#and to see some artists like justin bieber years ago or doja cat now that absolutely treat(ed) their fans poorly bc of a pent up frusterati

[deadcactuswalking]

REVIEWING THE CHARTS: 27/03/2021 (Justin Bieber’s ‘Justice’, Griff, Lil Tjay/Polo G/Fivio Foreign)

You might think that since I can take time out of my schedule to ramble about charts every week, that I have a lot of time on my hands and this may or may not be true but even I do not have enough time or energy to listen to – or even care about – new releases from both Justin Bieber and Lana Del Rey. So, of course, they make the most impact on the chart this week, even if said impact is still pretty muted. Our #1 is, for a second week, “Wellerman” by Nathan Evans and remixed by 220 KID and Billen Ted, and welcome back to REVIEWING THE CHARTS.

Rundown

It may not make any sense to you that “Anyone” by Justin Bieber has dropped out of the UK Top 75 – which I cover – on the week of the album’s release, but UK chart rules stipulate that only the three best-performing songs from an artist can chart at any time, which is pretty stupid all things considered but I’m not complaining since it gives me less of a workload... or more, I don’t know. With more album tracks from Justin, I’m sure they would cancel at least some of the other, lower new entries out. This isn’t the Hot 100, however, this is the UK Singles Chart, and hence we follow their rules, which means that we also have the notable drop-outs of “Bluuwuu” by Digga D, “Regardless” by RAYE and Rudimental, “Love Not War (The Tampa Beat)” by Jason Derulo and Nuka, “Afterglow” by Ed Sheeran, “Prisoner” by Miley Cyrus featuring Dua Lipa, and finally, “Lemonade” by Internet Money and Gunna featuring Don Toliver and NAV. It seems like this week in particular is pushing out old hits to make way for the new, and that’s a great thing as far as I’m concerned.

In terms of notable fallers, there are a few as expected from having a lot of action at the top, as we have “Get Out My Head” by Shane Codd at #20, “Bringing it Back” by Digga D and AJ Tracey at #41, “Money Talks” by Fredo and Dave at #45, “Best Friend” by Saweetie featuring Doja Cat at #46, “telepatía” by Kali Uchis at #47, “You’re Mines Still” by Yung Bleu featuring Drake on the remix at #57, “Addicted” to Jorja Smith at #61 off of the debut, “DAYWALKER!” by Machine Gun Kelly featuring CORPSE not disappearing fast enough at #63, “Anxious” by AJ Tracey at #65, “34+35” by Ariana Grande at #71, “Good Days” by SZA at #72, “Heat” by Paul Woodford and Digga D at #74 and finally, “Toxic” by Digga D at #75. That’s before we take into account our album impacts from the last few weeks, as well, as for Central Cee, “Commitment Issues” is at #11, “6 for 6” is at #26 and “Day in the Life” is at #56. As for Drake, “What’s Next” is at #32, “Lemon Pepper Freestyle” featuring Rick Ross is at #33 and “Wants and Needs” featuring Lil Baby is at #44.

So, what’s filling in the cracks? Well, our one returning entry is the title track, “Chemtrails Over the Country Club”, from Lana Del Rey’s newest record back at #62. “Tulsa Jesus Freak” did actually chart below the top 75, so this and the debut for “White Dress” later on is all we’ll see from Lana this week. In terms of our notable gains, well, there’s not much to speak of other than the surge for Majestic’s remix of “Rasputin” by Boney M. up to #49 off of the debut, other than “Didn’t Know” by Tom Zanetti at #48, “Medicine” by James Arthur at #43, “Ferrari Horse” by D-Block Europe and RAYE at #30 and the expected album boost for “Hold On” by Justin Bieber up to #10. With all that said, we won’t be hearing from Justin for a while as we get onto our new arrivals for this week, so let’s start from the bottom.

NEW ARRIVALS

#68 – “Track Star” – Mooski

Produced by Woodpecker

Okay, so this is a song from last year from complete nobody rapper Mooski that got big in the US on TikTok a couple months ago so, no surprise, we get it sometime later. Well, at least this Mooski guy seems to at least want to tell a story here, as the song doesn’t stray far away from the topic of a woman with commitment issues who doesn’t stay with him when times get hard. For what it’s worth, content-wise, at least it’s a narrative, even if lyrics like, “Leave a trail of heartbreak and heartache like, it’s cool” sound closer to emo-rap whining than he probably intended. Not that it needed a narrative, because barely any songs can actually affectively tell them, but there’s got to be sometimes to distract from this squeaky, strained vocal loop and all of the janky melodies surrounding it, not to mention the downright awful 808s and percussion that reminds me more of the Afroswing we got on the charts back in 2018 than any trap-rap. Mooski himself is a complete non-presence, especially when he starts stuttering on the bridge, to the point where I can’t distinguish whether it’s totally embarrassing or subtly endearing. Either way, I can’t see myself listening to this like... ever outside of the context of this episode, especially considering how undeservedly long it is for a song like this.

#66 – “Beautiful Mistakes” – Maroon 5 featuring Megan Thee Stallion

Produced by Andrew Goldstein and blackbear

Adam Levine recently said that he misses the “bands” in pop music – you know, people who play all of their instruments and stuff like that. Then he continued to release a song under the name of his band where he swaps out more than half of his band with blackbear and Megan Thee Stallion. Of course. Well, you can tell it’s written by blackbear since Adam Levine directly imitates his staccato, monotonous flow in the first verse and the generally very awkward writing throughout... which is fine, I guess, because at least Levine isn’t stretching himself out into his falsetto much here, and Megan on auto-pilot can still carry her verse off of charisma alone, and her singing in the bridge sounds better than it ever has, so I’m not going to complain about her part here. The main issue in this song, I feel, is just lack of detail. The song’s about the lengths Adam and Megan would go for their significant others but I feel like only Megan attempts to describe what’s going on in these relationships as Adam plays word association with the concept. Adam, you can time-travel back to the Kara’s Flowers era any time now. Pop-punk is making a comeback, and I know you’d hate to not be a part of that, especially if you’re longing for new bands in pop music.

#59 – “Know You” – wewaintwraiths

Produced by Oath

I mean, I suppose I’ve heard worse names than “wewantwraiths” although after he buys a new car with the check his label gives him for the chart success of this song, he might want to change it. Maybe “nowwegotawraith”. That’s besides the point, though, as just as you’d expect, we have another week and hence another UK drill track that leaves little to no impact. This guy actually kind of makes himself out like a British Mooski, with his longing, Auto-Tuned flow that I don’t think he even tried to make sound good, especially considering how janky and unstructured the whole thing is. This drill beat is pretty worthless too, as whilst I don’t mind the mesh of vocal samples and the 808 slides, I cannot stand how this is mixed so that the hi-hats are louder than Mr. Wraiths himself. I don’t mind the content, to be honest, as it depicts him finding a girl and the eventual breakup in a lot of detail. By the end, he’s harmonising with the background vocals and there are a couple of cool synth riffs, but it’s way too little, too late to start caring about detail, especially if for the majority of the song, the percussion and vocals sound this bad.

#58 – “Dimension” – JAE5 featuring Skepta and Rema

Produced by JAE5

If you know JAE5, you probably know him for his production as for years, he has been blending genres for some of the most interesting and best British rap, most notably in how he fuses drill, R&B and Afrobeats as J Hus’ primary beat-maker. He also produced songs for Dave, Shakka and Burna Boy, which got him a Grammy win, as well as “Options” by NSG, one of the biggest ever British rap songs and still one of the most infectious. Now he’s embarking on a solo career less like a DJ Khaled and more like a Metro Boomin, bringing along legendary British rapper Skepta along for the ride, as well as an appearance from Nigerian singer Rema, whose wonderful nasal tone really stands out alongside all of the synth ambiance in this production, as well as the stuttering hi-hats and those gorgeous falsetto vocal samples. Skepta sounds pretty checked-out over a beat probably too smooth for him, which shifts over to some staccato piano, as well as some intricacies in this production that sound great, especially the jazzier touches that accentuate the already great groove with some Latin-flavoured guitar and strings. Oh, yeah and the subtle brass on Rema’s verse is excellent, even if Rema isn’t saying much of anything – in fact, content-wise is probably the only place where this song kind of flounders, as Skeppy zig-zags from socially conscious lyrics about Pan-Africanism and the plight that many Africans on and outside of the continent in day to day life, to “Girls sellin’ the coochie for Gucci”. Ah, well, ultimately, the song sounds incredible and I really should check out more of Rema’s stuff if it’s at this same level of detail. I’m pretty excited for that JAE5 album now, whenever that’s coming.

#51 – “White Dress” – Lana Del Rey

Produced by Lana Del Rey and Jack Antonoff

And from Afropop to the whitest singer currently charting this side of Taylor Swift, here’s what I suppose is the next single push from that Lana Del Rey that I practically avoided entirely. I understand that a lot of people are loving this but frankly, I’ve never been a fan so I’ve given up trying. If Norman Fricking Rockwell! couldn’t convert me, I don’t think her subsequent releases will, in fact, I can place a bet that listening to this whole album will make her music sour on me even more. Well, this song is about... being disillusioned with the music industry and public fame. I see. The implications that come with that aside, I have no reason to care about Lana once again breathily cooing over an ambiance that refuses to effectively create an atmosphere that really clicks with the nostalgia tone Lana’s lyrics take here, instead just meandering through this snooze of piano-based blend, only elevating itself through clashing percussion that ends up fading itself out of view way too quickly. Also, shouting out Kings of Leon feels both completely in character and unintentionally hilarious. At least as far as I’m aware, neither they nor the White Stripes, also name-dropped in the song, are blatantly racist on social media... I hope, at least.

#40 – “Headshot” – Lil Tjay, Polo G and Fivio Foreign

Produced by Bordeaux, Non Native, TnTXD, Tahj Money, Dmac and 101 Slide

So this really needs six producers, huh? For a song that’s barely two minutes? Okay, well, after the success of “Calling My Phone”, it only makes sense that Lil Tjay will follow up an R&B crooner with a harder rap cut, and here it is, and it kicks a lot of ass – or at least as much ass that can be kicked with the nasal, unconvincing tones all of these guys have. The main loop of the intimidating strings here, accentuated by that staccato piano melody, is the perfect backing for a hard-hitting trap beat that I almost wish had some more bombast outside of its badly-mastered 808 bass. That said, Polo G kills it regardless, with some of the most energy he’s ever given and the most lyrical detail out of any of the guys on the song, as his fast-paced flow is genuinely menacing... and now I understand why the song needs six producers, because as smoothly as possible, that cacophonous Pop Smoke-esque gunshot percussion comes in and it soon becomes an intense New York drill track more befitting for Fivio Foreign’s verse, who may not have any of the lyrical dexterity but he fills in the blanks with his ad-libs and still carrying the drill beat pretty well, before Lil Tjay comes in as intense as he ever has on a beat that reverts to the trap knock again, very smoothly. I do find it pretty odd that of all people here, Fivio has the longest verse, but I guess his verse is more of a bridge to act as a gap between two overwhelmingly gun-fire verses, both of which have content that can pretty much be summed up as gunplay and flexing, but with some of the bluntest, most deathly lyrics I’ve heard in rap, especially when Lil Tjay just pretty explicitly says he kills anyone he even dares to disrespect them. I’m now thinking I should delete the episode where I gave “Calling My Phone” Worst of the Week. Speaking of that song, this song is so much better it’s almost confusing. Maybe this high-energy gangsta-rap stuff is somehow a more convincing lane for an auto-crooner like Lil Tjay than alternative R&B.

#39 – “Black Hole” – Griff

Produced by LOSTBOY

Again, in stark contrast, Disney pop. Okay, maybe calling it Disney pop is misleading but the main reason Griff is succeeding now is that Disney Christmas advert, which gave her “Love is a Compass”, her first charting song – and a pretty bad one at that. This single, released this January, is a lot more upbeat than that drone of a ballad and hence fits Griff’s limited vocal capabilities a lot better, as she does a good Selena Gomez impression – almost good enough to forget that she’s now whispering over reggaeton so Griff will basically be her replacement in the UK – over some pretty indie-pop that decides to produce itself out of common sense... if that makes sense. The quirky strings and bass start the song before the percussion comes in and it makes sense as it rises pretty regularly, until this one dissonant, chamber-echo bassline comes in and morphs the entire song, only for it to disappear for the first chorus, but given how anti-climactic that first chorus is, there’s no build-up that makes that cathartic, at all... before it comes back in just to disturb the peace for the second chorus and verse. Not that the song’s mixed badly, particularly, I mean, “DAYWALKER!” had a similar discrepancy last week and did it much worse. In fact, I think this production being so awkward makes the song a lot more endearing as it just represent that “black hole” in the content that’s being left where Griff’s heart used to be – because, of course. I wish that chorus made a lot more of an impact though because as is, it feels very much lacking in stakes, both sonically and lyrically, especially since the song doesn’t really go into any detail about how she tries to fill the gap, which I think would be a lot more interesting. As is, I mean, it’s listenable but I don’t know for how long before this becomes grating. Regardless, it’s looking to become a hit so we’ll see how this goes. Maybe mindless bubblegum-indie-pop is what the nation needs right now. Who knows?

#24 – “As I Am” – Justin Bieber featuring Khalid

Produced by Skrillex, Ido Zmishiany, Josh Gudwin and The Monsters & Strangerz

Now we here. These two tracks that debuted are basically the most I’m hearing from this Justice record past the singles, so I was kind of hoping the tracks with Skrillex and Lil Uzi Vert would chart out of morbid curiosity, but it’s seemingly the more R&B-adjacent cuts that are debuting the highest, as Bieber teams up with Khalid for a piano ballad, as Bieber talk-sings over some overly processed instrumental that pretty much goes off the rails as soon as the guitars come in and suddenly, it’s not so much of a ballad as much as it is a janky EDM track. In fact, everything about this is janky, from the non-build-up that leads to a really ugly, almost future bass-like drop that’s just kind of funny in how those distorted synths career in the mix like accordions. Then Khalid comes in pretending to be British as always, and despite his worst efforts, he can’t really harmonise with someone as digitally processed as Bieber when he’s a genuinely soulful and damn good singer. At some point, Bieber just goes insane in the bridge and Khalid’s there to bring him back down to Earth, doing so by forcefully stripping the future bass away and rescuing themselves both back to the safety of a clipping piano instrumental. Yeah, this is ridiculously bad – almost in the way that it makes me want to hear the rest of the album – but I wouldn’t go as far to say it’s so bad it’s good, mostly because I’m pretty aware it’s a fluke in an album that’s otherwise pretty boring, at least going by the singles. Of course, speak of the Devil...

#3 – “Peaches” – Justin Bieber featuring Daniel Caesar and Giveon

Produced by Shndo and HARV

Finally, electroclash legend Peaches released her comeback single and it debuted at #3 on the UK Singles Chart – or, in reality, Justin Bieber’s milquetoast R&B imitation with two genuinely pretty good alternative R&B singers Justin coasts off of the skill and talent of, debuts at #3 because we’ve got nothing else to do as a country but sit, complain and stream sea shanties. I watched the video for this when it came out, again mostly out of morbid curiosity, and it’s kind of a comedic gem as Justin’s clearly the only one trying (because he doesn’t understand the concept of smooth, low-key R&B), making him feel so out of place when stuck between Caesar and Giveon. It’s like Hailey Bieber knew Justin was going to be lonely on his birthday so she paid the coolest kids in school to humour him for a couple minutes. In fact, that’s pretty much the song as they all croon pretty effortlessly over a smooth, pretty organic drum groove as well as this subtle synth blend... except Justin Bieber, of course, who tries his best to be a presence on a track where he’s literally supposed to be in the background. Thankfully, that’s not necessarily a complaint as this is Bieber’s best vocal performance in years, maybe ever, even if he’s immediately outshined by Caesar harmonising pretty excellently with his own multi-tracking, channelling the kind of neo-soul that people like Tyler, The Creator and Kali Uchis were making together half a decade ago. Giveon is here, also, but I’m not sure if he fits as well as synth-funk as he does on the moodier stuff. I know for damn sure that Sampha wouldn’t feature on a Bieber track, even if this is the most respectable Bieber’s been in forever. Admittedly, by the final chorus, it’s absolutely infectious – even if the lyrics are beyond stupid. The verses are about intimacy with their respective significant others, written in the most inoffensive, lovey-dovey way possible, but the chorus is about getting peaches from Georgia, weed from California, and bringing them alongside your wife to Canada to see the Northern Lights. Sure. If that final synth solo in the outro proves anything, it’s that this song should be great and just kind of falls flat due to lack of focus. That’s not to say the song isn’t good though, because I’ll be singing that chorus quietly to myself without realising it for the next week or so. Good job, Bieber.

Conclusion

Best of the Week is actually going to Justin Bieber for “Peaches” featuring Daniel Caesar and Giveon, if only to balance out the fact that he also gets Worst of the Week for “As I Am” featuring Khalid, what a trainwreck. Honourable Mention in that case pretty easily goes to “Headshot” by Lil Tjay, Polo G and Fivio Foreign, but even in a mixed bag week like this, Dishonourable Mention is kind of tough. There’s not a lot to outright dislike here, but I’ll give it to Mooski’s “Track Star” by default. With that said, here’s our top 10:

I can’t really make much prediction for next week other than the drowning out of all of this, although I can see “Peaches” absolutely having some legs. I can safely say Taylor Swift and Demi Lovato will end up here but I’m not as 100% on songs from 24kGoldn or Rod Wave’s albums landing. If the United Kingdom, currently collapsing under our feet, decides to make AJR’s new album chart, I say the Prime Minister gives permission for Scotland to leave while it’s still safe. Thanks for reading and I’ll see you next week.