, now went headlong into Max Martin-penned chart-topping smashes, and just like that, she had become deterritorialized. It was a huge success, and, interestingly, one of the first albums that got a lot of independent music journalists (and me) to take her seriously despite being her most overtly commercially-driven. I think this speaks to the power of poptimism in 2014 from two angles: for the journalists, the lesson seemed to be that if someone is already doing something near-enough to mainstream pop and then breaks through with a mass-appeal hit, why not see this as a kind of fulfillment of artistic intent? And for Swift, if you’re already doing something near-enough to what’s playing on pop radio, why not go all the way with it and sacrifice your country “credibility” for the ability to have hits beyond the genre-specific? “1989” marked a turning point at which pop music, formerly seen as something people “sell out” to make, became something you “sell into”, erasing a specific, localized identity that could be exposed as a construction anyway and replacing it with the ambition to conquer the ears of the masses.

I should clarify here, however: there are two possible conclusions one can draw from poptimism. The one I just documented, that pop music as a global/commercial phenomenon can be great and should taken seriously by music journalism, is the more frequently-taken interpretation, but it’s not my preferred one. I would rather the alternative view, which is that most music that people have tended to hear the last several decades, whether marked by the seal of “pop” or not, has been pop music. Rock is a form of pop. So is country, so is hip-hop, so is jazz, folk, metal, etc. We can distinguish between, say, the commercial radio pop – which I’ll from this point on designate as “Pop” with a capital “P” – and the pop tradition, but everything descends from pop tradition in the end, and Pop is just one more subgenre among many, albeit by definition the most popular at its given moment. Seeing that this is pretty indisputably true (and if you don’t believe me, you a) haven’t been reading my blog for long enough and b) have some serious research to do), we might as well take Pop as seriously as any other form of pop and subject it to the same criticisms, while simultaneously adjusting our criticisms of other pop subgenres in relation to our new appreciation of Pop. Who created the texture of this Pop song? Does this metal song have a hook? Is the phrasing in this hip-hop song conducive to its overall rhythmic feel? And so on, and so on.

I prefer this approach because it doesn’t necessarily assume a supremacy of one genre so much as level the playing field to allow for a more robust and less prejudiced criticism. It also doesn’t let listeners off the hook, as many (non-critics/journalists, most likely), given the opportunity raised by the previously-detailed interpretation of poptimism, would lazily slip back into listening to Top 40 radio without attempting to seek things beyond the charts; this alternative interpretation challenges us to try and hear the similarities between Led Zeppelin, Rihanna, Young Thug and The Clash while recognizing what each do uniquely. Unfortunately, it seems like the former interpretation has won out, at least for most audiences, and we now have a listener-base that, instead of keeping their ears peeled for next-big-thing indie groups like Arcade Fire as they might have circa 2008-2012, is content to wait for an already-famous star to drop the next “1989” crossover smash**.

This brings us back to “Future Nostalgia”, the latest in a line of Pop albums that seem primed to vy for that coveted position. There is, however, a bit of a gulf between “1989” and “Future Nostalgia”, and it’s not just because the moment of “1989” and poptimism has already happened. It’s also not because Dua Lipa isn’t “crossing over” from any outsider genre like Swift did with her move away from country – if anything, Dua Lipa is doubling down on her Pop ambitions here by putting them up-front and trying to make this album as blockbuster-signalling as possible. The biggest gulf is the musical one: compared to “1989” (and, I should add, a slew of other blockbuster Pop albums from the last decade, which I’ll get to discussing soon enough), “Future Nostalgia”’s songs are oddly lackluster.

Let’s start with the good, though. On my first listen to the album, I wasn’t completely baffled that critics were hearing something momentous in it. There are absolutely (again, sorry) bangers on this. Ironically, the two that stood out to me immediately were two that I later learned weren’t even released as singles, which might speak to the marketing team’s inability to judge the quality of the music they were handling here. “Cool”, easily the best thing on “Future Nostalgia”, rides a sort of bouncy warping of the riff from Cyndi Lauper’s “Time After Time” as Dua Lipa gushes about how she just can’t control herself in front of her lover; it’s sweet, both lyrically and musically. “Love Again” (no relation to the Run The Jewels song) is perhaps the album’s most explicitly “disco” song with swelling strings and everything, and expresses a similar sentiment to “Cool”, though perhaps from a more reluctant angle: “God damn,” Dua Lipa sighs in the chorus, sounding simultaneously annoyed and amused, “you got me in love again”.

The songwriting on “Cool” and “Love Again” also happens to be some of the most basic on “Future Nostalgia”; the beat loops, albeit with some nice flourishes and rhythmic quirks, and Dua Lipa cycles through a few simple melodies, the catchiest always winding up in the chorus. “Love Again” is practically a blues song with its AAAB-repeat phrasing. I highlight the virtues of this simplicity because it throws much of the rest of the album into a stark contrast and exposes its greatest weakness: many of the other songs on “Future Nostalgia” feel fussed-over and patched together out of pieces that don’t always fit, as if the several writers*** involved in these songs weren’t in the same room when the track was finally put together. The album seems to be a case study in throwing everything at the wall and not bothering to consider whether it will stick. And yet it seems to have a small army of critics defending it, even going so far as to call it the pop (or at least Pop) “album of the year” – which has me wondering exactly what all the hype is about.

“1989” has something that a lot of other blockbuster Pop albums since its release do not: a personal touch. Taylor Swift worked hard prior to that album at building her brand as a confessional singer-songwriter, and even with the big-name productions and radio-primed hits, she maintains that image: one of her biggest “1989” hits, “Blank Space”, explicitly addresses her (supposed) romantic history and relationship to the media. Elsewhere, she does some fantasizing about classic movie archetypes and the impulse to drop everything and run away from it all, strongly reminiscent of her past work. It’s not as easy as it might sound to pull off this kind of thing, and I think Swift deserves credit not just for the excellent musicality of the songs she put her voice to, but the consistency of the strong personality she built across her career (with misstep “Reputation” sticking out as the glaring crack in the portrait).

So I won’t compare “Future Nostalgia” to “1989” beyond the initial poptimism narrative it bolsters. No, “Future Nostalgia” isn’t particularly personal – its mode seems to be more in line with what Robyn was already doing a few years before Swift, anticipating a poptimism that would effectively result in her deification over the course of the 2010s. Similar to Robyn in her “Body Talk” series, Dua Lipa seems to approach “Future Nostalgia” with a kind of assumed confidence as a dancefloor queen – more celebratory than confessional.

The celebration, however, proves to be pre-emptive; “Future Nostalgia” lacks two crucial things that “Body Talk” had in spades. The first is a general willingness to experiment. Robyn’s albums were packed with silly throwaways, but some of them stuck, and the best are featured on the collected version of the album, from the Snoop Dogg collaboration “You Should Know Better” to the cybernetic-pop-anticipating “Fembots” to the sassy “Don’t Fucking Tell Me What To Do”. The title track of Dua Lipa’s album demonstrates a little bit of adventurousness, but it unfortunately flops, arriving in the form of awkward half-rapped verses that aren’t fun enough to leave a lasting impression. The only other potential outliers are the aforementioned “Cool” (which just happens to sound less disco than the rest but is otherwise a fairly standard, if well-written, pop song) and the album’s absolute nadirs, “Good In Bed” and the closing ballad “Boys Will Be Boys” (we’ll get to that in a bit). Otherwise, the album carries its aesthetic pretty consistently between tracks, giving little impression of any desire to experiment.

The second missing element is the consistency of the songs themselves. When Robyn’s songwriters toss her, say, a pseudo-dancehall song, they commit to it, making sure there are no weird melodic/harmonic/rhythmic hiccups and that the pieces fit together. And unfortunately, the majority of “Future Nostalgia”’s songs are full of exactly those kinds of hiccups and disjointed structural assemblages that leave me scratching my head. A lot of it’s subtle to the point that I can almost understand other critics missing these details, but I pick up on this stuff fast, and once I hear it, I can’t unhear it.

A lot of it’s in the phrasing; too often, Dua Lipa will go for a quick succession of staccato notes in a chorus when a simpler, slower phrase, or maybe just silence would have worked better (see “Break My Heart”, or the post-chorus of “Future Nostalgia”, in which she sings the 100% non-credible line “I know you ain’t used to a female alpha” – side note, has she even listened to top 40 radio in the last decade?). “Physical” is almost fun until you realize that the phrasing, melody and harmonic structure of the chorus would fit perfectly into any godawful Nickelback song.

Actually, “almost fun” is one of the phrases that I feel best describes so many songs on this album. Too many of the tracks set up something great only to follow through with some baffling songwriting choices. The second track in, “Don’t Start Now”, disrupts an excellently-phrased verse and infectious bassline with a chorus awkwardly parachuted in from what sounds like a 90s house song. The more in-character post-chorus that follows can’t help the song recover once you realize that it’s nowhere near as endearing as the original verse melody. That half-assed rapping makes a re-appearance in the bridge of “Levitating”, which is otherwise perfectly acceptable. If not for that moment, “Levitating” would come close to being the third pick of my favourite songs here, although you can’t fool me, Dua Lipa: I know that chorus is just a sped-up re-hash of the Jacksons’ “Blame It On The Boogie”. “Pretty Please” is also fine, funky and subtle, displaying some restraint on part of the songwriters and producers for once – though there’s also nothing about it that jumps out and grabs me. Besides the two standouts, is that the best I can hope for on this album, a song where nothing goes horribly wrong? At any rate, it’s better than the bland, shameless Lily Allen rip “Good In Bed”, which also features an utterly confounding “pop” sound effect in the chorus replacing one of the mind-numbingly repeated words.

There are some exceptions with regard to singers that can make use of this kind of disjointedness. Ariana Grande’s “Sweetener” walks a thin line, but it often pays off. See, Grande is a singer’s singer, at least by Pop standards; she’s known for crooning, for belting, for singing her lungs out. But she also wants to be a Pop icon to young people right now, and that means staying up-to-date in her production and songwriting. The trouble is, one of the most popular genres with the kids these days happens to be trap, which doesn’t exactly lend itself to Grande’s showboating vocals, favouring short, choppy phrasings and half-mumbled half-singing mixed almost low enough to blend with the music. So she compromises: some of the songs on “Sweetener”, such as the title track, have verses and choruses that feel as though they’re pulling in opposite directions, with Grande getting an opportunity to flaunt the long high notes in a percussionless section before dropping into those staccato bursts that suit the heavy 808s of trap. Despite it being more drum’n’bass/R&B throwback than trap, a similar dynamic is at play in Grande’s biggest hit from that album, “No Tears Left To Cry”. Unlike Dua Lipa’s lurching song structures, Grande’s feel intentional and thematic; the songs aren’t always bulletproof, but I feel like I learn something about her by hearing the tension of styles she’s struggling to stretch herself between. All I feel like I learn about Dua Lipa from the messiness of her songs is that either her, her songwriting team, or both are very confused about what goes into an effective pop song.

Of course, Ariana Grande is also operating in a slightly different mode than Dua Lipa in the first place: whereas Dua Lipa is engaging Pop radio in the recent tradition of satisfying formulaic hits like those of “1989”, Grande has one foot (or maybe even one and a half?) in the parallel tradition of R&B. While the two traditions frequently mix and crossover on the radio, they represent very different approaches to music whose distinction might provide some insight into why some of what Dua Lipa is trying to do isn’t working.

To put it simply, the basic unit of what we’ll call traditional pop is the song, and the performer of the song is meant to convey the essence of that song as a relatively unwavering whole – the performer is effectively the conduit for the song, which reaches the listener through the medium of the performer. The singer has some room to “interpret”, but once a given interpretation is found to be effective in its “hook” potential, it’s typically kept as part of the formalized song, written in stone, more or less.

R&B, true to its roots in “rhythm and blues” and, before that, jazz, essentially reverses this. Songs are present in R&B and not necessarily unimportant, but they typically become conduits for the performer’s own expressiveness. In this setting, the performer’s “interpretation” is actually the most important ingredient, as the performer’s style is effectively the product, the listener’s focus. This places greater emphasis on experimentation with phrasing, melody and other aspects of a song, as well as the potential differences between multiple recordings and performances of that song.

These two paradigms have consequential implications for singers of songs operating in a given mode. A traditional pop singer, for example, is going to be more likely to defer to the song as-written in their performance of it for a recording. An R&B singer, by contrast, is more likely to improvise, often delving into explorations of how to make their voice a more expressive instrument – in many cases, actually, it can be a matter of making their voice more like an instrument, full stop. The notes aren’t sung to express words so much as they are sung to express pure sound. Vocals can vary wildly in rhythm, giving off phrasings that might normally be considered unnatural, but, if placed artfully enough, can re-shape our expectations of pop music in the first place. These aren’t ironclad rules, by the way – the genres cross over frequently and the lines are often ambiguous. But I think defining the differences here can at least help us understand the split in the approaches of, say, Taylor Swift vs. Janet Jackson.

Arguably, the biggest R&B star in the world at the time of writing this remains Beyonce, and with fairly good reason: her powerful voice brings a lot to what are often already well-written songs. Take note here: something like “Formation” (which I have previously written about in my article on hip-hop’s inheritance of the post-punk legacy) or even “Drunk In Love” probably wouldn’t fly in the realm of Pop. Tracks like these are mainly embellished not necessarily with flashy songwriting or production flourishes (although they can have those too), but with Beyonce’s vocal interpretations of them, sometimes approaching something more like rapping than singing****. Note also: vocalizations in this context are given a certain freedom, a license to be weird within a certain range of acceptability. Need I remind you of “surfboard, surfboard, / Grainin’ on that wood”?

My point here is that R&B singers are playing by different rules than Dua Lipa. This isn’t just me arbitrarily deciding that what she’s doing isn’t “R&B enough” – you can here it in her approach. My criticism of her awkward phrasing is based largely on the fact that it doesn’t sound like she’s doing it to “experiment” with the songs she’s given. She repeats these phrases exactly the same way each time, as in the chorus of “Break My Heart”, just so you know it’s intentional. If she is, in fact, improvising, the songs aren’t very suited to it and her attempts are mostly unsuccessful; they become hooks that highlight their own weaknesses rather than bold forays into new rhythmic territory.

The most interesting part of “Future Nostalgia” is, by far, the backing music. Even when Dua Lipa’s singing and hooks fail, the production shines through (even here, though, there’s a caveat with regard to the last two tracks). Consider the sublimely gauzy vocal(?) loop at the beginning of “Levitating”; the sweeping disco violins of “Love Again”; the finger-popping funk bassline of “Don’t Start Now”; even the Justice-lite bass synths in the chorus of the otherwise by-the-numbers ��Hallucinate”. “Physical”’s best aspect is, in fact, a small countermelody running in the background of the obnoxiously bland chorus.

This is where I can most understand what got music critics hyped up on this album in the first place: superficially, at least, it sounds pretty damn good. But I suspect the willingness to overlook its other obvious faults stems from a tendency among “poptimistic” critics to treat singers as interchangeable in a system they perceive to be dominated more by “sounds” than by music proper. In fact, the singer is a real make-or-break point in much of modern pop music (Pop or otherwise), likely due to the focal point they occupy; a great singer can occasionally salvage a terrible song, while a bad (or even just mediocre) singer can easily bring down the most well-constructed powerhouse hit.

A case against valuing “Future Nostalgia” solely on the basis of its production: the last Pop album I remember listening to where the production outshined the songwriting was Billie Eilish’s “WHEN WE ALL FALL ASLEEP WHERE DO WE GO?” Eilish’s songs aren’t bad, and are frequently even good – but I was surprised at how conventional, or even “traditional”, most of them were. “Bad Guy” and “All The Good Girls Go To Hell” are basically jazz songs. “Xanny” and “Wish You Were Gay” (the most lyrically immature, it must be acknowledged) are pretty standard singer-songwriter fare. Others tend to play to a type: either sleepy ballads (“When The Party’s Over”) or, the most interesting songs on the album, the hip-hop influenced minimalist pieces (“Bury A Friend”, “You Should See Me In A Crown”).

But of course almost all of these songs are transformed in part by some rather astonishing production. No one who’s heard “Bad Guy”’s synth-squiggle chorus would mistake it for jazz, and the chorus of “Xanny” squirms in a shroud of distorted bass that pull back when you least expect it – hardly typical sonic territory for most singer-songwriters. Even the already-powerful “Bury A Friend” hits harder than it might have without the surging crunches it’s afforded in the production.

My point, however, is not that the production is what makes this album – it doesn’t, at least not entirely. The production is roughly half of what’s interesting here. The other half is comprised by two things: the fact that most of the songs are fairly strong already (though I think Eilish could lose a few of the ballads and come out better from it), and the fact that Billie Eilish also happens to have a very distinct vocal style. Actually, that last part alone is probably the selling point for most people: Eilish’s eerie half-whispered delivery plays more of a role in constructing her album’s overall dark mood than the production. It has its limitations, and I wonder what her future will bring in terms of her ability to move beyond the role she’s effectively typecast herself in, but it has something on Dua Lipa: it has personality.

So vocal style is important, but that’s not all: as I mentioned, Eilish’s songs are also consistently stronger than Dua Lipa’s, even when both are at their lyrical worst. Sure, “Wish You Were Gay”’s self-absorbed whining about unrequited love and sexuality sounds exactly like what you’d expect to come from a undeveloped teenage singer. But the lyrics are the only thing wrong with that song; take those away, and the melodies and instrumentation sound pretty damn great. The same cannot be said for the overblown dollar-store balladry of Dua Lipa’s execrable “Boys Will Be Boys”, which, despite projecting an ostensibly more “progressive” outlook than “Wish You Were Gay”, falls flat on its face anyway. And I’ll take an Eilish ballad over “Good In Bed”, which sports an obnoxiously repetitive chorus – static, plastic, it sounds like a strained smile looks, desperately trying to convince you that this is fun, right?

“But wait,” you might say, “pop music is supposed to be fun! And isn’t that what most of ‘Future Nostalgia’ aspires to? Shouldn’t we forgive Dua Lipa for some of her mediocre songwriting if her goal in making us dance is at least a defensible one?”

And the answer is no, because Pop is already full of music more fun than this. The way I see it, there are several ways in which one could make music more fun than “Future Nostalgia” (better songwriting being one I’ve already discussed to death here), but I’ll wager that a fairly reliable method is that frequently employed by Lady Gaga: do something musically outlandish and downright weird.

“Bad Romance” is the obvious lodestar here, but Gaga’s career is full of the absurd: just take pretty much any song off of “Born This Way”. Even the “normal” songs like “Yoü and I” (at least pre-“Joanne”) come across as weird by virtue of being placed next to something like “Electric Chapel”. And all this is done in the service not only of raising eyebrows, but in the name of fun. Even some of Gaga’s weaker efforts like “Venus” (or many others on “Artpop”) have a winking slyness to them that lets you laugh along with her. It rarely feels like she’s “serious” when she’s singing about love, sex, or dancing all night, but she gets you dancing anyway.

“Future Nostalgia”, by contrast, has few attempts at any kind of weirdness, and those it does have fall flat. I’ve already mentioned the cringe-y pseudo-rapping, but the spoken-sung pre-chorus of “Physical” is just as embarrassing, bringing the song’s momentum (its second-greatest virtue) to a screeching halt with an awkward phrase that feels totally unnecessary. And then there’s that sound effect on “Good In Bed”. These moments detract from the album because they feel half-assed, like Dua Lipa never bothered to commit to the bit she tacked on. And aside from this, “Future Nostalgia” remains pretty conventional Pop – she’s not exactly reinventing disco here, just emulating it for a new generation with mixed results. If only she could pull a “Heartbeat” or “Love Hangover” out of her bag, but the album is so radio-oriented that the songs rarely reach the 4-minute mark even when they find a groove worth hanging on to. It’s as if she mistook the law M.I.A. ironically lays down at the end of her biggest hit for sage advice: “Remember: no funny business!”

There is one more aspect of the poptimism that helped propel this album in the eyes of critics I have yet to discuss: the paradigm’s coinciding with the recent wave (is it the fourth? I’ve lost count) of popular feminism. This was significant for Taylor Swift at the moment of “1989” because it allowed for interpretations of songs such as “Blank Space” to reach beyond a simple commentary on her stardom and discomfort with media coverage, branching out into a more expansive reading of the song as representative of the ways in which women in general are demonized for their past relationships. Feminism, as a cultural framing device, was crucial in shaping listener perceptions not just of “Blank Space”, but of many other songs on the album. It also helped to launch a whole wave of emerging and returning Pop artists’ albums and singles that traded in similar (vaguely) politically-charged lyrics.***** In the years that followed, a veritable opening of the floodgates would happen with regard to public feminist consciousness-raising, culminating in specific incidents such as the #metoo movement.

For the record, I think this was largely good. I’m under no illusion that “1989” is in any way a politically radical album, but I think the return of pop feminism has generally had a net positive influence in getting pop artists of all kinds of re-think their music’s relationship to gender politics. That being said, there are two things I resent about its lasting impact. The first is the kind of forced extrapolation of songs that bring up gender in any way into “feminist” anthems when they’re largely about relations that have little to do with the matter. One case in point might be Dua Lipa’s pre-”Future Nostalgia” hit “New Rules”; inexplicably, I often see fans trying to make the song’s lyrics out to be some kind of political diatribe about the cruelty of men to women or something like that, when in fact it sounds more like a typical “bad relationship” song, the kind that have been on the charts for decades by now.

But the other thing I’ve come to dread from pop-feminist Pop is the inevitable half-assed “message songs” that seem designed to cash in on using feminism as a signifier that an otherwise apolitical artist is still hip and knows what’s up. Whether through “New Rules” fan encouragement or her own hubris, Dua Lipa has regrettably chosen to end “Future Nostalgia” with such a song: “Boys Will Be Boys” (no relation to the significantly better-written song of the same name by Stella Donnelly). I don’t really want to write a lot about this song because part of the problem with it is that it’s bad in a lot of boring ways, but I do think it’s significant that it was singled out by several other critics (even those who liked the album) as the album’s worst song by miles. I’m hoping this shows a change in perspective here, as critics get harsher about flops like this one, and hopefully the eventual end result from this pushback is that Pop stars will stop trying to convince us they’re “real feminists” with empty songs like “Boys Will Be Boys” that are tacked on to the end of their “bangers” album as a kind of placating afterthought.

So a number of critics have indeed placed too much stock in this album: contrary to the feeling you may have gotten from my relentless criticisms here, “Future Nostalgia” isn’t necessarily bad, but I wouldn’t call it “good” either. It sits in a mid-tier of Pop albums over-enthusiastically pushed out during this era of high poptimism. It’s not the next “1989”, or “Lemonade”, or “Body Talk”, or “WHEN WE ALL ETC.” It’s just a mediocre album with a few great songs that were somehow never released as singles.

Is the inflation of “Future Nostalgia”’s reputation a sign of poptimism’s imminent bust? Are we entering a period of critical groupthink and gradual decay? These questions are too big to answer here, or perhaps at all for now (likely we’ll know the answer for sure in another decade). But I want to end this on a positive note by singling out a singer I haven’t mentioned yet as perhaps the greatest Pop artist of the last 20 years: in all these comparisons, I never got around to bringing up Rihanna.

On one hand, much of the poptimist revolution in criticism has involved taking the studio albums of Pop artists as seriously as their counterparts in other genres. On the other, Pop has never really stopped being a singles genre, and few have demonstrated this better than Rihanna. This is not to deny that she’s released some totally listenable, or even great, albums in her own right: “Talk That Talk” and especially “ANTI” stand as excellent records that came along relatively late in her career. But, well, raise your hand if you’ve actually listened to, say, “Good Girl Gone Bad”. Now raise your hand if you know “Shut Up And Drive”, “Don’t Stop The Music”, “Disturbia”, and, of course, “Umbrella”. See what I mean?

Perhaps I could blame “1989” again in part for this shift in focus from Pop singles to Pop albums. It’s pretty remarkable, after all, that the album is as consistent as it is, and I think that might have caught a lot of critics who were expecting otherwise off-guard. I think another problem, however, resides in the dominant mindset among critics in the first place, the idea that albums are the more valuable art form, the standard by which greatness is measured. Even I find myself incapable of breaking free of that format of evaluation – I’m much less likely to seek out more of an artist’s stuff based on a few great singles of theirs compared to if I hear an entire album from them that I like.

This might be slightly unfair of us critics, but there are workarounds to help correct this bias. One of those workarounds is the compilation. If an artist can make an album’s worth of great songs, but they happen to be spread across a number of their otherwise-mediocre albums, they can still win favour by collecting all (or most) of those gems in the same place, a “greatest hits” collection being the most common******. This seems like a pretty reasonable way of enjoying singles-oriented artists for those of us who are still stuck on the old album format.

But compilations have also never been as popular to review among critics as studio albums (I don’t know, maybe many feel like it’s cheating to collect the best stuff in one place?) and, as stated, it seems like poptimism’s paradigm shift has only reified the bias towards albums by putting more weight on Pop artists’ studio albums than before. Further, as compilations have started to die out (since anyone in the streaming age can assemble their own “greatest hits” playlist that will have all their own personal favourites on it), recent Pop artists often aren’t even given the chance to be evaluated at their best in a compilation format. I wonder if this is also a contributing factor in the hype surrounding “Future Nostalgia”; though it would probably be better remembered for its singles which could be collected on a later “Best Of Dua Lipa”, the fact that such a collection is unlikely to materialize pushes critics towards trying to sell listeners (and themselves) on this being Dua Lipa’s “definitive statement” and reason to take her seriously as an artist simply because it’s the most consistent thing she’s released so far.

Regardless, Rihanna is a model artist in terms of being a singles-oriented Pop singer deserving of a great compilation. If someone were to put it together, I’m fairly certain it could rival Madonna’s “The Immaculate Collection”, the former (basically archetypal) gold standard for a Pop artist’s greatest hits. Imagine hearing “Umbrella”, “Work”, and “We Found Love” all in the same place, uninterrupted by the inevitable string of lesser artists’ hits you’d inevitably hear if that place was the radio or some poorly algorithmically-generated playlist. My concern is that with the death of the compilation and shift in the expectation for the Pop artist’s studio albums to be their defining moments, such an album will only ever exist in an unofficial capacity. Which is fine, I guess – if you hate pop canon. But I don’t, so I patiently await the return of a collective memory for singles that extends beyond the radio and the playlist.

*Interesting to see how these examples have aged.

**Don’t get me wrong, I like “1989”! But its potentially negative influence will be detailed further as I continue.

***This isn’t a criticism of songwriting teams in general – certainly great songs have come out of the modern collaborative approach to pop songwriting, and I’ll get to those soon.

****And of course there’s a whole other conversation to be had about the ways in which hip-hop and R&B, formerly more separate genres, have been in the process of merging for the last two decades as performers in each have realized how much their interpretive approaches have in common.

*****It should be noted that this trend started several years earlier in “underground” and “indie” scenes and only just made its way into the Pop mainstream around 2014, but that’s a discussion for another article.

******Actually, even if an artist has only one great song, multi-artist compilations can step in to help. But since I’m focusing mainly on the respective cults of personality of specific Pop artists here, I won’t get into those. I should also add that Pop is by no means the only genre in which this happens: there are definitely so-called “classic rock” artists who I wouldn’t bother listening to outside of a compilation of their best stuff (Queen, for example).

#Music #Music criticism #Pop music #Dua Lipa #Future Nostalgia #Rihanna #Billie Eilish #Beyonce #Taylor Swift #Robyn #Lady Gaga #Ariana Grande

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jdiep95 · 4 years

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Mariah Carey: Top 10 Remixes

In continuation of celebrating Mariah season, and “All I Want For Christmas Is You” finally becoming a #1 single, I am sharing with you my “Top” lists of MC songs every Monday and Tuesday up until the 25th. After talking about the Top 10 Most Iconic Mariah Carey songs, it’s time to move on to the Top 10 MC Remixes. Come back next Monday for the Top 10 Underrated MC Bops. All songs mentioned these lists can be found on streaming services (e.g. Spotify, Apple Music). That means deeper cuts, but fan favourites, like the “Someday (New 7” Straight)” remix, the “Never Too Far/Hero” medley, and “H.A.T.E.U.” remix ft. OJ da Juiceman, which aren’t available, aren’t included; the aforementioned remixes are, however, available on YouTube, and they definitely deserve a listen.

You’ve listened to remixes where they’ve brought in a guest rapper, something that Mariah popularized in 1995 as you’ll see below. You’ve also listened to remixes where they’ve brought in a featured singer, something that Mariah had also done in 2000, when she re-released the “Against All Odds (Take A Look at Me Now)” single with Westlife. But you’ve never heard a remix until you’ve heard a MC remix. Somehow we’ve gotten the perception that Mariah is lazy because she doesn’t perform the choreo or doesn’t sing the song — point them in this direction. Up until the 2010s, Mariah insisted doing remixes her way. She’s not just pulling in DJs, or rappers, or featured singers to do all the heavy lifting in remixes, Mariah incorporates new elements, sometimes practically changing up the genre of the song. And she re-records, sometimes new vocals, sometimes the entire track.

Is the list TL;DR? No worries. I compiled each list into a respective playlist, starting from No. 10 and ending at No. 1, so you get to listen to the Top 10 MC Remixes while on the go.

https://open.spotify.com/user/jdiep95/playlist/6UfiZPeq4yA1fq4i87CUwq?si=iHpF9-BAThW8m26GKSKyiA

10. A No No ft. Shawni

Year: 2019

“A No No” is an underrated bop off of Mariah’s most recent studio album, Caution. Caution, like many of Mariah’s comeback, is a testament that she’s still got it; however, unlike the couple of albums before it, Mariah ditches most of the post-production, and delivers one of her strongest albums. “A No No” uses a sped-up sample of Lil’ Kim’s "Crush on You”, with the original mix using excerpts of Biggie’s rap. The remix featuring Shawni drops Biggie’s rap. This isn’t the first time Mariah opted for a female rapper for the remix: In 1999 for the “Heartbreaker” remix, MC dropped Jay-Z for Da Brat and Missy Elliot. “A No No” is a feminist song about cutting off liars and cheaters, and enjoying the single life; Shawni’s contributions add to the latter, admitting: “To all my exes need to tell you that I’m sorry/That I didn’t leave you sooner/I settle for less, and that is exactly what I been getting.” This remix isn’t perfect — the melody and the structure remains the same, and Mariah only records a couple of additional inflections. The best part about this remix, that’s absent from the original mix, is the addition of a series of ascending melismatic whistles near the end. You can’t help but feel like something’s missing from the original mix, and MC lets you know it in the remix.

9. Fantasy (Bad Boy Fantasy Remix) ft. O.D.B., Sean “Puffy” Combs

Year: 1995

Why the “Bad Boy Fantasy Remix” is so iconic was already discussed in the Top 10 Most Iconic list: It introduced the featured rapper formula to pop music, and paved the road for its successors like Beyoncé’s “Crazy in Love” or Rihanna’s “Umbrella”, both of which features Jay-Z. The remix features rapper O.D.B., who, by the time the remix was released, had started a solo career separate from the Wu-Tang Clan. The release of the "Fantasy" remix is entrenched in racial politics. Columbia Records and Sony Music feared the inclusion of O.D.B. would jeopardize the squeaky clean, family-friendly, racially-ambiguous image they had built for Mariah. In the remix, a lot of the pop production is stripped away, leaving the bass beat as the foundation of the song; Mariah sings on top of this. "Fantasy" sampled “Genius of Love” by the Tom Tom Club, and in the remix, the sample is echoed in the bass beat. The bridge of the original mix, which also samples “Genius of Love”, became the remix’s chorus. The structure changed, and “Fantasy” itself became slinkier, less saccharine. The producer, Sean Combs, better known as P. Diddy, recalled working with O.D.B. all through the night to record the rap; O.D.B recorded sentences at a time, whenever the inspiration hit, or whenever he was awake. Regardless, Mariah’s insistence to collaborate with O.D.B, and to release the remix was an industry-changing move.

8. Honey (So So Def Remix) ft. Da Brat, Jermaine Dupri

Year: 1997

The “Fantasy” remix, despite it being iconic and timeless, was mostly work in post, especially trying to piece together O.D.B.’s individual recordings to form an actual rap. The So So Def remix of “Honey” was a completely different affair with the song reworked and re-recorded. The bass line of the original mix of “Honey” samples “The Body Rock” by the Treacherous Three, while the tinkling piano line uses a sample of “Hey DJ” by the World’s Famous Supreme Team. The So So Def Remix foregoes “The Body Rock” sample, and also samples a different excerpt from “Hey DJ”. The accompaniment itself sounds like a midi file off of a video game, but it’s actually the hook from the Jackson’s 5 “It’s Great to Be Here”, Mariah’s first time sampling a another pop song. This “Honey” remix is a novelty. As a critic, you would expect another dance remix or something that really leans into the hip-hop, and instead you receive a feat that reduces the original dance track to 8-bit music with MC’s vocals as the main attraction.

7. My All (Classic Club Remix)

Year: 1998

Have you seen Dreamgirls? In the stage performance, Effie sings “One Night Only” and it shifts immediately into the disco version sung by Deena. I imagine the remix of “My All” draws inspiration from that, especially when they chorus starts chanting, “Just one more night.” In the Classic Club Remix, MC sings on top of a dance beat but it’s a slow burn before it becomes that full on club anthem. The remix isn’t completely re-recorded; it’s her original recording that’s fixed on top of the dance track produced by David Morales, but it’s the last five minutes that she adds on new elements, and finishes out with new vocals, a solo for the latin guitars, and a chorus. Sam Smith might be able to sing any dance song as a ballad, but Mariah is the master of rewriting any torch song into an upbeat track. Try not dancing when Mariah starts going off with the “Feel your body”’s.

6. Through the Rain ft. Kelly Price, Joe

Year: 2002

“Through the Rain” is Mariah’s first comeback single. It hails from Charmbracelet, Mariah’s comeback album after the entire Glitter fiasco. It’s Mariah’s first leading single that failed to crack the Top 5, even “Loverboy” off of Glitter peaked at #2. The inspirational track, which encourages the audience that they will “Make it through the rain”, stalled at #81. The original mix is a slow R&B ballad, one that even I rarely listen to since I almost always opt for the live version she performed at MTV Presents. The remix is more upbeat as a result of changes lyrically and melodically, and by infusing gospel elements, there’s more of a sense of hope than in the original mix. “Through the Rain” didn’t chart well, so why does this remix rank so high among the other remixes? A decade and a half before Kanye decided to bring everyone to church, Mariah brought her listeners to church instead of the club with this remix. For a remix, the sound was new and gutsy, especially for a song that didn’t fair too well, granted she did also release a dance remix. With the remix, MC proved that a song didn’t have to be wildly popular for her to breath new life into it.

5. Unforgettable (Acoustic) ft. Mariah Carey, Swae Lee

Year: 2017

You might be quick to catch that "Unforgettable” is actually a French Montana song, but you might be less familiar with this Mariah Carey remix. The inclusion of MC on this track, and the decision to replace the track with a guitar makes it sound more like a R&B-inspired country song with a rap section than it does dancehall; nonetheless, the remix is incredibly cross-genre. Chances are French Montana didn’t re-record his lines, which is standard, but then some very stylistic choices were made that makes the remix sound like a Mariah duet rather than a MC-guest appearance. These decisions, however, may not exactly be MC-mandated, so let’s talk about two things that were within her control: (1) MC sings throughout the entire track. She doesn’t appear for just one verse then disappears; she injects herself throughout the song by harmonizing with French Montana. (2) MC brings her whistle notes. MC fans stan Mariah’s whistle notes for one very good reason: Mariah uses them with much musicality. It’s less of a garnish where MC goes, “Hey, look, I did that!” because we know she can do those whistle notes. In the “Unforgettable” remix, MC uses her whistles as a base, a broth if you may; in this way, her high notes are instrumental, and she strings them together in a series of legato to create the backing track for which French and her sings on. Mariah’s contribution to this song really makes it ever more unforgettable.

4. We Belong Together ft. Jadakiss, Styles P

Year: 2005

Kelefa Sanneh, a former music music critic for The New York Times, called the “We Belong Together” remix “springier”; I had to quote him because there’s no better way of putting it. The original mix is tear-jerking, but the remix has a bounce to it that captures the hip-hop vibe that MC was looking for. The remix gets pretty close to demonstrating what a perfect balance looks like, and inevitably Mariah sometimes misses the mark — remixes sometimes reduce Mariah to the featured artist, despite it being a Mariah song. She sings along while Jadakiss and Styles P trade lines, emphasizing certain phrases. The remix continues to sample Bobby Womack’s “If You Think You’re Lonely Now”, and uses a longer lyric sample from “Two Occasions” by The Deele. On this list, we’ve seen MC skillfully use instrumental samples, but she is masterful in picking lyrical samples as well. The “Two Occasions" sample, “I only think of you on two occasions/That’s day and night”, contributes to the message of yearning in “We Belong Together”, making it fit perfectly with the mood and the scheme of the song. MC finishes the remix in a way only she could, by showcasing a series of vocal acrobats for the last minute-and-a-half of the song.

3. Always Be My Baby (Mr. Dupri Mix) ft. Da Brat, Xscape

Year: 1996

I know diehard fans prefer Mariah’s Butterfly era, where you had songs like “Honey” and “My All”, but my favourite would still have to be the Daydream era, when MC decided to gift the world with “Fantasy” and “Always Be My Baby”. The Daydream era featured prime Mariah vocals, amazing album cuts, and two of Mariah’s coolest remixes to date. Both the “Fantasy” and “Always Be My Baby” remixes are timeless; the former is so stripped down, but it is the latter that we really need to talk about. It’s timeless in such a sophisticated way that’s so rarely seen in pop music. Don’t agree? But Mariah seems to agree. In the Caution World Tour, Mariah’s most recent tour, she performed this remix instead, when “Always Be My Baby” had almost always been performed unaltered in the original mix. The foundation of the Mr. Dupri Mix samples “Tell Me If You Still Care” by the SOS Band, a slow jam itself which gives the remix its sleek, quiet storm sound that was so popular in the 1980s. MC is an understated music genius: She takes a page from TLC, who had just released their critically-acclaimed hip-hop album CrazySexyCool the year before, by recruiting a female rapper, Da Brat for the remix; this marks the first time MC collaborated with a female rapper. And the rap practically merges with the track; it’s neither out of place nor distracting as Mariah riffs while Da Brat raps. She also melds two supposedly conflicting genres, since younger Black audiences had shifted their attention from quiet storm to hip hop since the beginning of the ‘90s. Whereas the “Fantasy” remix had almost no re-recorded vocals, the “Always Be My Baby” remix received an almost complete makeover, save the melody. Mariah really thins out her voice for the remix and introduces her airy whisper, something she’ll really master in her subsequent albums, which gives a new feeling to the happy-go-lucky vibe on the original mix. The remix is more mature, reflecting Mariah’s real-life desire to bridge pop, R&B and hip-hop.

2. All I Want For Christmas Is You (So So Def Remix)

Year: 2000

As we’ve seen in the Top 10 Most Iconic list, Mariah has released several versions of “All I Want For Christmas Is You”. Certainly, the original mix reigns supreme, but the So So Def Remix comes awfully close, and I will argue that none of MC’s other versions or any other cover of this song, ballad, acoustic or otherwise, comes close to this remix. You might have heard the disconnected intro and skipped the rest of the song, which meant you missed Mariah and producer Jermaine Dupri reworking the song in ways no one else can. The So So Def Remix is an extremely smooth R&B and hip-hop remix, and although this is nothing out of the ordinary for MC, it’s such a smart remix because it’s a Christmas song for anyone who’s tired of listening to Christmas songs; essentially it’s an escape from the original mix. This remix has as much spring as the “We Belong Together” remix, but this bounce is a result of sampling “Planet Rock” by Afrika Bambaataa & the Soulsonic Force. The whistle notes that are seen in the main melody of later versions derives from this remix, and arguably, the whistle notes in the remix’s successors are nowhere as melismatic. You can’t beat a Mariah original, but you also can’t beat a Mariah remix.

1. Anytime You Need A Friend (C&C Club Version)

Year: 1994

“Anytime You Need A Friend” is a deeper cut itself off of Mariah's best selling album Music Box. It’s Mariah’s first US single not to enter the Top 10, peaking at #12. It’s equal parts a love song and a song of encouragement, especially the remix. The original mix of “Anytime You Need A Friend” is a slow ballad, at least “My All” had something sexy about it, so you wouldn’t except Mariah, and producers David Cole and Robert Clivillés to be able to work it into a dance track so well. But without a doubt, it is definitively Mariah’s best remix. The 10 minute song is essentially an abridged version of Mariah’s résumé; you get a glimpse at everything from Mariah’s vocal talents to her songwriting abilities to her musicality. “Anytime You Need A Friend” is a torch song that’s been repackaged with a pounding dance beat. Even if it's from 1994, there’s a certain timelessness to it. Another great thing about most of MC’s remixes is that it doesn’t cut the song short; in the C&C Club Version, the entire song is there. Mariah reworks the part of the original melody, but it’s the last six minutes of the remix, when Mariah goes off, where you can really observe how well she knows music. Can you write this down on sheet music? Or was it improv? To me, the last six minutes was literally a playground for MC to do her thing, whatever she wants. There’s no guest singer or featured rapper, just Mariah. But then this allows her to do something she’s almost never done before or since. At the eight minute mark, the remix enters a jazz breakdown, and Mariah scats, dipping into her lows, belting, and hitting those whistle notes. Simply, this remix is remarkable and breathtaking.

Timelessness is the key word here with MC’s remixes. You may think that the incorporation of samples would date these remixes significantly, but personally it does it complete opposite. Mariah’s remixes transcends eras because of the use of samples. Not only are her remixes cross-genre, they’re also cross-generational. Mariah doesn’t just push out remixes and waits to capitalize on them. If you’re looking for a place to find Mariah’s artistry, look no further than her remixes. She adds new elements and new life to the songs, rewrites them, reworks them, re-records them. Who’s done this recently? In the last twenty years, which artist has consistently given their remixes this kind of treatment?

#mariah carey #all i want for christmas is you #merry christmas #spotify #song list #playlist #remixes

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grantsalley217-blog · 5 years

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On The Anniversary Of The Day Disco Died, A Look At How Other Widespread Music

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tamashley4888-blog · 5 years

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Extra Synthetic Bamboo! The Biggest Preset Sounds In Pop Music

Pop music, whereas a worldwide phenomenon, is regional in its definition. I like you Pam. I am solely 31 however I can't ever recall a time that I ever favored what was "cool." I believe the final time I did it was 1998; I was 12. My father raised me on 60s rock so for me, rock is dead. If it wasn't for Queens of the Stone Age and Primus placing out new CDs this 12 months, I would have no motive to enter a music shop. I feel pretty fortunate that they are even putting out new music. When folks laud 21 Pilots as Modern rock, it makes me want to puke. If their music helped you in any method, that is nice. However there isn't any guitar of their band. That is not rock!!!!! Please put them in the category that they're, pop. The bass guitar is a stringed instrument related in look and construction to an electrical guitar, however with an extended neck and scale length, and 4 to six strings. The bass guitar is a transposing instrument, performed primarily with the fingers or thumb, by plucking, slapping, popping, dylanhuggins0.wikidot.com strumming, tapping, thumping, or pilarstable4051.hatenadiary.com choosing with a plectrum. It's often a solo instrument in jazz, jazz fusion, Latin, funk, progressive rock and other rock and metallic kinds. Learning to play the bass each much as difficult as learning how you can play the six string guitar. In case you're not sure about your musical skills, the bass guitar is the right instrument to get began with. With an everyday guitar, players usually need to memorize lengthy chords. On a bass guitar, nonetheless, you possibly can play more songs with simply single notes. This makes it easier for new gamers.

One might argue that most present pop music is extra by-product than in earlier many years, and is created using familiar songwriting techniques, tried-and-true devices and sonic textures, and a wholesome amount of references to already current genres and songs. Due to this, I try to usually replace the Encyclopedia of Every Music I've Ever Listened To" that I keep stored in my head, by listening to as much new music as doable, even if I end up touring down a path that introduces me to some art that I personally don't ever grow to like. I'm a DJ (mostly weddings and company parties) and my motto is to play what my audience desires to hear. That moment, I cannot attempt to train or moderately drive my so-known as knowledgeable views on good music onto anybody. We are here to rejoice so I'll play all the hits everyone is aware of and loves (and I love as nicely !). But I need to confess I've a hard time with this decade's popular music, there may be so much great stuff out there at this time however it's so scattered and fragmented far and wide. Individuals only seem to know random stuff they picked up by way of spotify, youtube or different streaming websites. So to play new music everyone knows, offers a slightly restricted repertoire to choose from.

The previous few decades have seen hip-hop grow from underground phenomenon to niche market to omnipresent juggernaut, listened to across the globe and influencing music of each genre. The place once rap could have been too outré for Executives to tune in, it has now permeated culture to such a degree that, for all intents and functions, rap music is pop music. And while Executives might have little knowledge of or curiosity in previous-college rhymes, artists like Kanye West or Drake could also be simply too popular to disregard. So at what point on the timeline of human existence does music develop into pop"? Pop, in any case, originated as shorthand for well-liked music", the sounds that were being dug by whatever technology in whichever society. The broadside ballads in style in Tudor and Stuart occasions are typically referred to by historians as early pop music". These bawdy, comical and mawkish songs of the streets and taverns have been pedaled on sheet music by road distributors, and proved widespread with landed gentry as a lot as serfs in the fields. In Victorian occasions, audiences would take pleasure in concerts by the German-born composer Sir Julius Benedict, www.magicaudiotools.Com billed because the London Popular Live shows, while the time period pop music" was in use at the very least one hundred years in the past.When asked which decade has the worst music, their responses fanned out in broadly chronological order, with the 2010s getting forty two% of the vote, the 2000s getting 15%, and the 1990s, 1980s and Nineteen Seventies coming in pretty equally with thirteen%, 14% and 12%. This may lead an off-the-cuff reader to conclude that the people polled had been all of a certain age, nevertheless it appears to be an evenly held opinion. Of individuals aged 18-29, 39% voted for the 2010s, whereas the determine for the over 30s was 43%, which indicates most of the fun is in digging up previous songs, somewhat than keeping up with the new.Most bass players stand while playing, using a strap over the shoulder to carry the instrument, though sitting can also be accepted, notably in large ensemble settings, corresponding to jazz massive bands or in acoustic genres resembling people music Some bassists, reminiscent of Jah Wobble , alternate between standing or seated enjoying. It is a matter of the participant's preference as to which place provides the best ease of playing and what a bandleader expects. When sitting, proper-handed players can balance the instrument on the correct thigh or like classical guitar players, the left. When sitting, no strap is required. Balancing the bass on the left thigh usually positions it in such a method that it mimics the standing place, permitting for less distinction between the standing and sitting positions. Balancing the bass on the precise thigh offers higher entry to the neck and fretboard in its entirety, particularly the lower-pitched frets.These aren't questions that Taryn Southern is anxious with. Southern is an online character who you may know from her YouTube channel or when she was a contestant on American Idol. Lately, Southern is all in favour of emerging tech, which has led to her present project: recording a pop album. Those two issues do not sound like they might be associated, however her album has a twist: as a substitute of writing all the songs herself, Southern used artificial intelligence to assist generate percussion, melodies, and chords. This makes it one of many first albums of its kind, a collaboration of types between AI and human.Shock-pop bombshell Gloria Trevi went full Rebel Lady after her controversial televised debut of Dr. Psiquiatra" on Mexican variety present Siempre en Domingo. The track that made Ms. Treviño a famous person follows a girl who is taken to the asylum and put below the care of an older man who ogles at her legs. This risqué song, in addition to her headbanging single Pelo Suelto," heralded the arrival of a different kind of Mexican pop star, à la Madonna - wild, outspoken, however completely charming - during a time when feminine singers have been anticipated to be wholesome like Lucerito, or elegant like Daniela Romo. However more troubling than her songs was her relationship to then-manager Sergio Andrade, who was discovered to have led a teenage intercourse abuse cult disguised as a talent college for women. I.R.

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dianstoltz42-blog · 5 years

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Music For Everyone

But, as our chat reveals, the discordant tale does not finish there: the naturally gifted Neelix attended his first doof little greater than a decade in the past, confesses to be sick comfortable within the studio, and plans to produce pop music in the close to future. That modified, massively, in 2017. Promoters, keen to adopt the burgeoning sound, began reserving the scene's key acts, reworking these bed room producers into globetrotting DJs virtually in a single day. In accordance with the occasion listings on RA, Ross From Friends went from enjoying ten gigs in 2016 to 49 in 2017. DJ Seinfeld: 4 to sixty seven. DJ Boring, who despite the success of "Winona" played just one present final yr according to RA, jumped to sixty nine, the equal of taking part in each weekend (after which some). With fifty three gigs last yr, Mall Seize was already a touring DJ, but this 12 months his bookings more than doubled, rising to 114. (He also lately became the primary artist from the stable to file an Essential Mix) There were US, Asia and Australia tours. Music, beforehand a passion, was instantly a full-time occupation. Mr. SINNETT: What a lot of people could not notice, particularly over the past 15, 20, or 30 years or so, there's not a lot jazz in New Orleans. I mean, however we know the historical past of that music and http://www.audio-transcoder.com that the connection to that metropolis and maibuckner51982099.wordpress.com in many circumstances, the inception of the music, you know, came out of there. But I believe with Katrina it dropped at the eye that historical past and they felt that, I feel lots of people felt that, wow, that the connection to that historical past has now been severed as a result of quite a lot of the artists which can be still with us, a number of the older generation of the artists, you realize, they're now not living there or they're gone. And I wrote a music, truly, on my new album I devoted a song to New Orleans called "Crescent Metropolis Undercurrents," and the entire point of the tune was to remind individuals of that great custom with the second line rhythms and the swing.

That is the textbook for rock mystique, a breathless but controlled journey by way of America as Zeppelin transformed rock by way of sheer force of musical will, and raised its expectations of decadence. Stephen Davis noticed sufficient first-hand as a journalist travelling in Zep's Starship in 1975 to hunt out the total story he published 10 years later. For better and worse, his key supply is Richard Cole, the chief roadie who protected and effectively pimped for Zeppelin. This roadie's-eye view makes rock mythology profane, revealing the customarily crude reality of stars' downtime. Solely an English rock band within the 70s can be so decided to douse groupies in baked beans earlier than intercourse. Cole frying bacon to entice a canine inside a woman further confuses Dionysian bacchanalia and motorway cafe. And yet, few robust hyperlinks between character and musical preferences have been recognized to date. In actual fact, most findings are far from counter-intuitive (e.g., aggressive folks like Heavy Metal, clever individuals like Jazz and Classical, rebellious folks like Hip Hop and Rock), which means that you do not need to be a personality professional to grasp the psychology of music. Ask laypeople to offer an informal profile of someone based mostly on their favorite playlist and they will most likely be as correct as the very best psychometric check. As a matter of truth, most individuals do this already: when we first visit somebody's dwelling we make prompt judgment of that individual's persona based mostly on his or her DVD and CD collection, books, and many others - these judgments are really fairly correct. This track is more of a precursor to future bass than the precise thing, but I am together with it because it is an essential touchstone in the music's early development. Bristol, England, producer Liam McLean called his gritty mutation of dubstep "purple sound" (a time period he is since distanced himself from), and its mixture of buzzy synths and slowed-down, hip-hop-influenced beats was a direct influence on numerous future bass producers, particularly youthful artists comparable to Denver's Gunskt and London's Digital Mozart, who typically bring a bit more swagger and menace to their sound.

In standard music, worldbeat refers to any model of music which fuses folk music from non-conventional sources (essentially, outdoors the Appalachian people and Celtic traditions) with Western rock or different pop influences. Worldbeat is often stated to have begun within the mid-Nineteen Eighties when artists like David Byrne, Peter Gabriel and Paul Simon started incorporating influences from around the world, especially Africa. Within the subsequent few years, worldbeat grew to become a thriving subgenre of widespread music that influenced many more mainstream musicians. Some of the most commonly integrated sorts of people music embrace rai, samba, flamenco, tango, qawwali, highlife and raga. This can be a music style with the good name of them all. It's generally related to rap and most people imagine that it's simply one other title for rap, however it is not. This is an improved, bigger music style that rap, and it can be used with rap or without it. It was introduced in New York back within the 70s and became very fashionable amongst Afro-Americans. At present, we've got a few of the largest hits that come from this genre. Even better, this type of music can be paired with every other style and it will nonetheless sound fantastic. There are those who price Revolver (1966) or 'the White Album' (1968) greater. However Sgt Pepper's made the watertight case for pop music as an artwork type in itself; until then, it was thought the silly, transient stuff of youngsters. At a time when all pop music was stringently manufactured, these Paul McCartney-driven melodies and George Martin-produced whorls of sound proved that untried ground was not only essentially the most fertile stuff, but in addition essentially the most viable commercially. It outlined the Sixties and - for good and ailing - gave white rock all its airs and graces. I truthfully cannot really blame bands similar to Situations for effectively breaking apart after it turned out they'll by no means be capable of make a living off the music and would wind up useless broke if they proceed down that career path. There's still great music being made; some of it DIY, however given the more technical facets of the style (especially vocally), it's more durable to file in your bed room with a shitty mic, plus a band that actually reherses collectively and excursions worldwide has its advantages for the followers as nicely. Eh, to answer your question, I'm pretty certain the fanbase is on common over 20 now and smaller than 15 years in the past.

In line with Dick Hebdige in his book, Minimize N" Mix," break dancing" would get replaced in the Hip Hop" culture by dance strikes referred to as the electrical boogie" moves. Most of those strikes would name for dancers to snap and twitch muscular tissues in time to the music. Among the most popular strikes of this style of dance were the Tick, the Mannequin or Robotic, the King Tut, the Wave, the Pop, the Float, and the Moonwalk which was made well-known by the nice Michael Jackson. In truth, many of Michael"s dance moves had been this type of dancing. Our students may still be accustomed to a few of these electric boogie" strikes and with a bit encouragement they could be keen to demonstrate some of them. Michael in his current well-known interview with Oprah Winfrey gave credit score to the Moonwalk and a number of other of his strikes to dancers he noticed in clubs and on the streets. These moves had originated from dancers into the Hip Hop" tradition.

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landonpie669-blog · 5 years

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What Is Your Favourite Genre Of Music, And Why?

It is a 'list of electronic music genres', consisting of genres of electronic music , primarily created with digital musical devices or www.audio-transcoder.com digital music technology A distinction has been made between sound produced utilizing electromechanical means and that produced using digital expertise. In the phrases of P!nk (whose first album was R&B) "No person wants to hear a love song that you don't mean". Not just the genre itself but arguably the love and romance of Contemporary R&B is useless. Replaced by songs coping with trashy cleaning soap opera, Jerry Springer matters. With more vocal gymnastics and a few vague, treacly high-pitched sound within the background. The fusion of modern R&B to hip-hop tends to dilute both these Genres. Curiously enough, Modern R&B pushed soul music off the charts. Jazz is often performed by ensembles (though single artists can play as well), with significance laid on their means to play off one another, and improvise ex tempore. The improvisational fashion of jazz links it to Indian classical music, which also values improvisation over repetition of set melodies. This intrinsic commonality has produced numerous collaborations between jazz and Indian classical artists. Pt. Ravi Shankar, who ceaselessly collaborated with Western musicians, is without doubt one of the most famous Indian musicians within the West. John McLaughlin, a noted jazz guitarist, fashioned fusion ensembles with Western and Indian musicians corresponding to Zakir Hussain and Vikku Vinayakram. Australia has a wealthy custom of Western classical music with professional orchestras in every capital; an active chamber music, small ensemble and choral sector; and four skilled opera corporations. These are complemented by state youth orchestras, and a whole lot of neighborhood based choirs, orchestras and ensembles. Classical music in Australia is derived from our European historical past and traditions. It is generally notated, written for particular devices, and follows outlined constructions. Contemporary classical or ‘new music' does away with and redefines some traditional approaches. Classical music has a number of varieties, a number of the best known of that are early or medieval music, baroque, classical, romantic, contemporary and new music.

In addition to newcomer Whitley, high traditional nation and influential performers who died throughout the decade included Purple Sovine , Whitey Ford , Marty Robbins , Merle Travis , Ernest Tubb , Wynn Stewart and goodreads.com Tex Williams Although not directly associated with country music, Roy Orbison , a favourite of many nation music fans and whose types wound up being influential with many newcomers, died in 1988. Agrarian settlement in eastern and southern Ontario and western Quebec within the early nineteenth century established a good milieu for the survival of many Anglo-Canadian folksongs and broadside ballads from Nice Britain and the US. Regardless of huge industrialization, folks music traditions have continued in lots of areas till in the present day. In the north of Ontario, a big Franco-Ontarian inhabitants saved folks music of French origin alive.

1992Innovation and variety within the standard music industry, 1969-1990. Am. Sociol. Rev. Defends the importance of enthusiastic about mass artwork as a substitute of fashionable art. Though it's not Carroll's primary focus, he often discusses standard music. Since he made his Billboard chart debut in 1964, Hank Williams Jr. has amassed one of the prolific catalogs within the history of the music enterprise, together with eight platinum albums. Hank Jr. was also some of the-awarded artists of his time, winning a trio of Entertainer of the 12 months trophies from the ACM, as well as again-to-back honors from the CMA in 1987 and 1988. Nietzsche aside, philosophy of music has been dominated by the view that the very best music is autonomous and formally complex (John Dewey is nearly alone in defending the vitality of common art during this time period. Sadly, Dewey mentioned little or no about music.). As not too long ago as 1990, philosophy of fashionable music consisted of variations on a single theme. Philosophers defended the twin assumptions that in style music is essentially totally different from serious" or art music, and that the previous is aesthetically inferior to the latter. In consequence, most philosophers who bothered to debate well-liked music targeting figuring out the aesthetic deficiencies inherent in such music. Adolescents usually are not the only young shoppers of widespread music. A examine with a hundred fourth- by sixth-graders revealed that 98% of these kids listened to popular music, seventy two% of them on most days" or each day. 30 Moreover, it has been reported that kids eight to 10 years of age take heed to music an average of 1 hour per day. 25 With many kids and adolescents listening on iPods or different gadgets using headphones, parents could have little information of what their youngsters are listening to. Rhythm and blues (or R&B) was coined as a musical advertising term in the late Forties by Jerry Wexler at Billboard magazine, used to designate upbeat common music carried out by African American artists that mixed jazz and blues. It was initially used to identify the fashion of music that later developed into rock and roll. By the Nineteen Seventies, rhythm and blues was being used as a blanket term to explain soul and funk as nicely. Immediately, the acronym "R&B" is nearly always used as an alternative of "rhythm and blues", and defines the trendy model of the soul and funk influenced African-American pop music that originated with the demise of disco in 1980.

FABBRI, Franco, A Idea of Musical Genres: Two Applications, in: Popular Music Views, pp.fifty two-eighty one, 1982. While house music started as a distinctly American style, the emergence of progressive home within the UK scene within the early Nineteen Nineties turned house music into a world music model. Progressive home grew out of the Nineties UK rave and club scene and saw producers incorporating parts of trance music into the traditional house model. At the moment, some of the world's greatest DJs like Deadmau5, Avicii, https://bernicekiek966.tumblr.com/post/185934742740/essay-on-comparability-between-pop-music-and Zedd, and Tiesto, are part of the progressive home motion.

Frankly I do not care if the music is pop or rock. Simply the tune and the lyrics needs to be my style and smart. I keep on with four rock bands :Disturbed, Evanescence, Breaking Benjamin and Within Temptation, trigger I just feel calm or nice or excited by their music. I am solely speaking about the songs, not the live shows as a result of I reside in India and I've never been to any live shows. One of the essential reasons I don't like pop music much is as a result of they're at all times so cliched. It's either love songs or partying or drugs or sex. I am simply feeling so damned tired of trendy pop music. I'm additionally afraid that rock is developing those type of attitudes and that is why I stick to only four bands. If you happen to guys could recommend a new song for me, publish your touch upon cretoxyrhinamantelli@gmail. com.

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blackkudos · 6 years

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George Duke

George Duke (January 12, 1946 – August 5, 2013) was an American musician, known as a keyboard pioneer, composer, singer and producer in both jazz and popular mainstream musical genres. He worked with numerous artists as arranger, music director, writer and co-writer, record producer and as a professor of music. He first made a name for himself with the album

The Jean-Luc Ponty Experience with the George Duke Trio

. He was known primarily for thirty-odd solo albums, of which 'A Brazilian Love Affair' from 1980 was his most popular, as well as for his collaborations with other musicians, particularly Frank Zappa.

Biography

Early life

George Duke was born in San Rafael, California. He was raised in Marin City. It was at the young age of 4 that Duke first became interested in the piano. His mother took him to see Duke Ellington in concert and subsequently told him about this experience. "I don't remember it too well," says George, "but my mother told me I went crazy. I ran around saying 'Get me a piano, get me a piano!'" He began his formal piano studies at the age of 7, at his local Baptist church. It was those early years that influenced his musical approach and feel, as well as his understanding of how music elicits emotion.

Duke attended Tamalpais High School in Mill Valley before earning a bachelor's degree in trombone and composition with a minor in contrabass, from the San Francisco Conservatory in 1967. Playing initially with friends from garages to local clubs, Duke quickly eased his way into session work, which refined his abilities and expanded his approach to music. He later earned his master's degree in composition from San Francisco State University. He also taught a course on Jazz And American Culture at Merritt College in Oakland.

Career

Beginning in 1967 Duke experimented further with jazz fusion, playing and recording with violinist Jean-Luc Ponty, as well as performing with the Don Ellis Orchestra, and Cannonball Adderley's band, while he acquainted himself with Frank Zappa. Duke appeared on a number of Frank Zappa's albums through the 1970s.

Frank Zappa played guitar solos on Duke's 1974 album, Feel - the instrumental "Old Slippers", and "Love" - credited as Obdewl'l X, possibly due to contractual reasons.

Duke covered two Zappa-composed songs on his 1975 album, The Aura Will Prevail, - "Uncle Remus" (co-written with Duke) and "Echidna's Arf" - that he had played on while a member of The Mothers on Zappa's albums.

A further Zappa connection occurred on Duke's other album from 1975, I Love the Blues She Heard Me Cry - which utilized Ruth Underwood, Tom Fowler, and Bruce Fowler from Zappa's Overnite Sensation band that Duke was a part of, along with Zappa-associate Johnny "Guitar" Watson and jazz guitarist Lee Ritenour.

Duke served as a record producer and composer on two instrumental tracks on Miles Davis albums: "Backyard Ritual" (from Tutu, 1986) and "Cobra" (from Amandla, 1989). He has also worked with a number of Brazilian musicians, including singer Milton Nascimento, percussionist Airto Moreira and singer Flora Purim. Lynn Davis and Sheila E appeared on Duke's late-1970s solo albumsDon't Let Go and Master of the Game.

Duke was prominent in the R&B genre, releasing funk-based songs like "Reach for It" and "Dukey Stick". In 1979 he traveled to Rio de Janeiro, where he recorded the album A Brazilian Love Affair, on which he employed singers Flora Purim and Milton Nascimento and percussionist Airto Moreira. The album contained music in a wide assortment of genres, including some Latin jazz and jazz-influenced material. From a jazz standpoint, the album's most noteworthy songs include Nascimento's "Cravo e Canela", "Love Reborn", and "Up from the Sea It Arose and Ate Rio in One Swift Bite". The track "Brazilian Sugar" was featured on the 2006 video game Dead or Alive Xtreme 2. Meanwhile, Nascimento's vocal on the ballad "Ao Que Vai Nascer" is an example of Brazilian pop at its most sensuous. The 1992 film Leap of Faith featured gospel songs and choir produced by George Duke and choir master Edwin Hawkins.

Duke worked as musical director at numerous large-scale musical events, including the Nelson Mandela tribute concert at Wembley Stadium, London in 1988. In 1989, he temporarily replaced Marcus Miller as musical director of NBC's late-night music performance program Sunday Night during its first season. Duke was also a judge for the second annual Independent Music Awards to support independent artists' careers.

Duke worked with Jill Scott on her third studio album, The Real Thing: Words and Sounds Vol. 3; guesting on the track, "Whenever You're Around". In the summer of 2011, he put together a trio with David Sanborn and Marcus Miller for a tour across the US of more than 20 sold out shows.

Legacy and influence

Duke died August 5, 2013 in Los Angeles from chronic lymphocytic leukemia. He was 67 and was survived by his sons, Rashid and John. He was laid to rest at Forest Lawn Memorial Park (Hollywood Hills), following a memorial service. Attendees included notable friends Chaka Khan, Lynn Davis, Sheila E., Malcolm Jamal Warner, Stanley Clarke, Al Jarreau, Dianne Reeves, Jeffrey Osborne, Stevie Wonder, Marcus Miller, and Doug E. Fresh.

Duke's songs have been used by a wide variety of contemporary musicians in a wide array of genres. These include: "I Love You More", sampled by house music-act Daft Punk for their hit "Digital Love"; "Guilty", sampled by electronica music artist Mylo in his song "Guilty of Love" on Destroy Rock & Roll. "For Love", sampled by underground hip hop artist MF Doom on his track "I Hear Voices"; "Someday", sampled by hip hop artist/producer Kanye West for Common in "Break My Heart" on his "Finding Forever" album; "You and Me", sampled and used by soul/rhythm and blues influenced hip hop-producer 9th Wonder on the track "Spirit Of '94" on the album Spirit Of '94: Version 9.0 which he made with Kaze; and "Reach for It", sampled by Ice Cube in "True to the Game" on his Death Certificate album and Spice 1 in "In My Neighborhood" on his self-titled debut album, and sampled by W.C. & The Maad Circle (featuring Mack 10 & Ice Cube) in "West Up" on their "Curb Servin'" album. Madlib utilized Duke's "My Soul" on the track "Mingus" from his "Madlib Medicine Show #8: Advanced Jazz" album.

Duke was nominated for a Grammy as Best Contemporary Jazz Performance for After Hours in 1999. By popular vote, Duke was inducted into The SoulMusic Hall Of Fame at SoulMusic.com in December 2012.

On August 5, 2014, exactly one year after Duke’s death, Al Jarreau, Duke’s long-time friend, released an album titled, “My Old Friend: Celebrating George Duke”, as a tribute to his music. The album featured 10 songs, all written by Duke. Jarreau enlisted Gerald Albright, Stanley Clarke, Dr. John, Lalah Hathaway, Boney James, Marcus Miller, Jeffrey Osborne, Kelly Price, Dianne Reeves, Patrice Rushen and many others to help create this tribute to Duke’s music. The album was released on Concord Records and it garnered the 2015 NAACP Image Award for Outstanding Jazz Album.

Wikipedia

#George Duke

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uniquedazefan · 3 years

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Spotify Equalizer Mac 2014

Spotify Equalizer Desktop

Spotify Equalizer Download

Spotify Equalizer Mac

EQ, or equalizer, settings are a very overlooked feature of the iPhone. If you’re not happy with the sound being delivered out of your built-in speakers or even through headphones or a third-party speaker, you can alter it using EQ settings.

Spotify is a digital music service that gives you access to millions of songs. Spotify is all the music you’ll ever need. Skip to content. Spotify Click the install file to finish up. If your download didn't start, try again. Bring your music to mobile and tablet, too.

Step 1: Open Spotify on either your Android or iOS devices. Step 2: Visit settings on your Spotify app and tap on “Playback.”. Step 3: Proceed to tap on “Equalizer” to open the Spotify.

I'm using AirPods on a daily basis combined with Spotify, which features a built-in equalizer on mobile so I can change the sound the way I want. My only regret was the absence of this feature on Mac, I just discovered this app called «EqMac». This is life changing if you're using high quality headphones for example.

There’s no true way to have the perfect EQ settings because everyone’s taste is different, but you can use the settings for either Apple Music or Spotify to customize sound to your liking. The presets adjust frequencies in sound that affect properties like treble and bass, and optimize them for your listening preferences and environment. So yes, adjusting EQ might be able to improve the sound coming out of your inexpensive or low-end speakers.

Adjusting EQ for Apple Music

Since Apple Music is baked into iOS, the settings to change EQ for your Apple Music playback (or just standard iTunes playback) is found in the Settings app.

So that was how you can get the equalizer for Spotify on Windows, and on iOS and Android. Though it’d have been better if it was available natively, this tool worked quite well in my tests. If Spotify admins are listening it would be nice to include a link to the mac app mentioned above in the March update post notifying the user community that this feature is.

Tap Settings and scroll down to select Music. Scroll once more to select EQ under Playback.

Free spotify 2018 premium. We hope you like the article on Spotify premium accounts free 2018, On behalf of my search related to Spotify, I can say that it is best songs and video streaming app. It has two types of accounts. First one is free and second one is premium. Free accounts have limited features. Spotify is a digital music service that gives you access to millions of songs. Spotify is all the music you’ll ever need. Listening is everything - Spotify.

Apple doesn’t let you fine-tune EQ settings for music playback in the same way Spotify does, so instead you’ll have to choose from one of the presets. (Though on your desktop, you can also customize EQ for each individual iTunes song.) The presets are crafted based on the genre of music best suited for that particular sound arrangement. EQ is off by default, but your choices are:

Acoustic

Bass Booster (makes the booming lows more prominent)

Bass Reducer (makes the booming lows less prominent)

Classical

Dance

Deep

Electronic

Flat (overrides any preset iTunes setting in favor of flat frequencies)

Hip Hop

Jazz

Late Night (turns down typically loud sounds and boosts quiet parts; ideal if you’re at a distance)

Latin

Loudness

Lounge

Piano

Pop

R&B

Rock

Small Speakers

Spoken Word

Treble Booster (makes the highs more prominent)

Treble Reducer (makes the highs less prominent)

Vocal Booster

Tip: Before settling on one that seems most appealing, play one of your favorite songs — something you think largely represents your music collection. Then while the song is playing, start switching through the different EQ settings to get a feel for which one complements the song sound best.

Adjusting EQ for Spotify

To adjust the EQ settings in your Spotify app, tap the Menu icon on the top left. Then tap the small Settings icon next to your name. Choose Playback and finally choose Equalizer.

Spotify features all of the same EQ presets as the iOS Settings except for Late Night. (See above for those options and some explanations.) But unlike Apple’s options, Spotify also includes a visual equalizer that you can drag to your liking.

Spotify Equalizer Desktop

A word on frequencies: all you really need to know about them is that the lower the frequency, the lower the sound that knob will control. For instance, the 60Hz and 150Hz controls on the left will primarily work the bass, so dragging up will increase the bass sounds and dragging down will decrease. On the other side, the 2.4KHz and 15KHz frequencies surround the treble, or highs.

If you aren’t happy with any of the presets but still want to turn on EQ, once again I recommend playing one of your favorite songs. While it’s playing, start dragging the different frequencies up or down to see what you like best.

READ ALSO:How to Experience Hi-Fi Audio on Your Mobile Device

The above article may contain affiliate links which help support Guiding Tech. However, it does not affect our editorial integrity. The content remains unbiased and authentic.Also See#Apple Music #iphone

Did You Know

Oppo used to make portable media players before they ventured into the field of mobile phones.

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Spotify Equalizer Mac

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deadcactuswalking · 5 years

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REVIEWING THE CHARTS: 15th September 2019

This is a pretty damn busy week all things considered, especially in comparison to the last few weeks which have been incredibly dry, by that I mean “No new arrivals” dry, so without further ado, let’s review the charts.

Top 10

Now I’m puzzled, why hasn’t “Take Me Back to London” by Ed Sheeran featuring Stormzy, remixed by Sir Spyro with additional verses from Jaykae and Aitch (Yes, I’m saying that whole thing every time) been dethroned yet? It’s its third week at #1, and I understand that it’s Ed Sheeran making watered-down white-washed grime music which follows somewhat of a UK hip hop trend with pop sensibilities and riding off the waves of a late 2000s grime/UK garage nostalgia phase, it’s essentially the perfect #1 for late Summer-early Autumn 2019 in Britain, but come on, this isn’t a great song and it’s been so close to stepping down from this spot in the past three weeks, in fact...

Aitch may as well have dethroned himself by technicality this week, since the release of his AitcH20 mixtape (I don’t like the dude’s music but I respect the pun) has propelled his lead single “Taste (Make it Shake)” up a spot to number-two, which is a new peak but not the #1 spot as I very much expected, and dreaded, this week.

Potential #1 “Higher Love” by Kygo and the late Whitney Houston is down a spot to number-three thanks to Aitch’s impact, which fortunately, isn’t notable enough for an Album Bomb feature; neither is Post Malone’s Hollywood’s Bleeding but we will see some of that later on.

“Ladbroke Grove” by AJ Tracey is staying still at number-four.

Meanwhile, we have a humorous blunder on the BBC’s part, who said that Post Malone’s “Circles”, at number-five this week, is “down 6”, implying that Post Malone reached the impossible: A #0 spot on the UK Singles Chart. Pretty impressive. This song has grown on me, especially in album context, but I’m not bothered about it all too much still and I do think “Goodbyes” with Young Thug is miles better.

Joel Corry’s “Love Island anthem”, “Sorry” featuring uncredited vocals from Hayley May, is at number-six this week, which isn’t a change at all from last chart.

Unfortunately missing its chance of #1 now is “3 Nights” by Dominic Fike, down two spots to number-seven. I predict Fike’ll be a one-hit wonder because of his general apathy for promotion and performing live, especially since none of his other singles seem to have matched the success of his breakout song, but that debut album will be what decides it, I suppose.

Lil Tecca is down one space to number-eight with “RAN$OM”, which still isn’t plummeting fast enough – I did a UK Top 40 ranking on my Twitter @cactusinthebank and this just barely missed the bottom of that list, so if you wanted any insight on how I feel about that track, there you go.

Young T & Bugsey ride off the Aitch feature as “Strike a Pose” is up another chart position to number-nine.

Finally, we have a gain I’m ecstatic about, as “Goodbyes” by Post Malone featuring Young Thug gains a second wind, up four spaces to #10 thanks to the album release. More on that later, but I’m glad this returned to the top 10, it is a near-perfect pop song.

Climbers

I’m ecstatic about this gain too as Regard’s Jay Sean remix, “Ride It”, is up 10 spaces (or “down 10” – thanks, BBC) off the debut to #15, becoming Regard’s first ever UK Top 20. Congratulations, but man, who cares? Jay Sean has another hit. It’s his ninth UK Top 20 hit overall and first ever since 2010, I hope this guy makes a comeback. Speaking of people getting their first UK Top 20 hits, “Dance Monkey” by Tones and I had an unexpected boost 12 spaces up to #19, becoming her first ever as well. There are no other climbers but there are a ton of fallers, so...

Fallers

I think I need for the first time in months to separate these fallers by genre, so...

In reverse order of how high up these songs are on the chart unless noted, and starting with pop, EDM and rock(?), “bad guy” by Billie Eilish (Featuring Justin Bieber, kind of) is down six spaces to #37 as this one’s definitely on its way out. Skipping two songs for the sake of the writing to flow, “Ritual” by Tiesto, Jonas Blue and Rita Ora is down four to #28, “Someone You Love” by Lewis Capaldi is down six to #27, “Castles” by Freya Ridings is down six as well to #26, “Beautiful People” by Ed Sheeran featuring Khalid is down five to #24 and “boyfriend” by Social House featuring Ariana Grande is down five to #22.

Our second genre is Taylor Swift, as “You Need to Calm Down” has an end to its second wind thanks to the Lover album release, down eight spots to #36 (It’ll be out pretty soon), and the title track (That’s “Lover”) is down nine positions to #31.

Our third and final genre category worth noting is hip hop and R&B, starting with MIST and Fredo dropping a whopping 26 spaces to #35 with “So High”, just as I start to actually like this song, thanks to what are probably streaming cuts... and that’s actually all for that genre. Huh. Maybe I shouldn’t have split this in the first place.

Dropouts & Returning Entries

Our drop outs seem to all be songs from the last stretch of the charts, in fact all of last week’s #36-#40 have been replaced this week, mostly some songs barely holding onto the UK Top 40, specifically in the realm of hip-hop seemingly, with “I Spy” by Krept & Konan, K-Trap and Headie One dropping out from #39 and “Location” by Dave featuring Burna Boy out from #40, as well as “Wish You Well” by Sigala featuring Becky Hill from #38, while some recent debuts are also out of the chart. “The Man” by Taylor Swift is out from #36 but won’t be back and is probably the result of a combination of a busy week and Lover hype dying off, while “Lalala” by Y2K and bbno$ is out from #37 off of the debut, but will re-enter next week at even possibly a higher position actually. It’s just because it’s a busy week and it happened to break in late, it’s not losing in performance.

There are no returning entries so let’s get into the most EPIC part of the show:

NEW ARRIVALS

#40 – “Slide Away” – Miley Cyrus

Produced by Andrew Wyatt and Mike WiLL Made-It – Peaked at #11 in Slovakia and #47 in the US

You’d be hard-pressed to find a Miley Cyrus song I enjoy, even in eras people seem to praise like Bangerz and... well, just Bangerz. I don’t think I’ll ever be a fan of Cyrus to be honest, I’m definitely not a fan of the slight country twang she has in her voice and I never think her production is any good or even worthwhile, usually provided by Mike WiLL. It’s either completely misguided and cringeworthy like SHE IS COMING or to an even worse extent, Miley Cyrus and Her Dead Petz, or generic, country-influenced pop slush like her Disney efforts and once again to an even worse extent, Younger Now. I did see a lot of buzz about this track in particular that seemed pretty positive, and I’ve got to say, it took her 16 UK Top 40 hits and a music video being released recently, but she’s finally got a charting song that I like, in fact, I might love this. Those slick guitar riffs that start the song off as well as soulful pitch-shifted vocals set a really sombre atmosphere, propelled by the trap percussion with 808s that really dig into the centre of the mix, and an odd scatting and incoherent vocal sample, which is actually an interesting addition and probably Mike WiLL’s contribution. The chorus here is insanely powerful, with Cyrus’ country twang being more subtle and overall, her performance here is a lot more bearable than normal. The swell the airy synths have here especially in the hook is less non-descript than most modern pop and doesn’t present any grandiosity like you’d expect, especially backed by the strings. It sounds more like acceptance, which is incredibly fitting for the subject matter, which as a result from Cyrus’ split with one of the Hemsworths, is focused on how she wants to safely move on rather than focusing on the past as it’s pretty unhealthy especially as she’s now a grown woman (Which she points out in the pre-chorus), with the fully instrumental and surprisingly lengthy outro (Really love the subtle touches there as well, as the vocal sample comes back briefly as well) full of vocodered synth brass and strings flailing out and going nowhere... much like her marriage. Was that on purpose? Probably not, actually, I doubt Mike WiLL really cares, he was probably there to programme some trap drums that sounded a tad sombre and then move on to giving Rae Sremmurd a reason to be making music. Yeah, this is pretty great, although I’d prefer the writing to be a little less undercooked, with a variation on the verse rather than a simple reprise, but I’m not complaining about how it is now really, considering this is a massive improvement on... pretty much everything else. Check it out if you haven’t already.

#38 – “Liar” – Camila Cabello

Produced by watt, The Monsters and the Strangerz and Jon Bellion – Peaked at #13 in Singapore and #56 in the US

I love how history repeats itself. In 2017, Camila Cabello released a double A-side single of sorts, with a trendy pop song following what was popular at the time and a slightly left-field Latin-tinged R&B cut. The trendy pop song, “OMG” with Quavo, underperformed, although the Latin-tinged R&B cut with the incoherent Young Thug guest verse was “Havana”, a #1 hit and one of the most popular songs of the decade, later ending up on the album. Similarly, the “dark pop” Billie Eilish rip-off that is “Shameless” was given the obvious label push but fans seem to really prefer the Latin one, “Liar”, which shows they should probably stop marketing Cabello as a pop star, but we’ll see how that goes in a few months when the album releases. For now, however, we’ve got “Liar”... wait, why the hell does Lionel Richie have a writing credit?

Okay, so I’ve covered 1994’s Year-End list for a Top 5 Best and Worst Hit Songs feature, and I’ve listened to the 1984 list as well for a Top 10 Best Hit Songs feature for that one, and as I guess is a gift of fate, one of the best songs from the 1994 list and one of the worst from the 1984 list are both sampled and/or interpolated in this Camila Cabello song, and trust me, once you hear both of them, you can’t un-hear them, and I heard them immediately. It’s not subtle, but it doesn’t necessarily need to be, the song can still be a catchy pop ditty with the blatant sample... but no amount of Melodyne and vocal manipulation can help Cabello from her rubbery and squeaky, slightly off-key(?) falsetto cooing. It’s not sensual or “Broken”, it just sounds awful. Oh, yeah, and the ska beat is mediocre, with hilariously plastic horns, especially in comparison with “Havana”... Honestly, replacing Pharrell with Jon Bellion and removing Young Thug entirely is probably the worst decision the label made. Nothing here is enticing except an admittedly tight bassline, but what’s the point? Just listen to “All That She Wants” by Ace of Base, download some extra FL Studio saxophone sound effects (Even though the cheap horns in the original are dated, they sound a lot better than the recreation here), and you’ve got a somewhat better version of this song. It’s a weak effort, but my expectations weren’t high in the first place. Still better than “All Night Long (All Night)” though, but that’s a pretty difficult feat.

#21 – “Buss Down” – Aitch featuring ZieZie

Produced by Mojam

Remember ZieZie? I wrote paragraphs on paragraphs about that “Fine Girl” song he had but it really was an enigma to me at the time and still kind of is. Anyway, this is the instant grat single and breakout song from Aitch’s second mixtape, AitcH20 (There are layers to that pun and I respect it). I don’t care about Aitch all that much, he just seems to be a safer alternative and pretty accessible guest rapper, like your grandmother’s favourite British trap artist. This is his fifth UK Top 40 single and ZieZie’s second (I never thought I’d say those two words in my life)... but first of all, I commented on this when I talked about “Fine Girl” but the dude’s released more singles so it’s even more jarring now – why is his pre-fame single “Low Life” still listed on Spotify as “ZieZie- “Low Life”” in both the album and track title? He’s signed to a major label, he’s on one of the biggest UK rappers’ promo single, how has no-one fixed this? Sigh, well, the song’s okay. It’s very much not a trap cut, it takes some influence from the Afroswing that people like MoStack make, especially with the piano riff that’s used as the main synth melody, as well as some cute 808s and an admittedly great hook from ZieZie... but the beat doesn’t change and Aitch is existent. The chorus is four lines, all of which sung twice in one chorus, which happens four times in the song. It’s mostly Aitch with corny lyrics and a really sloppy flow on the verses, with a third verse from ZieZie that is absolutely dreadful, pushes this song to mediocre for me. Not only is it incoherent enough for there to be some [?]s on Genius still, but it’s about taking your girl... but letting ZieZie’s friend have sex with your girl, although apparently your girl likes it when her and ZieZie have rough sex, even though your girl is having sex with ZieZie’s friend instead and your girl loves how caring ZieZie is... Huh?

#20 – “Sounds of the Skeng” – Stormzy

Produced by Sir Spyro

Now, THIS is some good British hip hop. This is Stormzy’s 17th UK Top 40 hit and tenth UK Top 20 single, and it’s pretty great. I understand why it didn’t have a Top 5 debut like the sweet gospel-pop number “Crown” or addictive bop that is “Vossi Bop”, because this is just straight-up grime. It’s not UK garage, there aren’t any pop beats or Jorja Smith vocal samples, it doesn’t go soft, it goes hard. It’s produced by Sir Spyro, it has three rapidly-flowing verses, and it’s an absolute banger. You can barely even hear Stormzy under the dramatic synths and bursts of brass, but you can tell he’s just going and going and going. The only sense of melody we get in this bass-rattling single really, other than the synths and smooth jazz horns in the left channel, is the producer tag that plays briefly in the chorus and never again. There are several moments here I just love, not even necessarily lyrical moments although those are usually on point here, but Stormzy’s wild inflections throughout. Most verses start with a simple, Westernised modern flow and then go into a more speedy and aggressive delivery that barely doesn’t clip in the mix. The first verse is comparatively relaxed, with a pretty lazy cadence, making a pretty obscure Kendrick Lamar reference for whatever reason, with the “Perfect!” sample from Street Fighter perfectly implemented. I like how the first verse seems more like a threat while the second verse and third verse are right into the action, as he asks “old Mike” not to resurface, and in the chorus, even mentions old persona Wicked Skengman or Mr. Skeng. The title of the song has a lot of thought into it as well, being a reference to The Sound of Music juxtaposed with grimey London slang term “Skeng” and the Sir Spyro producer tag, “Sounds of the Sir”. Stormzy starts dissing British rappers who use too much Americanised slang and beat selection in the second verse, with lazy, dismissive ad-libs almost mocking trap-rappers overseas like Migos, and then he reaches the peak of the song. The second verse, personally my favourite, is where he has a machine gun flow enraged outburst, and it is insane, mentioning his two BRIT Award wins while also keeping an impressive delivery that is pretty much just really quick yelling, it’s really intense, but he sounds focused and determined. The third verse is the cooldown, paying tribute to So Solid Crew and their flow and ad-libs, as well as some pretty clever wordplay regarding other rappers Flipz and MIST, as well as Giggs, whose song “Whippin’ Excursion” is rhymed with a brag about how tall he is. He’s 6’5’’, which is towering above me. All three verses here have their own unique flow and cadence, as well as theme seemingly, but that’s not all that clear right now. I’m excited for this one in album context, but this is great already. Check it out.

#11 – “Hollywood’s Bleeding” – Post Malone

Produced by Louis Bell and Brian Lee

Really? The title track? I mean, understandable, it’s the first song on the album and it’s not a bad song at all, but there are so many better and more interesting songs on the album that you’d figue would debut high. “Saint-Tropez”, the “Wow.”-type banger? “Enemies” with DaBaby? The awesome alt-rock banger “Allergic”? Kanye West-produced “Internet”? Future and Halsey pretty much saving the ballad “Die for Me”? Hell, I figured the record-breaking “Take What You Want” with Travis Scott and the legendary Ozzy Osbourne of Black Sabbath would be the obvious choice to chart in the UK, it has Ozzy on it for goodness’ sake! Thanks to UK chart rules, this is the only track from the #1 album allowed though, and it’s not a bad song at all, far from it. It’s just a good more than half of the album, which admittedly is pretty great especially for a Post Malone album, is better than it, most by far. Regardless, it’s Post’s twelth UK Top 40 hit and 11th UK Top 20 hit, and it’s a pretty good introductory song. I should note though, that Post’s last album, beerbongs & Bentleys, also had its non-single intro track with no features, “Paranoid”, also co-produced by Louis Bell, debut and peak at #11, just more than a year ago. What a coincidence. Anyway, the song (And album may I add) starts with some sombre vocals from Post complaining about Hollywood and he sounds pretty great, with less strained vocals than usual and a slight warble which I’m actually a fan of, which is well integrated into the chorus, but when that trap beat hits, it knocks. It’s a great drop. Otherwise, eh, I love Post’s performance here, with a lot of flow shifts throughout both verses, but it’s a pretty standard beat until that one note Post holds into a beat switch, with a very glitchy rock beat with oddly mixed 808s, and it sounds pretty great... until it’s gone in like less than 10 seconds. Good song, but nowhere close to his best.

Conclusion

All things considered, this is a pretty great week. I’d probably give Best of the Week to Stormzy for “Sounds of the Skeng” with tied Honourable Mention going to Miley Cyrus and Post Malone for “Slide Away” and “Hollywood’s Bleeding”. Worst of the Week is going to Camila Cabello for just plain mediocrity in “Liar”, so Aitch is scot-free (Although ZieZie is both the best and worst part of that song). Follow me on Twitter @cactusinthebank for, to be honest, SpongeBob memes and very infrequent musical commentary and ramblings, and I’ll see you next week!

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recordsandrambling · 5 years

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2018: A Year in Musical Review

As another year comes to a close, so does another year of great music. My five favorites from the year were chosen because of how much they spoke to me on a personal level, as well as my distinction of each as artistically worthy of merit compared to the rest of 2018′s releases. As such, there is definitely a more opinionated focus this year rather than in previous years where I tried to single out more broadly important records.

Without further ado, I present what I believe to be the five best albums of 2018.

5. Breaking English - Rafiq Bhatia

Rafiq Bhatia is a guitarist and composer best known for his work in the electronica group Son Lux. He steps away from the electronica approach to put forth an experimental album that’s hard to pin down to one genre.

Though very much a guitar-driven album, the 30-year-old songwriter fills the rest of the air on his debut full-length for Anti-Records with glitchy soundscapes of jazzy drums, squelching electronics, and soaring Middle Eastern-inspired string sections. Bhatia is able to conjure up such an emotional power in these songs that it would be almost overkill to include vocals--in fact, the one instance of singing on the whole record is on the title track, and it takes a backseat to the lead guitar lick that fronts the arrangement. Breaking English proves that a songwriter doesn’t need to rely on lyrics to convey strong feelings if they find their voice in their instrument.

Key Tracks: Hoods Up, Breaking English, Perihelion I - I Tried to Scream

4. Mark Kozelek - Mark Kozelek

Mark Kozelek’s self-titled record proves the exact opposite point Breaking English does--great songs don’t need intricate arrangements to leave lasting impressions. Kozelek is in the third iteration of his long career, first as guitarist/singer of slowcore giants Red House Painters, then as sad crooning folk singer with Sun Kil Moon, and now as a rambling storyteller across multiple albums either solo, with a collaborator, or still as Sun Kil Moon. This particular release finds a melancholy-as-ever Mark recording guitar loops in hotels across his travels in the US and playing them out for upwards of 12 minutes as he sing-talks stories from his youth, gripes with the modern world, and funny everyday interactions with other people. It’s a daunting project, reaching 90 minutes in length over just 11 songs, but its dreamy and beautiful soundscapes hide nuggets of relatable realism across its dozens of sheets of lyrics that an intensive listener will dig up and savor.

I came to appreciate just how funny much of this album truly is after seeing Mark live in Philadelphia earlier this year. He manages to supply moments of absurd silliness like the chanting of “diarrhea” in the background of highlight The Mark Kozelek Museum along with humurous observations such as the back-and-forth between him and a barista who doesn’t recognize Mark despite Sun Kil Moon playing in the background of the coffeeshop on Weed Whacker. Kozelek himself even laughs on record after the umpteenth rhyme of “overanalyzing” on My Love For You Is Undying.

Give this one a listen, even if just for the experience.

Key Tracks: The Mark Kozelek Museum, Weed Whacker, My Love For You Is Undying

3. God’s Favorite Customer - Father John Misty

Singer-songwriter Josh Tillman returns for his second album is as many years, abandoning the grandiose critiques on modern society of 2017′s Pure Comedy in favor of much more personal tunes that were born out of a six-week stint of alcoholism and depression spent in a New York hotel.

God’s Favorite Customer is a deeply reflective folk-rock album, touching on drunken conversations with hotel attendants on Mr. Tillman, dealing with outside criticism during times of serious personal turmoil on Hangout at the Gallows, and even reciting terrified pleas from his wife to quit his destructive behavior on Please Don’t Die. As usual, Tillman’s sharp, witty lyricism soften the emotional blows a bit, while his soulful voice and knack for melody make his pain extremely catchy.

However, this is the most direct and vulnerable Tillman has ever appeared on an album, allowing two tracks to strip away the larger-than-life instrumentation to showcase simplistic voice-and-piano balladry on The Palace and The Songwriter. This newfound versatility shows that the enigmatic character of Father John Misty has many more tricks up his sleeve to grace future releases.

Key Tracks: Mr. Tillman, Hangout at the Gallows, Please Don’t Die

2. Year of the Snitch - Death Grips

Just when I thought the genre-bending experimental trio couldn’t push their sound any further, Death Grips found a way to combine the bravado and flair of hip-hop with fist-pumping dance rhythms and the raw strength of heavy rock, all the while somehow still managing to have it sound cohesive. Year of the Snitch plays out like a rave held at a warped circus thanks to the outlandish production of Andy Morin and the sputtering drumming of Zach Hill. Vocalist Ride acts as the ringmaster to centralize the shitshow, shouting oblique references to demons and satanic urges at the top of his lungs into your horrified and confused face.

Thematically, this record is deeply connected to two entities: Charles Manson and the Rolling Stones. Death Grips utilized Manson quotes and references on previous albums directly, whereas Year of the Snitch keeps the influence one person removed. The “snitch” in the album’s title is Linda Kasbian, the key witness who testified against Manson. She is referred to multiple times in the album. On the song Hahaha, Ride roars “69′s and the bitches shout,” referring to her age and the act of testifying. Another is the more pointed song title Linda’s In Custody.

The Rolling Stones’ reference are also more overt. The album’s cover is an homage to the classic Stones logo and the song Black Paint is a clear attempt to update the rock classic Paint It Black.

These ideas meld into the central theme of this album: fear. Death Grips has always played with darkness and death, but it is on Year of the Snitch where they face it head on. Ride paints portraits of his dead body getting feasted on by insects on Flies, chants “I’m always thinking finally” on the aforementioned Black Paint, and even titles the jazzy, spastic ode to suicide The Fear after his inner monologue while on the verge of jumping to his demise.

More curiously, the mentioning of satanism, murder, suicide, darkness and fear parallels how blatantly self-referential this record is. The lead track is titled Death Grips is Online. Andrew Adamson, the director of Shrek, makes an appearance on a spoken word intro to Dilemma about how the trio has quite literally run into a dilemma in the middle of recording. Finally, they tack one more song onto the record after the supposed Outro, and name it Disappointed in preparation for the assumed critical response to the record.

This dichotomy between fear and self-reference leads me to conclude that Death Grips recognize that their art will be better appreciated after their mortal existence. While they are certainly an experimental force in modern music, they aren’t viewed under the same era-defining lens that other critically-lauded artists are. Instead, the men of Death Grips are content to remain ever mysterious in the shadows of popular music, putting out album after album of mind-bending masterpiece until the music world realizes too late that the artist of their generation was hiding in the snarky corners of the dark web the whole time.

Key Tracks: Black Paint, The Fear, Dilemma

1. Some Rap Songs - Earl Sweatshirt

Music critics lauded Earl Sweatshirt as a rap savant of sorts back in the early 2010s when he was just a teen, before his abrupt disappearance from Odd Future’s output spawned proclamations of “Free Earl” that could be heard from every corner of the internet. Upon returning to the spotlight in 2012 on OF posse-cut-turned-swan-song Oldie, it was apparent that the young lyrical phenom was no longer fitting in with the quirky, obnoxious LA group anymore. His debut album Doris tried to keep up appearances, but the introspection that always laid the foundation for his passages eventually came completely out on 2015′s appropriately named I Don’t Like Shit I Don’t Go Outside. Turned out that young shock rapper Earl was sent to a school for at-risk youth during his absence half a decade earlier, and it altered his perspective on the world around him.

In 2018, three years after the world’s first introduction to his darker side, Earl gives us Some Rap Songs, a 25-minute fifteen track masterstroke of lo-fi hip-hop. Less angry and outspoken this time around, Earl instead finds himself professing morose reflections about the death of his father, the stresses of the spotlight, getting high to unsuccessfully fight depression, and how money has changed him and his friends. He gets some help from underground New York City rappers and producers to create a gritty soundscape not unlike the city they hail from.

It never feels like Earl is rapping above the music. He’s rapping with the music, forgoing big room reverb and instead burying his introspective lyrics beneath crackling soul samples in hopes of letting the production take the reins. Thanks to the short song lengths and seamless transitions, the album flows more like one whole piece rather than fifteen individual tracks. The popping vinyl records that make up the samples make the beats feel alive, a welcome contrast to the synthetic trap that underlines pop culture today. It’s this organic sound that reveals that Earl isn’t professing his grief at you. He’s sharing it with you, hoping to relate his experience to any listener going through similar troubles.

“Peace to every crease on your brain,” he spits on Veins. “Bend we don’t break, we not the bank,” he hopes out loud on The Bends. These aren’t just lyrics, they’re mantras he’s hoping will replace any leftover Free Earl’s that thrust him into the unforgiving limelight.

The album hits its emotional peak over the final three tracks. Playing Possum overlays a powerful recording of his recently deceased father Keorapetse Kgositsile reciting his poem Anguish Longer Than Sorrow alongside a keynote speech performed by his mother, UCLA law professor Cheryl Harris. It’s a touching nod to where he came from, and upon discovering the root of his existence, it makes sense that he’s blossomed into the influential artist he is today.

But then the sweet sentiment fades into the abrasive Peanut. Its claustrophobic beat projects the image of Earl stuck in an air conditioning unit, anxiously describing burying a father that felt like a stranger to him until only recently. At the end of its 74-second run time, he directly references the final cut with the last line on the album: “my Uncle Hugh.” It is within the upbeat jazz instrumental performed by his late father’s friend Hugh Masekela titled Riot! where I realize that even though Earl can’t get out of this pit of despair, he’s attempting to find hope within the one thing he finds solace in: music.

Key Tracks: Veins, The Bends, Playing Possum

Thanks for reading, and Happy New Year!

--CHRIS

PS: Be the Cowboy is overrated as heck.

Honorable Mentions (in no particular order):

Veteran - Jpegmafia

POST- - Jeff Rosenstock

boygenius (EP) - boygenius

What Happens When I Try to Relax - Open Mike Eagle

Time ‘n’ Place - Kero Kero Bonito

iridescence - Brockhampton

ye - Kanye West

DAYTONA - Pusha T

Wide Awake! - Parquet Courts

Twin Fantasy - Car Seat Headrest

#bestof #music #2018 #earl sweatshirt #mark kozelek #father john misty #rafiq bhatia #death grips #records and rambling #list #albums #records

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gleitzman · 7 years

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B-boys on E

It's widely known that marijuana and hip hop are inextricably linked - just turn on the radio or take your pick of MCs becoming poster-boys of weed culture. However, there's a more obscure branch of rap references dating back to the early 90's that have another target in focus: ecstasy. In December of 2000, Simon Reynolds penned an article for the webzine of London-based record label Hyperdub, which now boasts artists such as DJ Rashad, Burial, and Martyn, about the rising trend of MDMA-related references in rap lyrics.

A comprehensive look into B-boys on E, I've republished the piece below alongside a playlist of every track mentioned in the article, including a few sub-2000's tracks that came to mind. Put down the blunt and pick up the pacifier.

Hip Hop and Ecstasy - Simon Reynolds

Magazine editors have a secret formula: "two things, that's just a coincidence--but three, that's a trend". Well, here's three pieces of evidence. On "Let's Get High" from his don't-call-this-a-comeback album The Chronic 2001, Dr. Dre declares " I just took some Ecstasy/Ain't no tellin what the side effects could be". In The Wire's Christmas issue, El-P of underground hip hop outfit Company Flow listed among his 1999 highlights trying Ecstasy "for the first, second, third, fourth, fifth, sixth, seventh and eighth time". And gangsta rappers Bone Thugs-N-Harmony's latest album BTNH Resurrection contains the song "Ecstasy," inspired by the group's recent introduction to MDMA. The chorus features some of Bone Thugs private slang for the E sensation: "I feel so 'Z'/I feel so ziggety ziggety ziggety/Cause I'm floatin' in ecstasy.." Bizzy's so impressed with the "new shit" touted by their weed dealer that he even wishes Eazy E, Bone Thugs's deceased mentor, "was here to feel pillish, pillish, pillish, pillish."

Add to this reports of thugs and bitches buzzing on E at the Tunnel (New York's most hardcore and "street" rap club), MDMA references in tracks by Jay-Z, Eminem, DJ Quik, Nas, Three-6 Mafia, and Saafir, and persistent rumors about a certain rap mogul who's got a serious Ecstasy habit, and you've got more than a trend--you've got a phenomenon: Hip Hop America Gets Loved Up. It's happened as a knock-on effect of the astonishing surge in Ecstasy use in America over the last two years, itself triggered by a return to reliable, high-dose MDMA pills thanks to Mitshubishi and the brands that followed in its wake. The New York Times reported a 450 percent increase between 1998 and 1999 in Ecstasy seizures by police and customs (which usually roughly reflect the amount of Ecstasy on sale on the streets). The United States Custom Service is projecting a 1500 percent increase from 1999 to 2000! For the first time since it was legal in the early Eighties, MDMA is popular outside the rave scene, with college students and yuppies throwing E parties. And finally, the drug has made significant inroads into the rap community.

On the face of it, Ecstasy would not appear to be a B-boy drug. MDMA lowers one's emotional defences, promotes feelings of trust and tactile tenderness, defuses aggression. It basically creates the exact opposite mind-body-soul state to rap's paranoid and paramilitary ego, all threats and boasts and psychologically armored readiness for the outbreak of hostilities. It also seems really unlikely that your typical gangsta rapper would enjoy exploring Ecstasy's androgynizing effects--the way it makes men more able to express their emotions, be cuddly and affectionate, talk to women without sex as the primary goal, find it difficult to achieve an erection or have an orgasm. These swoony Ecstasy effects would probably be experienced as traumatic not pleasurable--threatening sensations of weakness, softness, E-masculation. Hip hop's ethos of "keeping it real," its concern with reflecting hardcore street realities of crime and incarceration, also conflicts with rave's Ecstasy-fuelled positivity and utopian hope. This dark-tinted realism was a common attitude in the early jungle scene, which was highly influenced by hip hop values. For many Black British junglists, Ecstasy was "false," a chemical haze of unreality that didn't resonate with their harsh experience of urban life.

Judging by the Ecstasy-inspired lyrics that have emerged from rap so far, though, even MDMA can't teach an old dogg new tricks. The sexual attitudes haven't improved one bit. Dr. Dre's lyric about just dropping an E goes straight into "All these fine bitches equal sex to me/plus I got this bad bitch layin' next to me". In "Ecstasy", Bone MC Flesh rhymes about "feelin’ hot and exotic with an arced cock/ I'm feelin' too sexy for my muthafuckin self/Gotta find my bitch and I’m gonna fuck her ass to death!". There are stories floating around about major ballers and shot-callers in the rap industry who throw parties at their mansions in the Hamptons (an expensive Long Island summer home area favored by Manhattan's wealthy and famous) where Ecstasy is primarily used to get the ladies "in the mood" for multiple-partner sex. As for the violence in rap lyrics, rhymes about guns and murda have not been replaced by spiritualized Ecstasy babble about P.L.U.R. (the American raver's mantra of "peace, love, unity and respect"). Unlike with Britain's reformed football hooligans during 1988's Summer of Love, we've yet to see the emergence of the "love thug" in hardcore hip hop. Perhaps the behavioral codes are too ingrained for rave's smiley-face to replace rap's "screwface"--the menacing scowl-sneer that signifies hip hop culture's taboo on showing your teeth.

Then again, it's early days yet, and Ecstasy is such a powerful drug that it's certain to have some affects on hip hop, both as a culture and as a music. Although jungle eventually adopted an anti-Ecstasy stance (favoring the "organic", herbal highs of marijuana over "chemicals"), as a form of music it could not have existed without its precursor genre, 1991-92 hardcore rave--whose sped up breakbeats and manic barrage of samples were basically "hip hop on E," rather than a mutant form of techno. Add Ecstasy to hip hop again, and the results could be as revolutionary as the emergence of jungle out of rave. Whether as a result of Ecstasy use or just an eerily prophetic prelude, there's been a flood of rap and R&B tracks that feature techno-like sounds and riffs over the last eighteen months: Ja Rule's "Holla Holla" with its snaking, writhing riff that sounds like nothing so much as a Roland 303 acid bassline; the staccato rave-style stabs in Destiny's Child's "Bugaboo," Ginuwine's "What's So Different," and Jay-Z's "Girls' Best Friend"; the house vamps and techno pulses in countless Cash Money tracks by Juvenile, B.G., Hot Boys and Lil Wayne, all produced by Mannie Fresh (who actually worked with Steve 'Silk' Hurley a decade ago).

Most recently Timbaland, who's talked about his fondness for electronica and groups like The Prodigy, has produced three tracks that positively drip with the influence of European Ecstasy culture, if not E itself. Aaliyah's smash hit "Try Again" rolls on a burbling Roland 303; the dirge-bass riff on Jay-Z's "Snoopy Track" makes it a rap "Dominator" or "Mentasm"; Nas featuring Ginuwine's "You Owe Me" has the slinky, lurching flow of 2-step garage. Indeed two-step ought to be the logical bridge between American "urban" (radio programmer code for black) music and house culture, since it is basically UK rave embracing and absorbing US R&B. 2-step garage is where the musical advances made during 10 years of collectively living at the cutting edge of rave's drug-technology interface ("caning it", in plain English slanguage) are now being folded back into the humanist, hypersexual pop sounds that ravers originally broke with to pursue manic sexless drug-noise (starting with acid house). As such 2-step could function for black Americans as a journey in the opposite direction, an acclimatisation phase before they get into Plastikman, Basement Jaxx, or The Mover. (Well, one can only dream, eh?). Actually, Armand Van Helden has been trying singlehandedly to be that demilitarized zone/interface between hip hop and house (he's obsessed with 1989 hip-house as this lost moment of possibility) but so far with zero impact in the US. His B-boy flirtations have even counted against him in the world of American deep house, where they don't want ruffnecks coming to the party (forgiveably, perhaps, given the rampant homophobia in hip hop). House music creeps in through the back door of Lil' Kim's new album The Notorious K.I.M., with tracks based on "French Kiss" by Lil Louis and "Break 4 Love' by Raze, and a pronounced Daft Punk-y flavor to "How Many Licks?"

Finally, OutKast's late 2000 release Stankovia is the first real hip hop example, overt and acknowledged by its creators, of a marked influence from rave music and Ecstasy. Big Boi and Andre 3000 go to raves in the Atlanta, Georgia area and even did field research in London clubs. They gave Stankonia faster b.p.m's than its easy-rolling predecessor Aquemini because "nowadays you got different drugs on the scene. X done hit the hood. It ain't chronic no more. They on some other speed-up type shit.... so that's why the tempo had to get a lot faster." The single "Bombs Over Baghdad" makes a botched if exciting stab at drum'n'bass (they're big fans of Photek) while "?" is a disorientating foray into the jungle: tangled breaks, chirruping synth-blurts, ravey riff-lets.

With the E'd up thugs and thuggettes reputedly drifting from the main floor of the Tunnel into the smaller house'n'techno room that it (god knows why) offers, it could be that the hip hop nation will turn onto electronic dance music big-time, finally ending rap's contempt for house music as mere gay disco. Sonically, the differences between the two forms of music have never been smaller---for instance, both techno and rap have been influenced recently by a revival of interest in Eighties electro. As for the drug's cultural impact.... Ecstasy's "loved up" vibe fits perfectly with hip hop's endless professions of loyalty for the crew, family, click, posse. E will only exaggerate this aspect of blood-brother solidarity and "thug love". But what about the hate side of rap's soul? Can Ecstasy lead to a truce in rap's symbolic warfare? Will "call-that-a-worldview?" couplets like "all I know is that bitches suck dick and niggas bleed" (The Lox) lose their appeal to hearts that no longer feel hard? What can be said safely is that Ecstasy had seemed like a drug that held no more surprises in terms of its cultural effects, given that the clubbing-and-raving industries efficiently channel the energy it catalyzes into tidy profits (eg Gatecrasher, whose slogan is "Market Leaders In Having-It Right Off Leisure Ware"--they might as well just put "Sponsored By Mitshubishi, Nudge Nudge Wink Wink" on the ads). But now that the drug has found its way to one of the few demographic and subcultural zones it had so far left untouched---African-American youth---it could be that Ecstasy has new tricks up its sleeves, new stories to tell, new revolutions to unfurl. (Just wait 'til it hits the dancehall community in Jamaica). Watch this space.....

#rap #drugs #ecstasy #music

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