#it's very much their style but it almost sounds like a pop song reworked to be rock

[eurovision-del]

Finland have definitely become one to watch in recent years, so going into Eurovision season they were one of the countries I was most excited for! With UMK happening this weekend, here's my ranking of the competing songs:

Mikael Gabriel & Nublu – Vox populi

Sini Sabotage – Kuori mua

Jesse Markin – Glow

Cyan Kicks – Dancing With Demons

Sexmane – Mania

Sara Siipola – Paskana

Windows95man – No Rules!

Despite being just seven songs, this was a super hard selection to rank – honestly you could ask me tomorrow and I’d probably switch them around again. This is a very even competition in my eyes - every song is good in its own way and I enjoy them all, but there's no standout. I was in a weird position after my first listen through all these songs when they were released where I felt really positive about this selection, but then struggled to recall any individual song. A couple of weeks to get familiar with them all has definitely helped.

Right now, I think my favourite is Vox populi. It’s a super fun track, their style of Eurodance with the slightly rockier guitars and drums creates this fantastic energy – it’s great pump up music. It’s also pretty cool that it’s bilingual, with a rap verse each in Finnish and Estonian. In fact, we’ve got a fair amount of rap and hip-hop here which I love to see, since I feel they're genres that go underrepresented in Eurovision and national finals in general. Even better, they’re all very distinct from each other. Kuori mua is another rap track, but it couldn’t be any different, with the attitude it exudes and its super slick beat. I love the sharpness of it all, and how it mixes in the piano in the second half to create a more positive sound, lifting some of the tension but keeping all the energy.

The overall production level in all these songs is great – this whole selection is high quality and just sounds good to my ears. The one slight exception is No Rules, which I feel goes a bit too heavy on the fake eagle screeches, although it very much fits the overall tone of the song. This one slight annoyance, and the fact that I preferred Vox populi when it comes to Eurodance, was what made it end up at the bottom of my list, but I honestly feel bad about it – it’s still a very fun song and does what it’s doing  well. I didn’t want to rank any of these songs last!

Because the songs are so even, I couldn't even suggest what deserves to win this Saturday. It's going to all depend on performance for me. Finland are never going to do better than last year's Eurovision result, but UMK has honestly become one of the best national finals over the past few years, and I hope this is enough to keep up the qualification streak they're on.

#eurovision #esc2024 #nf ranking #finland #got so excited to see Cyan Kicks competing again #if you'd have told me I'd end up ranking them right in the middle of my list I wouldn't have believed you #however I just don't think Dancing With Demons is as strong as Hurricane #it's very much their style but it almost sounds like a pop song reworked to be rock #rather than a song written as a rock song if that makes sense #anyway looking back at 2022 I remembered they had several rock songs in UMK following Blind Channel doing so well #this year they've got a lot of rap and generally hyped up music following Käärijä #I don't know if that's deliberate or more subconcious in their selection process #or maybe I'm reading too much into it and seeing patterns that aren't there

[x--daughters-of-darkness--x]

Nita Strauss Says Pop Fans Don’t Gatekeep Like Rock + Metal Fans Do

Let's talk about your new record, which is a mix of instrumentals and guest vocalists. What challenges you more as a composer in terms of dynamics and song structure — vocals or no vocals?

As far as what's challenging for me, the instrumental stuff comes really easily because instrumental music for a guitar player is almost like instrumental vomit — it comes out. You can write about anything that pops into your head.

There's no restrictions on song structure — it can be 15 minutes long, it can take 50 different turns. You're not going for radio, so you're not aiming for a certain time limit or thinking about a hook or a vocalist or what the key or cadence is or if their voice is going fit or what line is going to rhyme with the following line. There's so much you have to think about when you're writing a song with a vocalist.

So, for me, the instrumental stuff is infinitely easier, but I've gotten to the point where I enjoy them equally.

Let's talk about winner takes all your new single featuring Alice Cooper, the boss. How does that relationship change when your working roles are reversed? Alice was by far the easiest person to work with. Everybody we worked with on the artist side was a joy and incredible, but Alice in particular is so easy and he's such a pro. He treated me with total respect — the same way that I do when I'm playing his songs is how he approached my songs. It was amazing to get to work with him in this totally different capacity.

I wrote some music for his upcoming record and now he's on my upcoming record. It's this whole new dynamic to a relationship that's been going on successfully for so long, so it was great.

You're going be back on the road this year with Alice after touring with Demi Lovato. You've been in Alice's band for eight years and counting. When and how did you fully appropriate those classic Alice Cooper songs as your own? The key is to always maintain your own style as a guitar player, but to also always give reverence to the classic songs. There are plenty of songs in the Alice set that I can kind of go off, go nuts and Nita-fy it a little bit.

But when people are used to hearing "Billion Dollar Babies" the same way since it was released 50 years ago, you don't want to come in and reinvent the wheel. You don't want to disrespect the original songs and sort of disrespect the fans that are used to hearing it played a certain way. For those songs, I really do try to stick very close to the original and give the respect to the original recording. Nn the newer stuff or on the shred stuff, that's when I get to go a little more nuts.

So much has happened in the last year. Touring with Demi Lovato was an opportunity for heavy music and musicianship to cross-pollinate fan bases and genders. What have you noticed most in terms of changing outdated misperceptions? It was an amazing experience working with Demi. Obviously I come from the rock/hard rock/metal world and I am so used to fans being up in arms anytime something changes.

The cool thing that I found is that Demi changed her entire style. She changed her clothing, her musical style and she reworked all her huge hits. She has a song "Cool for the Summer" that has billions of Spotify plays and she did a full-on rock version with a little Metallica thrown in there for good measure. And the fans loved it. The fans supported her and absolutely screamed their faces off until the end of the show. There was no pushback. There was no, "This is not what you're supposed to sound like. This isn't what we signed up for. We want the old Demi back..." type gatekeeping that we see in the style of music that we're more used to.

It was beautiful to be a part of this evolution. Demi was so happy on the road. You can really tell this is where she wants to be as an artist and to get to be a part of that along with such a great band — an all female band, so many women on the crew (lighting director, production assistant, wardrobe, Demi's day-to-day manager) — there are so many women in high positions on that tour as well, which was so unique.

It being a largely sober tour was huge for me too. I've been sober a long time and being in that more healthy atmosphere and environment was really nice. It was a win all around.

I love the idea that these hard rock guitar players are associated with pop acts. Extreme's Nuno Bettencourt played with Rihanna and joined her at the Super Bowl Halftime Show.

It's safe to say that hard rock has some of the best guitar players out there and I just love having that representation out there. We always feel like the underdogs in hard rock and metal. A rock guy playing at the Super Bowl is probably the closest thing we're going get to a real hard rock band playing there anyway.

In the fall Alice Cooper and Rob Zombie are touring together, joined by Ministry who have Monte Pittman (ex-Prong) and he's been playing with Madonna for years. There's so much representation now. Nuno is crushing it, even if I wish he would've gotten a solo at the Super Bowl. They could have cut a second of the pregnancy vibe and given Nuno a minute to shine.

Justin Derrico playing with Pink, Lari Basolio playing with Doja Cat... it's happening more and more. It's becoming more common and it's cool. Everybody complains all the time that there's not enough guitar in pop music and then they complain when guitar players get gigs in a more mainstream realm. I think it's a win for guitar playing all around with more people crossing over and doing these different gigs.

Not only do you perform, write and produce music, but you also teach people how to play it. What makes the fulfillment of teaching someone how to play an instrument different from anything else? It's kind of our job to pass on what we know at a certain point. Maybe I feel like that because my mom is a teacher and my dad, while not a teacher by trade, is like an educator. He is super knowledgeable and he taught me how to play.

There's a lot of young women wanting to learn how to play guitar. There's not any different way that I would teach a girl how to play guitar than a dude, but it's just important to have somebody that is relatable and easy to understand.

In my guitar course, Rock Guitar Fundamentals, I think we really landed on that. It's very easy to understand and very simple. It literally starts from, "This is a guitar, these are called strings, these are called frets, this is called a pickup and this is where you plug your guitar in," and that kind of stuff.

It goes all the way from easy through intermediate and an advanced level. If you start at the beginning and go all the way through, you will go from picking up the guitar for the first time to actually playing some pretty technical stuff.

What can you tell us about your upcoming plans? You got a lot going on for the rest of 2023. My solo record will come out in the summer, so I'm very excited about that. It's been a long time in the making with a lot of hurdles and a lot of things to learn about this process.

Before and after that, I'm very excited to get back out on the road with Alice Cooper. The new set looks incredible. I've been texting with the boys in the group chats all morning, just ironing out some parts and little things like that. It's something different than you've seen the last few years with Alice.

#nita strauss #2023 interviews

[allthemusic]

Week ending: 29 October 1953

Three songs, this week, and a mostly quite intriguing set of titles - from Sweden to Italy (?) Very European, at least at first glance.

Swedish Rhapsody - Mantovani (peaked at No. 2)

Coming in first, we get a familiar name in Mantovani, though I'm less familiar with the track. It looks like it should be a sort of knock-off Bohemian Rhapsody, which, to be fair, is a banger of a song.

Actually, does that mean Bohemian Rhapsody was parodying this kind of classical piece? That's wild that I never realised, if so - it speaks to just how much the Queen song has eclipsed its precedents!

The song itself, once I hit play, is what I'm starting to realise is typical Mantovani fare - a fairly maximalist piece of slightly kitschy instrumental music, soaked in strings and

Though we've also got a range of other elements here, most of them (I presume) there to provide a folksy, "Swedish" ambiance, from the tinkling glockenspiel and pipes to the accordion at the start, too, and the slightly lilting oom-pah rhythm. It's a jolly, vaguely Alpine sound, incessantly cheerful and zippy.

This isn't all Mantovani's doing, to be fair, for better or for worse. A spot of research tells me that this was a reworking of an original song by a man named Hugo Alfvén from 1905, which had been picked up by a British short film in 1952, and then by Percy Faith in 1953 (not sure if these two things were related). Mantovani, then, was one of several cover artists, here.

I do quite like this track, though. There's something a bit demented about the tune when all the strings come in, like it could come echoing through your nightmares, but I sort of like that vibe? I don't know, I think it could be effective in a thriller or horror film, with heavy distortion.

And there's also a memorable bit near the end when the brass, which came in about halfway through, suddenly gets a bit lairy and does these two almost-jazzy "bwaah-waah" bits that are kind of cool? They stay in until the end, then, as well, leading into a tremendous orchestral crash at the end.

This track is good fun, but it also does exhaust me a bit. There's so much energy being thrown into it, and it just never stops. The more I listen, the more hyperactive it sounds.

Answer Me - David Whitfield (1)

In my intro I suggested that this was the least excitingly exotic of the songs, but I've since learnt that this is also a German original song called Mütterlein ("little mother"). Not that much of that song's been preserved, aside from the tune. And not that there's anything inherently German about the sound of it, either.

No, what we get here is a stolid, earnest song about David Whitfield begging his love, in his own prim and proper style, tell him what he's done wrong. It's... definitely something.

We start with some violins that are elegant, but also very slow. I'm not generally as much of a fan of the slower, mushier ballads, so this was not a welcome surprise.

The opening lyrics, at least, are quite grand: "Answer me, O my love, just what sin have I been guilty of?" The talk of sin already pushes us into a sort-of-religious zone, and apparently the original song (this is a cover) was even more explicitly addressed to God, with the opening lyric reading "Answer me, Lord above". I guess it was still more taboo back in 1953 to mix religion and secular pop music like this, because it got changed when David did his version.

The song then gets going, and it's basically about David trying to work out what went wrong in a relationship. If he genuinely didn't do anything, it's heart-rending, I guess. That said, linkes like "Won't you tell me where I've gone astray" suggest, at least to me, a guilty conscience. It's also just quite demandy - I don't know, I wouldn't love it if this song was directed towards me.

He also manages to sound quite sulky on lines like "If you're happier without me, I'll try not to care". Like, sure, of course you will. You're singing the lines like a petulant child, but okay, you'll put on a brave face if your love's really better off without you. Not that David really thinks this, reading between the lines - why else would he be addressing this song to them?

The language of the whole song is wordy, and vaguely prayer-like, which feels fitting, but also very early-1950s! Lines like "In my sorrow now I turn to you" in particular feel quite liturgical.

And then, before we know it, we're ramping up for the biggest of big endings - it comes out of nowhere, this hulking, ugly thing. There's literally no need for it, the song's starting to fade out in a reasonably pleasing way, and the quieter ending would fit with the melancholy of it all. But not, we finish off with a final, belted "please answer me, MYYYYYYY LOOOOOOOOOOOVE". Ugh.

The whole thing is very prim and proper, too, all manners and enunciation. It's quite distant, for a song that's apparently about heartbreak and sadness. Again, ugh.

Poppa Piccolino - Diana Decker (2)

Another quite high-ranking song, this time by a new face, Diana Decker, but this time we're in Italy, it looks like? Or at least, an Italian song title.

A quick check, and yes: this is an English re-working of an Italian tune about called "Papavere e papere" (Poppies and ducks) that apparently used a cheery tune and lyrics to hide some biting satyrical lyrics. It does say that the lyrics' meaning was lost in translation completely, but surely any song that fits that description can't be all bad. Can it?

Spoilers: it can. I hate this song with a burning passion.

Part of that is Diana Decker's general manner, which can charitably be called a cross between Snow White's speaking voice and a children's TV presenter. It's painfully "for kids" and while I don't mind a bit of kids' media, I don't like it when it feels condescending. Which Diana's giggles and cutesiness really does.

Anyway, she sings a song about a wandering musician in Italy, who plays music for all the people he meets, and they apparently go wild for him. It's not spring until this dude turns up, and everyone loves his tunes.

Throughout this bit, Diana keeps lapsing into this sort of song-speaking that really sets my teeth on edge, especially when combined with sickly lyrics about how he has "A smile for every doggie and cat / and children get the friendliest pat of all". It combines twee sentiment with baby-talk and a vague creepiness and I, for one, do not appreciate it.

Worse, he's got "the cutest little monkey to collect the lira". Which surely can't be any good, from an animal rights point of view. Like, I'm not the most militant person about that, but I don't think that can be good for this monkey.

And then we get the closes thing this song has to a plot and/or conflict, as one day we learn that our musician is very sad, and there's no music, and everyone's very sad, and then the monkey finds it and everyone's very happy again. The emphasis is from the original, and it's very annoying. I just get the vibe that Diana Decker thinks every single listener is an idiot who needs this all spelling out. Insulting.

And the song doesn't even have the good grace to be over; instead we get a genuinly horrible spoken echo of "Goodbye, poppa piccolino!" at the end. The stuff of nightmares.

Well, they were definitely... something. I disliked two out of three of these. Two were also straight-up nightmarish, though in Mantovani's defense, I enjoyed how deranged his track seemed. The same cannot be said for Diana and Poppa Piccolino. Meanwhile, David Whitfield is just boring. Which means...

Favourite song of the bunch: Swedish Rhapsody

#uk charts #1953 #mantovani #david whitfield #diana decker

[thepermanentrainpress]

UNDER THE RADAR: FEBRUARY 2023

1) Francis Arevalo - “I Can’t Wait”

A searing passion and power defines Arevalo’s new single. Reworked and refined, it was written about “facing one’s own mortality after a difficult mental health struggle,” and circles around notions of commitment, purpose and community. His cultural, lived experiences and advocacy for mental health and BIPOC artists are reflected in his work; he has agency over decisions made in the present, and chooses to forge ahead while being a rally cry for those around him. It’s a groovy hip hop track with cascading live instruments (drums, guitar, bass, keys, turntables) and fervent delivery—I’m not surprised to read that he has a slam poetry background.   

I am not a big rap/hip hop listener, but I was drawn towards the uplifting wordplay (“we could be brave with the hurt / you’re here / there is reason for birth”) that is not just about oneself, but both blood and chosen family. Manifesting dreams requires clarity, visualization, gratitude and mindfulness, traits that aren’t lacking in this artist. Expect his debut album 0427 Act I: HEATCHECK! this April. 

Written by: Chloe Hoy

2) Ayla Tesler-Mabé - “Give Me A Sign?”

This track has a very funky and upbeat sound. It's a powerful mix of R&B, rock, and even jazz, creating a soulful style. There's a lot of pep and energy in both the music and vocals here. Ayla expresses herself with a tone of voice and emotion mature beyond her years. The lyrics tell a tale of a relationship that isn't all it should be - the singer really wants things to be all they could be, if the other party could just "give me a sign." This is a song with a timeless vibe finely engineered for a very enjoyable listen. 

This is her debut single as a solo artist and it shows a lot of spirit and promise. It's a great introduction that will leave one hooked. If this is just a first taste of her upcoming EP, I'm very excited to see what else is to come.

Written by: Cazzy Lewchuk

3) Stay Lunar - “i like it when you’re around”

I just love Stay Lunar—they create all-around winners. A song celebrating friendship and the comfort and love received during times of need, it still has a bright glow. Heavier on the guitars and drums, it comes off as more of a peppier indie rock cut as opposed to their pop-centered, synth-laden past. It can be hard to express our feelings to those around us, much less be honest with ourselves; the ebb and flow is heard in the tone, narrating long-term adversity (“i know it's over but we're living in it / some things they take a while to leave”) and the striking contrast between solitude and company.

It’s so easy to be enveloped in their music. The Bristol band is set to release an EP later this year.

Written by: Chloe Hoy

4) Trina Kae - "Paris in the Fall”

Enamored in a new place of possibility at every corner, the Okanagan’s Trina Kae has fond memories of backpacking around the world post-college. Set in Paris, the song captures wonder and discovery in beauty only found through travel—and maybe some accompanying spirits ("Remember when you were dreaming beside the Seine / Lost again in a cabernet lens”). Her breathy voice cuts deep as it’s almost woeful in tone, nostalgic in the “glow of being immersed in the moment.” I like the alt pop layering; not flashy but achieves the airy and wistful mood it intends with sharp beats entering midway through.

In addition, the use of lyrics in French strengthens the story and reflection. “Paris in the Fall” is appropriately dramatic, but with the magic and intoxicating feeling of an unfamiliar and culturally rich city. Kae’s debut album Narrative is out now.

Written by: Chloe Hoy

5) Flint - “Days & Nights”

Embodying a carefree spirit and a license to party, Tony Rosenberg and Peter Jenner encourage you to leave your troubles at the door. The Brisbane rockers have a controlled punch to their rock n’ roll. It’s anthemic while giving off an air of intrigue, a fast bass line and lyrics that are sang as self-assured statements. The pair has a fun musical style – a matured tone but a refusal to settle (“rearranged my focus and handed in my notice”). “Days & Nights” is a reminder that older and wiser are not always synonymous in life, and good times will triumph if we prioritize them.

Days & Nights by Flint.

Written by: Chloe Hoy

6) Glow Motive - “Show Me You're Here” 

This song does the not-easy task of being soft with a low tempo, but also groovy and complexly crafted. The complicated arrangement is appropriate for the subject matter - a meditation on grief and trying to find their presence in dealing with the loss of a family member. It is layered and clearly recorded with love and sincerity. One can really hear the difficult, sometimes contradictory feelings in the singers’ vocals as they strive to communicate with the departed. Not a second is wasted as the pitch and harmonies evolve, the music bridges, and the time signature switches. It's a wave of emotion that will move the listener, creating a pleasant yet poignant sound.

This is the first single released by Glow Motive, a collaboration between emerging artists Anjalica Solomon and Oceaan Pendharkar. This collective has highlighted and enhanced their identities within the brown, queer local musician community. I'm sure this is just the beginning of beautiful art as represented by them, with a bright future ahead.

Show Me You're Here by Glow Motive

Written by: Cazzy Lewchuk

#Under The Radar #feature #Music #new music #Glow Motive #Flint #Chloe #Stay Lunar #Ayla Tesler-Mabe #Ayla Tesler-Mabé #Trina Kae #Canadian Music #Vancouver #yvr #Vancouver Music #Brisbane #Bristol #Paris in the Fall #Give Me A Sign? #Francis Arevalo #Ayla Tesler Mabe #Show Me You're Here #Bad Parade

[leoninapelliolovesconchitawurst]

ENGLISH TRANSLATION (by me)

queer.de (01/08/22)

How did the first ZDF show from SchwuZ, Conchita Wurst, come about?

The new music show "Music Impossible" will start on ZDF on Friday - moderated by ESC winner Tom Neuwirth. We spoke to him about the unusual concept, the first guests and the queer recording location in Berlin.

Drag icon, ESC winner and performer Tom Neuwirth aka Conchita Wurst moderates a new ZDF music show: "Music Impossible" juxtaposes artists from opposite genres who are supposed to perform their own song in the style of their counterpart. Neuwirth supports the participants with advice and action, but also surprises them with one or two additional tasks. The on-site spectators at SchwuZ in Berlin decide, based on the strength of the applause, which person is better at leaving their own comfort zone.

In the first two episodes, pop singer Marianne Rosenberg and rapper Eko Fresh as well as heavy metal artist Doro Pesch and pop star Mike Singer fight for the audience's favor. The first show will be broadcast on ZDF on Friday 2 September at 11.30pm, with the second following a week later at the same time. The episodes will then also be available in the ZDF media library.

We had the opportunity to ask Tom Neuwirth a few questions after the recording.

Q: The title "Music Impossible" describes an almost impossible task: how difficult do you find the challenge of "assimilating" another genre?

A: At first glance, the musical challenges seem impossible: a rap as a hit, a pop song in a heavy metal guise... hence the title of the show. The subtitle is "My song. Your sound." – that pretty much sums up the format. And I think the challenge is very difficult.

Q: What aspect makes the concept so entertaining for you?

A: That you look beyond your own nose - both musically and in the presentation of art. I hate narrow-mindedness and the stupid idea that everyone has to stay within their own boundaries. What are our limits, who sets them? What I like about "Music Impossible" is that established stars step out of their comfort zone and visibly endure insecurities. It's something that should encourage us all. Because it shows that we are all only human.

Q: In addition to the genre rearrangement, viewers can also look forward to additional challenges?

A: The additional challenges are very different and should actually be completely new for the artists: hitting and holding high notes in the head voice, rapping a certain number of syllables, playing guitar riffs - none of these are impossible challenges, but also a bit outside of the comfort zone and completely new for the artists.

Q: Can the desired stylistic change work?

A: Of course it can work - the finished new songs on the show are the best proof of that! And I think the idea of ​​reworking existing material and immersing it in a new perfume is wonderful - that's what I do with "Rise Like a Phoenix", for example, which originally has a bombastic orchestral accompaniment. At concerts I've been playing it in a very reduced way with acoustic guitar accompaniment lately - and it already seems completely different, almost like a different song.

Q: How successful do you think the composition of the artist duos was? According to which criteria were the artists combined?

A: I think the combinations are great! Schlager meets rap, or the pop star Mike Singer meets the queen of heavy metal Doro Pesch - the musicians couldn't be more different, and yet there are connections in all of their paths in life or in their work, which we can find out through the talks on the show. On the one hand, the genres should be further apart, and on the other hand, with our successful and hard-working artists, it is always a question of the availability of dates between their own concerts and projects.

Q: Could you imagine yourself participating?

A: Yes, I could definitely imagine taking part myself - and I would have liked to swap genres with all the previous artists! I love different styles - that's why none of my songs sound like another! (laughs) Personally, I would find death metal or folk music quite challenging, I think.

Q: How many episodes are planned?

A: We shot two episodes of 50 minutes each. And of course we hope that we can go into series and shoot a whole season - many artists have shown great interest, now we just have to find suitable dates for the different duos! And I would be extremely happy if we could expand the offer to Austria and Switzerland, because there are also excellent and versatile musicians there!

Q: This is your first own ZDF show: How important is TV presenting in your career at the moment?

A: I've been doing TV since I was 17 - that was my real start in the entertainment business. And I've also had the privilege of moderating many programs in the musical field: the Amadeus Austrian Music Awards, the Green Room of the Eurovision Song Contest in Vienna, Stefan Raab's European Song Contest and much more. In short: I love to moderate and above all to have conversations with people. And I have the feeling that TV makers are realizing more and more which formats I really like.

Q: Do you already have other TV projects in mind?

A: None for me to talk about! (laughs) When it comes to television, it's often important that someone at a large desk approves a project. So that I can still offer my fans as much entertainment as possible, which is produced according to my own rules, my team and I founded wursttv.com - my own video streaming platform! Netflix for the Wurst, so to speak! (laughs) I think the extension of TV to the Internet is extremely important and will become even more important in the coming years. "Music Impossible" is also available in the ZDF media library - around the clock and everywhere!

Q: The queer cultural stronghold SchwuZ in Berlin-Neukölln is the venue: To what extent does the show have a queer self-image?

A: The presenter of the program walks through Germany with make-up and in high heels, and we don't make that an issue, it's just the way it is. I don't think there can be more queer self-image! Of course there is a lot to do for queer rights, but the show is mainly about music and the stories of the protagonists. My own queerness slips along as a matter of course, and that's what I like about the format.

Q: How do you rate the representation of queer artists in this country?

A: I think that a lot has happened in terms of queer representation in the German media - just what Riccardo Simonetti does, for example, is irreplaceable queer work on TV! But while there's always been a lot of queerness in the arts, music, and entertainment industries, I think it's best if it's taken for granted that each person is who they are. But that will probably take a while...

Q:In the first episode, the five-time participant in the ESC preliminary round, Marianne Rosenberg, is there. Is this Eurovision reference intentional?

A:I don't think so - Marianne is an icon of the German music landscape and I actually still can't believe that she's there for the start of the show! Because in addition to all the joy and professionalism, I have to admit that every time I meet the artists, I am one thing above all: a huge fangirl and very "starstruck"! (laughs)

#conchitawurst #wurst #tomneuwirth #singer #artist #esc2014 #escwinner #music #songwriter #performer #celebrity #interview #article #translation

[eurosong]

Undo my ESC 2021 - Semi-final 1

Good afternoon, folks! Every year, I take a look at each semi-final and share what feasible change I would make – as small as changing a few lines of the song or an element of staging, or as big as a different song completely winning a national final – to make it even better (just in my own opinion of course!) This year will be harder than usual, but I’ll try to set aside my conviction that every 2020 artist should have been able to return to see how different SF1 might look. Let’s go!

🇱🇹 Lithuania: PiN was in the Roop's hands, and whilst I fell in love with some of the underdog songs they were up again, most notably Home and Never fall for you again I wouldn't take away the chance away from the Roop. There's nothing I'd change about Discoteque, and I love their nod to On fire, but the way that they also took things in a different direction to last time.

🇸🇮 Slovenia: I may be in a small minority, but I absolutely love Amen and I loved Voda too! Ana Soklič has so much presence and stunning vocals with so much texture and depth; she can sell me pretty much everything. My only change would be to insert Slovenian language lyrics!

🇷🇺 Russia: I was initially really disappointed that we wouldn't see the iconic Little Big on the ESC stage - but I commend the way they wanted to share the limelight with other artists. The unexpected Russian mini-NF ended up being a revelation and very diverse for its size. I liked all three songs, but I think that the best hands down won. There is nothing I have to change to Russian woman, one of the most powerful propositions of the season for me. I just hope juries will value it and we won't see a Telemóveis style situation!

🇸🇪 Sweden: After a year of being happy with the result in Sweden - I was always in Dotter's corner, but who can't love the Mamas? - we return to more familiar terrain of an MF result disgruntling me. Tusse has charisma and talent, but his song is lacklustre at best for me. My fav was, once again, Dotter, and I wish that either she'd taken the win or that the Mamas got their shot at ESC as main artists.

🇦🇺 Australia: I really enjoy Technicolour, one of the more out-of-left-field entries from Oz. I am so intrigued as to what the Diane Warren song offered to Montaigne was like, as I'm certain that this isn't it, but I'm glad she trusted her gut and went for something so distinctive. My one change would be to get rid of the unnecessary key change at the end.

🇲🇰 Macedonia: When there was a nationalistic furore with attempts to stop Vasil from representing MK, I was entirely on his side even though his song for me is one of the least appealing of the edition. I'd still want him to get his chance at ESC - but his Sudbina would have been such a more compelling entry for my taste.

🇮🇪 Ireland: Lesley Roy served nostalgic pop wonderment for the second year in a row, and another song that has etched itself already onto my life's soundtrack. I don't know what I'd change, except perhaps translate one of the choruses into Irish Gaelic - it'd make the message of a return to home even more resonant for me.

🇨🇾 Cyprus: Cyprus and I haven't seen eye to eye for several years now, and it's a shame as they were one of my favourite countries of the 90s. I do enjoy El diablo more than their last trio of songs, but I find it leans too heavy on a clear inspiration from Gaga, which takes away from some of the more original elements of the song. So, I'd rework the chorus, and also change some of the lyrics elsewhere because some lines just flat out make me cringe.

🇳🇴 Norway: I seem to have been in the minority of people delighted at MGP's final results! I had bigger favourites - the rambunctious sea shanty that is Vi er Norge, the kickass empowering Witch woods or the pulsating groove of Playing with fire - but I wouldn't take Tix' win away from him given how meaningful it was for him and what the guy has been through. My change? Revert partially or entirely to the Norwegian version, Ut av mørket; for me, it hits my heart harder.

🇭🇷 Croatia: Sincerely, my biggest disappointment of the NF season potentially - I wish Damir had been internally selected, not just because of my wish to see all ESC'20 alumni return, but because his was the best Croatian song for me since Moja štikla. Tick-tock is harmless but if we can't get a Damir return in this hypothesis, then I'd go for Rijeka, which captivated me with its epicness on first listen and has just risen in my estimation since. Though, given Nina's histrionics after coming second, maybe I'd have Albina perform the song instead.

🇧🇪 Belgium: I was prepared to not be on board with Belgium this year despite my long-lived love for the country - I found Release me, whilst orchestrated beautifully, entirely lacking in dynamism; and I really couldn't stand the way the band dumped Luka unceremoniously. And yet... this lush piece of art is one of my favs of the entire season. And there's something different and singular in Geike's voice. So the only thing I'm changing here are the dudes' attitudes to ESC so that they can value it more, especially Alex.

🇮🇱 Israël: As one of the most naturally charismatic performers of 2020, I had high hopes for Eden's return and the original idea of a mega-NF for her seemed really promising. Instead, we ended up with an uninspired strewing of songs, of which the best didn't even get the chance to be recorded by her. Set me free was my favourite of the three that got to the final, but I feel they've really worsened it with the revamp, in between the hail mary pass of the whistle vote and the extra emphasis on "I'mma". I would have Eden perform Shoulders instead - I don't know how it NQd and think it would allow her to showcase her personality a lot more.

🇷🇴 Romania: I really enjoyed Roxen's selection last year - small but quite diverse, and I felt the best song won. My change would be to have seen a similar national final with 3 or 4 other songs of hers this time, because I'm not convinced in Amnesia anywhere near as much as I was of Alcohol you.

🇦🇿 Azerbaijan: I wish they had gone with something at least a bit different rather than this cut, smudge and paste from last year that is so on the nose with its "you loved Cleopatra, so you will love this, won't you?" feel that it even namechecks the previous song. Efendi has a lot of talent and could have shown more diversity here.

🇺🇦 Ukraine: I'm getting used to the surprise revamp of Šum by now, but the question still remains for me, why did they do it? They needed to cut about a minute off the duration of the track, but to me, that doesn't explain why they also had to change the melody in large parts of the song. I'd be tempted to revert to a shortened form version of Šum version 1.

🇲🇹 Malta: Another unpopular opinion, but I'm just not that into the Maltese song this year. The lyrics are great and Destiny has poise and presence and PIPES and I'm sure she'll do well, but the style - a glammed up Electro-Velvet, essentially - doesn't heat me up, and I feel like the different parts of the composition are too dissonant from each other, like we have 2 or 3 songs in one here. My change would be for her to have gone with something more soul-ish in its sound, like AOML was.

And the AQs of this semi

🇩🇪 Germany: How did juries decide upon this, especially when there seems to have been many promising artists in the German selection? No shade against Jendrick who seems like a lovely chap, but the song sounds like the cheerful four chords on a ukulele you hear repeated as royalty free background music on Youtube tutorials, merged with a post-chorus breakdown taken from a Stefan Raab b-side. I would have gotten out my phone book and given Lilly among clouds a call - she gives me the vibes of being able to create something totally show-stopping.

🇳🇱 Netherlands: My original slight disappointment at this was more because of how high I have Grow than any fault of its own. It's another gorgeous composition from Jeangu, with probably the best set of lyrics of the year, and this is going to be a moment. I change nothing.

🇮🇹 Italy: I like Måneskin and their performances at Sanremo were brilliant - but they were far from being at the top of my favourites list. I would have given the win to Madame with Voce, or Ermal with Un milione di cose da dirti. Both would have been my #1 of the entire year, both move me deeply. Madame showcases contemporary Italian style with classic songwriting, whilst Ermal almost created a companion piece to Fai rumore - Diodato wanted to hear the sound of his loved one, whilst Ermal struggles to make a noise and say what he feels about his love.

Join me soon as I take a look at SF2 and its songs (and France, Spain and the UK, the auto-qualifiers from that semi!)

#eurovision 2021 #esc #eurovision #eurovison song contest #opinion #esc 2021

[onestowatch]

Lollapalooza 2021: 15 Ones to Catch (Who Aren’t Headlining)

Lollapalooza is officially one week away, and wow does that feel good to say. As one of the first music festivals to welcome us back to festival season after a far too long hibernation, the annual festival, hosted at Grant Park in Chicago, Illinois, is set to bring the musical stylings of Tyler, the Creator, Miley Cyrus, Foo Fighters, Megan Thee Stallion, and plenty more. But, unless you’ve been living under a rock, chances are that you’re already more than familiar with the artists set to headline. So why not figure out who to see while you’re waiting to scream along to Call Me If You Get Lost.

From collectives who are moving beyond the need for genres to music that is just as likely to make you cry as it is laugh, these are 15 ones to catch (who aren’t headlining) at Lollapalooza 2021.

Peach Tree Rascals

When & Where: Sunday, 2 p.m. at Bud Light Seltzer Stage

Peach Tree Rascals’ Lollapalooza set has been a very, very long time coming. The Bay Area–bred collective has been steadily making waves with their genre-bending approach to indie-pop that calls to mind a more idyllic, lovesick BROCKHAMPTON (an act you should most definitely catch as well). And despite emerging a growing fan-favorite in the last couple years, the aforementioned rascals have yet to play a show, ever. With a headline tour that was canceled due to COVID, Lollapalooza will officially be making history as the first-ever Peach Tree Rascals set.

Tate McRae

When & Where: Saturday, 5:15 p.m. at Grubhub Stage

Tate McRae’s rise through the pop stratosphere has felt meteoric. First gaining fame at the young age of 13 for being the first Canadian finalist on So You Think You Can Dance, McRae has certainly come a long way to stand as one of the most promising voices in pop. With a vocal range more than powerful enough to deliver haunting dark pop ballads like “you broke me first” one moment and stand side-by-side with Khalid on the summer bop “working” the next, there are no two ways about it. McRae is a pop star in the making and this is your chance to catch her before her inevitable headliner status.  

Marc Rebillet

When & Where: Saturday, 9:00 p.m. at Grubhub Stage

Part-time meme and full-time artist, Marc Rebillet creates music with an unmatched comedic timing. It’s a comedic genius that has led to him getting a 24-hour ban on Twitch—for taking his shirt off in the middle of a stream, an act which I’m guessing Lollapalooza will be more than forgiving of giving his penchant for performing in a bathrobe. The self-described improvisational artist creates all his songs from scratch, resulting in an experience where no two live shows are quite the same. Come for the comedy, stay for the absolute dancefloor bangers.

Dayglow

When & Where: Thursday, 3:45 p.m. at Lake Shore Stage

Dayglow is sure to bring a smile to your face and put a pep in your step. Apologies if I sounded like my grandparents there, but there’s no denying the sonic sunshine that is Dayglow’s rapturous brand of indie-pop. Paying homage to the dance-inducing melancholy of ‘80s pop duets, it’s difficult not to get swept up in the Austin, Texas–bred artist’s hypnotic vision. It’s the sort of euphoric music that feels almost tailor-made for the return of festival season—drenched in sunny rays and brimming with infectious sincerity.

Giveon

When & Where: Friday, 4:45 p.m. at T-Mobile Stage

Before his breakout moment on Justin Bieber’s “Peaches,” Giveon was already charting his path for R&B domination. With an angelic and haunting baritone, each R&B rumination carries with it a palpable weight—an emotional turmoil that is only elevated by the minimalistic soundscapes which allow the proper space for his transfixing voice to fully shine. For a crash course on Giveon, check out a compilation of his two standout EPs, When It’s All Said and Done… Take Time. Or better yet, experience the magic of Giveon live.

Ashe

When & Where: Thursday, 6:30 p.m. at Grubhub Stage

Ashe creates effortlessly timeless music, blurring the line between the nostalgic songwriting of Fleetwood Mac and a modern-day folk-pop star. The sentiment is best expressed in her critically-acclaimed debut album, Ashlyn, which demonstrates the Los Angeles artist’s peerless songwriting acumen, toeing the line between rapturous euphoria one moment and deeply affecting storytelling the next. If you need a good laugh or cry, do not miss out on Ashe.

Sir Chloe

When & Where: Sunday, 12:45 p.m. at T-Mobile Stage

Fronted by Dana Foote and comprised of Teddy O’mara on guitar, Palmer Foote on drums, and Austin Holmes on bass, Sir Chloe’s music exists in the nebulous void of haunting dark pop and heart-rending alternative garage rock. The New York–based indie rock band originally started as a college project, birthed in the music halls of Bennington College, and now they’re set to take Lollapalooza by storm. With an impressive debut album, 2020’s Party Favors, under their belt, this set feels only the beginning for the bewitching indie outfit. 

jxdn

When & Where: Sunday, 3 p.m. at Bud Light Seltzer Stage

jxdn is the latest artist to make good on pop-punk’s continued resurgence. The first signing to Travis Barker’s DTA Records, the breakout singer-songwriter has found a fan in not only the blink-182 star but in Machine Gun Kelly, who jxdn is set to tour with this fall and makes an appearance on his debut album, Tell Me About Tomorrow. With an acclaimed debut album in the books and some of pop-punk’s biggest stars behind him, jxdn is sure to deliver a Lollapalooza debut for the ages. 

AG Club

When & Where: Friday, 7:45 p.m. at Grubhub Stage

AG Club, an abbreviation of avant-garde club, is a genre-less music collective that shares a lot in common with fellow Lollapalooza must-see act, Peach Tree Rascals, including a collaborative single. But don’t get things twisted, this Bay Area collective has their own vision in store for you. With a brash, in-your-face attitude, AG Club is likely to draw comparisons to the Saturation era of BROCKHAMPTON and glory days of ASAP Mob, but with their introspective, omnivorous approach, they deftly manage to emerge as an act all their own. If you want to go where the party is, don’t miss AG Club.

Tai Verdes

When & Where: Friday, 1:45 p.m. at Bud Light Seltzer Stage

Where would we be without TikTok? I, for one, would be without my preferred form of short-form entertainment and the world be without the infectious pop-R&B stylings of one Tai Verdes. Originally working at Verizon before his breakout single, “Stuck in the Middle,” became a viral hit on TikTok, Verdes is now one of the most promising and rapidly rising acts in music today. And with his debut album, TV, the viral star proved himself no one-hit-wonder, delivering a collection of tracks that span a range of emotions and genres that we cannot wait to experience live.

Dominic Fike

When & Where: Thursday, 7:45 p.m. at Grubhub Stage

Dominic Fike is a musical chameleon. First breaking out with his unassuming radio hit “3 Nights,” to only jump into the absolute vibe that is the Kenny Beats–assisted “Phone Numbers,” and culminate it all with the genre-spanning debut album, What Could Possibly Go Wrong, Fike is an artist whose limitations seem limitless. It’s a notion that plays out in his breathtaking live show, reworking his hits with an insatiable appetite until they’re songs that exist only in that singular moment. Fike’s is set you will not want to miss.

Oliver Tree

When & Where: Thursday, 9 p.m. at Grubhub Stage

Alternative auteur Oliver Tree is nothing if not unpredictable. Flaunting his signature JNCO jeans and an impressive professional razor scooter pedigree, the inimitable artist delivers on an infectious blend of alternative, electronic, hip-hop, and pop that defies any simplistic classification. And with his debut album, Ugly Is Beautiful, now out in the wild after a much-hyped cancellation and subsequent surprise release, Tree has more than his fair share of music to pull from. Plus, given his penchant for going in and out of retirement like he’s trying to break a record only known to him, it’s probably best not to miss this set.   

RMR

When & Where: Sunday, 2:45 p.m. at Tito’s Handmade Vodka Stage

RMR originally made headlines with his breakout single, “RASCAL,” a transfixing country trap ballad that saw the rapper donning a black balaclava and Saint Laurent bulletproof vest while rapping over an interpolation of Rascal Flatts’ “Bless The Broken Road.” Since then, the anonymous rapper has been spotted hitting the town with Sharon Stone and embracing his penchant for melodic trap in the Westside Gunn, Future, Lil Baby, and Young Thung–loaded Drug Dealing Is a Lost Art. Existing at the fusion of trap country and melodic rap, RMR’s Lolla set is one you’re not likely to forget anytime soon.

Chiiild

When & Where: Sunday, 12:00 p.m. at Lake Shore Stage

Nostalgic and novel, Chiiild’s self-described brand of “synthetic soul” is nothing short of intoxicating. Setting its own sauntering pace, Chiiild’s unique take on R&B and soul takes on a cosmic energy, as if floating through a wormhole with nothing but a single cassette deck on hand. It’s a testament to the Canadian band’s all-encompassing approach that draws upon not just R&B and soul but psychedelia, jazz, indie, and pop to craft a sound that is all their own. Take a trip on Sunday, and meet us at Chiiild.

All Time Low

When & Where: Thursday, 6 p.m. at Tito’s Handmade Vodka Stage

Because teenage you wasn’t old enough to convince your parents to let you see All Time Low the first time “Dear Maria, Count Me In” was trending.

#lollapalooza #lollapalooza 2021 #tate mcrae #peach tree rascals #marc rebillet #dayglow #giveon #ashe #sir chloe #jxdn #ag club #tai verdes #dominic fike #oliver tree #rmr #chiiild #all time low

[fmdjoosungarchive]

location: studios and gold star’s building

date: various days in july

word count: 1349

tldr; verification for @fmdhyeju’s and his song don’t. partial lyrics, composition, and production. i do a lot of writing about sung at his best and with pretty good results when songwriting, but i wanted to show something where he’s kinda,, kicked down at every turn. so, he ends up feeling like the song is v much a compromise, even if he still likes it

when sung brought his final mix of a song for hyeju and himself to gold star, he didn’t expect the issue they would have with the track was the lyrics. sometimes, they wanted to change only a few lines of what he’d written, adding english, or, on rare occasion, only one word would get changed.

that day, a producer suggested the entire lyrical line be reworked, and everyone agreed. everyone except sung. he tried to make a case, telling them that he’d been conferring with hyeju on what she might want for the song, but his words fell to deaf ears and placations of how good they could make it if they just worked together. he supposed if he was a part of the conversation, he could sway them more easily away from things that were particularly uncomfortable.

but, writing together like that meant he couldn’t check in on hyeju. he couldn’t ask so much of her scheduling to sit here and listen to these people going on about lyrics. throughout his own process, he tried to keep the amount of ‘bugging hyeju’ to a minimum.

despite being born the same year, sung held a lot of junior-type respect for hyeju. he’d been a fan of lipstick since their debut eight years ago, and a fan of hyeju for just as long. she was a dancer, after all. and despite having the title of lead vocalist, sung was sure she could qualify as a main vocalist for most any other group. although they weren’t personally close, sung had cherished sharing schedules with her in the last few months. if the company wanted to work with her again, he wouldn’t be one to say no.

and he wasn’t. if anything, he’d taken the opportunity to keep in contact with hyeju more often, only partially for selfish reasons. the other... sung didn’t want to write something that wouldn’t fit her at all. he, himself, sung thought he could suit different kinds of sounds and concepts. there were many genres of songs he’d written for others in the last year, so that wasn’t an issue either. much less with hyeju’s style as a soloist.

sung had pre-ordered premiere as soon as he had gotten home that day. and months later, the tracks stayed on his rotation. hyeju was so good at being an idol, in a way sung wished he could find the magic potion for. she was a talented vocalist and dancer, good at being sexy, cute, and cool. --although, it didn’t seem hyeju felt the same way. the first time he’d called her to discuss what he’d come up with so far, she didn’t seem particularly excited. he supposed he couldn’t expect all other idols to have the same passion, especially when hyeju wasn’t much of a songwriter. sung just hoped instead, that hyeju would feel some kind of pride in what they managed to do together.

that first concept was probably sung’s favorite. definitely his favorite. the main process came to him in the matter of his limited time in a day, inspired by the 80s pop sound from hyeju’s song talk. something easy and bright sounded the best like a combination of their musical taste.

a hiss pulled through teeth.

sung swallowed. “do you not like it?”

the producer dismissed his question with a wave of his hand. “no, no, that’s not it. it’s a nice concept. the chorus sounds the most finished, almost there, but-- is it really suited for you? i can’t see a rapper being on a song like this.”

and the dream was crushed.

sometimes, sung asked himself what it was gold star wanted from him as a rapper. but, he knew. he’d always known that their idea of who he was fit a specific mold, one that always felt too tight to be comfortable.

swallowing his pride, the next time he reached out to hyeju, enough to tell her that his previous work had been rejected, was hard. he’d made it through, though, and gladly filled up the space of their conversation talking about what he’d next worked on.

that piece was more hesitant. it’d drifted away from where they had been, and married different parts of them. the sound was more like blue moon, if any of hyeju’s music, though sung thought it was a good representation of where hyeju could go, if she wanted to.

at that stage, timing was kept by his snapping fingers, with layered heavy base and electric guitar in a staccato rhythm reminiscent of reggae. he’d worked out the main melody using those three instruments, which ended up mostly staying. after several trips back and forth between producers, sung gave up for the ease of use, and decided it might be best to work with a couple of writers to make something he knew would be approved. it drifted, from his vision, here and there, though he managed to snag his one last major addition, an in person audio panning clip of him using a güiro. funnily enough, part of his rap ended up being during that section.

however, he couldn’t win at everything. he’d been convinced into less sporadic drum lines to adding in a slow, constant line to keep time.

later, as he came around for the lyrics, as soon as alcohol was brought up, sung knew he’d lost the plot. from then on, it started feeling like when he’d first started writing for element. back then, he didn’t do much more than offer ideas now and again, more content to sit back and let the professionals do their work, because he certainly didn’t know as much as them. yet, by that point, even if he wasn’t as experienced as them, it seemed they didn’t take him very seriously. when the song came out, his fans would probably assume that he’d written his own rap portions, but really, the best thing he had to offer in that room was his efforts to keep certain topics out of the lyrics.

he was only somewhat successful.

there were many times in sung’s career that he wished he was a better singer. if he was a singer, he thought, the types of songs and lyrics given to him wouldn’t be so completely different from the person he was.

though, despite his complaints, when the track was finished enough that he and hyeju could properly record it together, sung didn’t think it was bad --if he could ignore his part of the lyrics. at the least, it was relieving to be done with that part of the process.

he was in better spirits when he met hyeju for their recording. if there was one more good thing to come from this collaboration, it ought to be that. recording had become one of sung’s favorite parts of making songs in the past few months. not so much in recording himself, but in being able to work intimately with a fellow idol to influence the sound of the song directly. and, he’d asked one of gold star’s producers with a similar producing style as him to join them.

his goal, when recording others, was to pull out their natural charms, talents, and feelings, into something that would fit the piece on hand. there, even if sung wasn’t the biggest fan of the lyrics, they did make it easier to think of what he wanted. after he’d explained the concept of the songs, he asked hyeju questions, about her drinking habits, not-too-invasive questions about her love life, to get an idea of how she approached those topics. they were flirting, really, a baby it’s cold outside will they, won’t they. although hyeju was a beautiful woman, sung was heavily spoken for, so it would be about the extent of his acting capabilities to give what was needed, but hyeju... sung had higher hopes for her.

he hoped, when both of their groups of fans had had enough time to listen through the song, they’d feel like hyeju was the star he saw her as. the troubles would have been worth it, then.

#fmdverification #u wouldnt believe the amount of times i listen to a song in a row when i write verifications #half the views end up being me lol #i havent realised this b4 but a lot of sungs inspiration in music comes from latin america #come to brazil but it's sung bringing brazil to korea lol #ik i mentioned a cuban instrument but let me jOKE #era: don't #hyeju #solo

[reckonslepoisson]

Making a Door Less Open, Car Seat Headrest (2020)

It is in the very nature of Will Toledo as a songwriter and Car Seat Headrest as a band that their music interacts with listeners in a way that is individual and intimate. Few artists’ rampant emotional intelligence makes criticism sans personal pronouns quite as impossible as they do. Toledo’s music is affecting in a way that is easy to adore, it is worked through the very essence of him as an artist. Car Seat Headrest were perhaps the defining band of my past decade, dominant because they were -and still are- so firmly attuned to the foundations of my music obsession while also intent on progressing far beyond what had come to be expected of popular rock music.

Informed by great American indie rock acts from Dinosaur Jr. to Pavement to Modest Mouse, Toledo deconstructed and reworked the genre into something intriguing and replayable. As early as his first numbered Bandcamp records, he was committed to challenging indie rock norms, embarking on ambitious songwriting without ridiculous pretentiousness, isolating the genre’s tropes and creating powerful indie rock. His lyricism has been similarly invigorating, a blog-era emotionalist with thin veils between his art and personal narratives. Oft-humiliating and self-flagellating, Toledo managed to enshrine deep sincerity in power pop anthems, oddly apt for being yelled out, anthem-style, at his live shows.

Every aspect of Car Seat Headrest’s magic has beckoned fans to simultaneously study and revel in Toledo’s music. He is both a product of modern music consumption and also, almost single-handedly, responsible for reinvigorating indie rock in the 2010s.

Making a Door Less Open is the first batch of totally new Car Seat Headrest songs since 2016’s Teens of Denial. Despite records like How To Leave Town and Nervous Young Man similarly featuring significant synthesised instrumentation, Making a Door Less Open has been noted for being the first of Toledo’s electronica records on a major-label. It also includes appearances from Trait, a gasmask-wearing alter-ego and a Toledo side-project initially intended to separate his provocative experiments from his CSH fame. These are complications to Making a Door Less Open that have distracted the attention of many without necessarily having very much to do with what the album does and how it feels.

The inclusion of Trait appears to distance Toledo from his fame, the conflicts behind which are the album’s main theme. Fame, however, is just a theme. Making a Door Less Open is the first CSH record without an overarching concept since those early Bandcamp records, a collection of singles rather than an ambitious, multifaceted whole. It is as an album of individual experiments that Making a Door Less Open is best treated – somewhat differently therefore to Toledo’s past seven releases, which have all, to some extent, been written and arranged according to some kind of concept.

Of the tracks here, there are more than enough that display bits of old-school Car Seat Headrest mixed with something newer and fresher. ‘Can’t Cool Me Down’ is a great, playful indie rock track with indietronic overtones, a favourite of mine because it doesn’t play to conventions of artistic direction but, in very Toledo-esque fashion, does its own thing. As does ‘There Must Be More Than Blood’, an equally subtle track and almost spiritual successor to How To Leave Town’s ‘The Ending of Dramamine’ - a typically lengthy, well-built, rewarding Car Seat Headrest track.

‘Martin’ too is harmless, fun indie pop, while opener ‘Weightlifters’ continues Toledo’s streak of terrific, slowly-built album openers. If there’s criticism of these tracks, it is simply that they sound so within Toledo’s songwriting capabilities. They’re playful, they’re unpredictable, but he’s always been playful and unpredictable. For “experiments”, they don’t go as far as one may expect.

There are other tracks that are a bit uneventful or even unnoticeable but these aren’t an issue. Most surprising about Making a Door Less Open are those tracks which are actually difficult to listen to. The widely-derided ‘Hollywood’ really is terrible, a kind of alt-rock sulk with verbose, vacuous, obvious lyrics. Every time, it makes for an uncomfortable, even unbearable, listen. ‘Hymn – Remix’ isn’t quite as bad, but it’s close, Toledo opting for an EDM-style instrumental followed by ear-scraping New Age that is knowingly quirky but teeth-grindingly clumsy.

Part of me sees these missteps as simply missteps, but another part finds it simply difficult to get over Toledo writing bad songs. It isn’t so much that everything he has previously written is perfect, but very little was outright dislikeable. And, as is so often the case when a cracks appear in the visage of greatness, once you’ve found some faults you naturally notice others.

So much of Car Seat Headrest’s intrigue and endearment has been due to Toledo’s emotional intelligence; how well he relates to and communicates with his listener, yet Making a Door Less Open is remarkable in how little one engages with Toledo or his theme. For us laymen, the usual youthful conflicts or tugs of nostalgia make for more relatable subject matter than fame. Even so, I connected with his lyricism on a couple of occasions. There were hints on ‘Life Worth Missing’ of the grounded spirit that had flooded Teens of Denial, Teens of Style, Monomania, Nervous Young Man, How To Leave Town, My Back Is Killing Me Baby and both recordings of Twin Fantasy - and those hints made me miss it.

Combine those less-than-listenable tracks with the large absence of one’s emotional connection with Toledo and the lack of overall concept comes back to haunt Making a Door Less Open. The sharp twists in style between tracks lack the cohesion of any kind of narrative arc which, in turn, makes the lower points stand out more prominently. Faults become less forgivable when they aren’t subsumed beneath the brilliance of a greater whole.

And yet, despite the weaknesses of this record in comparison to those that came before, such are the peaks that it ends up conflicting me. Music can, of course, be great without any dead-set concept. Making a Door Less Open can be a weaker Car Seat Headrest album but it still can fare well in comparison with other works of contemporary indie rock. As one dwells upon this album more, it occurs to me not that Making a Door Less Open is a bad record, but that it just doesn’t blow me away. Making a Door Less Open does not enthral and it is not a failure, it is simply an above-par record by a band that has previously, consistently soared far, far higher.

#car seat headrest #making a door less open #indie rock #indietronica #alternative dance #synthpop #2020 #music #review #music review

[on-the-shelves]

on my shelf: soundtrack to my fourth year of uni - summer

I’m finally done with my Bachelor’s thesis! I might make a separate, more detailed post about it, since the topic is relevant for what this blog is about (of course it is haha), but for now I can say my topic was an analysis of the use of elements from the “Pop-Star-System” in building up a girlgroup career. I looked at the history of Pop-Stars and analysed the album covers of the Supremes’ first two albums, as well as the Spice Girls and Girls’ Generation’s first albums/physical releases. It was a lot of work, but I really enjoyed the topic. Oh and if anyone was wondering, I’m doing a Media Studies degree, which is why I could tackle such a cool topic.

Anyway! So working on my thesis took up my entire summer semester because I luckily didn’t have any classes left to attend, so I was thankfully spared the whole online class ordeal. The music I mentioned in my last post (”Quarantunes”) has mostly stayed on repeat in the past few months. Besides an ever steady stream of BTS, there are a couple of new things to add to the list:

Tomorrow X Together: The Dream Chapter: Eternity (2020)

Now THIS is the release I’ve been waiting for from them. Their previous album had one song that had a co-writing credit for one of the members (Hueningkai on “Rollercoaster”), but this album has more! We’re finally starting to hear their writing talents more. “Maze in the Mirror” was written/demo’ed entirely by one member (Beomgyu) and in the process of preparing it for this release the other members also wrote parts. It’s a beautiful, melancholic, and dynamic song that I can highly recommend for listening to before going to sleep. The lyrics talk about how unsure they felt before debuting. I can’t wait to hear more songs where they talk about their personal experiences, because clearly they’re good at it. In general this album is much darker than their previous two releases and they suit them well. The songs are more varied, too: You have the classic TXT style opening song, but the lead single “Can’t You See Me?” is full of angst, which is new for them. “PUMA” is like dark R&B, while “Fairy of Shampoo”, a reworked cover of a popular 1990s Korean song, is more city-pop. And then you have “Eternally” which reminded me of twenty one pilots’ “Ode to Sleep” in the way it completely changes up its style several times throughout the song. It’s all coherent and flows well from top to bottom though, and I think they’re well on their way to carving their own niche in the saturated and often same-same (k-) pop landscape.

Agust D: D-2 (2020)

He finally came back. SUGA of BTS last released a mixtape under his solo moniker Agust D in 2016. That one was very dark, brazen at times, and incredibly open and honest about his struggles, ending on a note of hoping that things will get better. This follow-up release makes it clear that Agust D has become a slightly different person in the past few years. He’s still brazen at times, but he has good reason to be, looking at how incredibly successful BTS has become since 2016. As always, he makes fun of those who decide to be haters but cleverly never gets too specific - if you feel attacked, that’s on you. There is a lot of introspection on this album too. It’s generally much less defeated or dark than on the 2016 self-titled release, but it’s still not all sunshine and rainbows. His problems have morphed -  he has now achieved his dreams, but it’s not quite what he expected it to be. There are a lot of thoughts about dreams, about what it means to grow up, about what his position in the world means and feels like. That sounds like it’s very focused on himself and might be inaccessible to us non-famous people, but that’s absolutely not the case. A lot of it are quite mundane questions that everyone asks themselves in their 20s, like “what am I doing with my life?” and “what kind of person am I really?”. He makes it clear that he doesn’t have the answers, but he somehow makes you feel comforted in that uncertainty. The musical style is more like current hip-hop, where Agust D was more like harder, older hip-hop, but retains his (especially recent) typical, very melodious style, with him even singing some choruses. There are various styles and interesting production choices that make for a varied, but cohesive listening experience. 

Hayley Williams: Petals for Armor (2020)

I mentioned this album in the “Quarantunes” post as well, but the full album was released after that went up, so it deserves another mention here. This album tells a story of an emotional journey towards healing, without ever getting preachy or feeling insincere. In several interviews Hayley mentions her therapy journey and learning to deal with her trauma and how this album helped with that. Listening to all the songs in order, a journey of self-discovery, -acceptance, and -empowerment is laid out. All these things are typically found in little things and learning to change your perspective. It’s Hayley’s most feminine work yet, in the sense that she’s embracing all of her different aspects: the delicate, the powerful, the rage, the love. Everything is wrapped in sounds inspired by Alternative music, but more, as said before, the Björks, Radioheads, and synth-y 80s artists, instead of loud guitar bands. My favourite songs are “Crystal Clear”, “Roses/Lotus/Violet/Iris”, “Over Yet”, “Cinnamon” and “Simmer”.

IU: Palette (2017)

When it was announced that IU and SUGA from BTS (two of the most popular artists in Korea) would release a collab song, I decided to check out her (IU’s) music more intensely, because I only knew one or two of her songs from the Dalkom Café playlist on Spotify. One of them is on this album, “Palette (ft. G-Dragon)”. This album, to me, best encapsulates IU’s sound: from heartbreaking ballads to satisfying light K-R&B, to slightly darker, groovy K-R&B (I think that’s the right genre term..), this one has them all. I’m not the biggest fan of ballads, but I enjoy IU’s voice so much that I don’t mind listening to them at all. I really love it, however, when she leaves that style behind for the slightly darker, or at least more pop sounds, like on “Palette”, but especially on “Jam Jam” and “Black Out”. She has a certain attitude on those songs that are slightly opposite of the pure, innocent image I previously had of her. It seems very sincere though, most likely because she writes on all of her songs. She has been utilising this style more often in recent years, on songs like “Bbibbi” and “Blueming” (both certified bops). “Eight”, the collab with SUGA, is an uplifting, yet bittersweet feeling pop anthem that almost feels like it could’ve been just a little bit longer. I’ll probably dive deeper into her lyrics soon and I’m excited for what I will find.

Sunmi: Warning (2018)

Last summer, Sunmi released the single “Lalalay” and I immediately loved it. I learned the choreography pretty much the week after I heard it the first time. Unfortunately, she didn’t seem to have much other music on her Spotify page though, just a couple of older singles (which I also immediately loved). This year she released “pporappippam” (which is basically the romanization of the Korean title which translates to Purple Night), a bittersweet, nostalgic, summer pop song, like only Sunmi can do. Seriously, no one else in K-Pop is releasing music like hers, and they probably don’t even dare to try. For those who don’t know, she used to be in one of the historically most popular girlgroups Wonder Girls. But besides that, she has been releasing her own style of pop since she started releasing solo music and Warning (which they must’ve only recently put on Spotify in full) is a pretty good encapsulation of that sound. It’s almost like a mix between K-Pop and K-R&B, but more like IU’s moodier songs for example. It’s not flashy and sparkly, but it’s not full-on groove either. It’s a bit of both and it works perfectly for her. 

--

Special mentions for new albums I haven’t listened to that much but do enjoy a lot: HAIM’s Women in Music Part III, Irene&Seulgi’s Monster, Taylor Swift’s folklore (released like a week before this post is published but it’s undeniably good and will get a longer write-up when I’ve had more time with it), Loona’s discography

#on my shelf #txt #agust d #hayley williams #iu #sunmi #music

[jdiep95]

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

[wardholtermann-blog]

Basics Of Pop Music

Modern folks music refers to a wide variety of genres that emerged in the mid 20th century and afterwards which were associated with traditional folk music Beginning within the mid-twentieth century a brand new form of standard folks music evolved from conventional folks music. Large, like Salimpoor, says that this distinction in choice is because of how our neurons are wired together, which in flip is based on our personal, personal historical past of listening to or performing music. Rhythm is all about predictability, he says, and our predictions about music start forming from a reasonably early age onward. He factors to the work of Erin Hannon at the College of Nevada who discovered that babies as younger as eight months old already tune into the rhythms of the music from their very own cultural setting. Whether or not you agree with Stanley's personal opinions, his ardour is undeniable. When describing the music that has really moved him, be it a Seashore Boys tune, a Motown monitor, a punk anthem, a pioneering techno observe, www.magicaudiotools.com or a 70s bubblegum pop song, his eloquence and unabashed enthusiasm are infectious, drawing the reader in. Stanley is each professional critic and professional musician, but he's additionally at occasions merely a fan, desperate to share his discovery of pleasure with others. One may not agree with Stanley's private opinions, however any music fan is aware of the giddy rush that only comes when getting lost in a favorite tune. Regardless of your musical choice, that may be a universal feeling that this e book ultimately seeks to have fun, and in that it does a exceptional job. Musicians making the move from songs to cinema is a dodgy one which hasn't gone properly for some of her predecessors (Rihanna, I love you, but literally your entire films suck), but Gaga's funding in her debut lead efficiency is so sturdy that she's practically unrecognisable beneath it. That's not a gimmicky tackle her much-discussed ‘stripped again' look, it is a testimony to her skill as a sincere actor. She switches up all the pieces, from her conversational mannerisms to her distinct fashion of performing, to take us away from her personal pop narrative - even when Ally's story bares some glaring resemblances to her personal. Streaming companies are a beast that needs constant feeding. Youthful hip-hop artists, already accustomed to offering sites like SoundCloud with a relentless stream of mixtapes and features, have adjusted to its demands more quickly than artists from other genres, and have thrived accordingly. At the coronary heart of rap's streaming dominance is something extra ephemeral: Some songs simply stream better than others, for reasons that no one can really clarify but. Hip-hop streams higher than other forms of mainstream music, and trap music streams better than different varieties of hip-hop. However radio is certainly sputtering out. I myself only hearken to high-40 radio when I'm in a Lyft, and I am fascinated by how related every little thing sounds: same tinny manufacturing, same rap breaks, identical millennial whoop. Plus, playlists are narrower than ever, so the thought of radio as a discovery system is long gone. I assume children are discovering new issues through Spotify or Apple Music, whose algorithms and daily discovery playlists are scarily good at predicting what I am going to get pleasure from. Nonetheless, these things only collect information, and only reply with knowledge: more songs in the key of the songs you do not skip via, with the identical modulations and vocal model. We're all getting pushed deeper into our personal little corners. What you see before you is a list that I hope might be learn as an intervention. Almost 50 girls who play a task in NPR compiled and voted on this listing. It options albums by artists who determine as female — together with some by mixed-gender bands, like Fleetwood Mac and X, that, modern Pop Music in our view, relied on ladies's creativity for their spark. These albums have been released between 1964, the year The Beatles invaded America and set in motion what can be called the "classic album era," and 2016, when Beyoncé arguably ushered in a brand new period with her "visual album" Lemonade. The purpose is to offer a view of widespread music history with women's work on the center. The record does not represent an "alternate historical past." It stands for music historical past, touching upon every significant trend, social situation, set of sonic innovations, and new avenue for self-expression that in style music has intersected in the past fifty years. Though Schlager music is a part of the pop tradition, it occupies a special, considerably devisive area of interest; people are likely to either adore it or hate it. But then there's straightfoward pop music, usually viewed as more palatable and widely liked. A classic instance of this is singer Herbert Grönemeyer. Although many outside of Germany know him only from his function in the film Das Boot," he is also essentially the most successful artist in Germany, with a career that, to date, spans 44 years. It typically takes us the longest to stop punishing the merely good artists for not being geniuses, but ultimately we do — Hall & Oates just received into the Rock Hall of Fame , as an illustration, however a decade in the past folks were nonetheless snickering at their Nineteen Eighties blue-eyed soul-pop, little question in shame over having favored it for some time. I wonder if we will study to skip that center step? I've admired you for having the maturity to attend to the communal virtues of Mumford and Sons and other neo-folks bands I discover icky, for example. I think I dislike them partly as a result of I grew up with Nineteen Seventies Catholic folks-guitar lots, so such jangly uplift choral music strikes me as oppressively naïve. I am interested on this article not a lot for the specifics of the gear and the plugins, however fairly just out of sheer awe on the complexity and nuance of the monitor's soundscape. My cadre of pop-oriented music lecturers likes to say that the creativity in recordings lies not in their melodies and the chords essentially, but in their timbre and area. Call Me Perhaps" is an excellent working example. Its melody and chords are enjoyable, however not exactly groundbreaking. But the monitor leaps out of the audio system at you, demanding your consideration, managing both to pound you with sonic drive and intrigue you with quiet element. Whether you need your attention grabbed in this method is a matter of style. I occur to love the song, however even when it isn't your cup of tea, the craft behind it bears some desirous about.

The historical past of Popular Music hardly qualifies as a precise science. It is a retrospective analysis of events that focuses on the underlying forces or common signs in the overwhelming manufacturing of music data, ignoring nuances and aspect-effects to grasp a understandable construction. It is because (standard) music is much from a static phenomenon: it is a consistently evolving, reworking, large organism. Almost by no means has a music style suddenly emerged as a surprising revolution without any trace or evolution in the past. All of them have naturally developed, mutated, merged, or turn out to be (theoretically) extinct. Solely the previous could be examined of this pure, organic network.

[thesinglesjukebox]

RED VELVET - ZIMZALABIM

[5.86]

The magic doesn't work on all of us...

Mo Kim: Think of Red Velvet not just as the concept but as the cake. Equal parts alchemy and art: sugar-rush feelings baked into sinister recipes, measured with baker's precision. Think of how they've experimented over the course of an eclectic discography to hone this approach. The way "Ice Cream Cake" captures heads-over-heels longing in a chorus that explodes like Mentos meeting Coke; the way "Peek-A-Boo"'s rhythms wax and wane in the same way its subjects consume then dispose of new lovers; the way "Dumb Dumb" ties infatuation and anxiety into an ink-stained typewriter ribbon before shredding it into so much confetti. Some listeners may balk at the funhouse of sounds "Zimzalabim" rushes through, from marching-band reverie to witchy incantations to buzzing EDM banger to flowerbed of lush vocal harmonies, but the song holds together best as a roller coaster ride through the themes that have defined Red Velvet's work over the last five years: Irene implores us to be bold and rock the world, Seulgi reminds us to have some fun along the way, and Wendy's voice soars like the dreams that bring out the light within us. And then, before we've even gotten our safety belts off, they're "na-na-na"ing all the way back to their first single, and we're chanting in Simlish along with them. If that ain't the magic of a pop song, what is? [9]

Jessica Doyle: The world was not exactly crying out for "Red Velvet redoes 'Hollaback Girl' with a circus theme and a couple more ideas in the lyrics," but if that had been the result, it would've been fine, if underwhelming. But that grinding flat siren in the background, as if someone recorded Big Bertha while she was stuck, is flat-out unpleasant to listen to. How do you recommend a song by saying, "Well, actually, two-thirds of it isn't actively repulsive to the ear"? As to what the members themselves think of it, who knows, but Wendy's "Zimzalabim!" at the start sounds to me like it's in the same tone, and with the same emotion behind it, as I've heard my kids' teachers use when they say, "Let's get ready for Milestones!" [2]

Will Adams: So much of this reminds me of "Electric Shock" -- the cadence in the verses, the LMFAO-esque electro skronk, the general oversaturation of every detail -- that I almost can't believe I'm hearing this in 2019. But a sugar rush is a sugar rush, and damn if that titular hook hasn't started pinballing around my head without warning for the past few weeks. [6]

Joshua Minsoo Kim: Jeez, has it really been six and a half years since "I Got A Boy"? [7]

Alex Clifton: I'm not sure which is worse: the opening thirty seconds, or the implication that Wendy is a flat earther. [4]

Alfred Soto: As usual "Zimzalabim" has more ideas in its first thirty seconds than the average track, and the pre-chorus can't stop won't stop. Red Velvet could've stopped there. Then the chorus becomes a mantra. [7]

Iris Xie: I like how the song can't make up its mind about what it wants to be, because it's so disjointed and frenetic, but it misses the chance to transcend above being a mashup of girl group history. In a just world, "Zimzalabim" would have been a special stage group collaboration song for both f(x) and Red Velvet, where Krystal and Seulgi can finally combine their all-rounder center power, Sulli and Joy pose together as beautiful, tall "fake maknae," Luna and Wendy would riff their vocal talent off each other, Amber and Yeri would rap and ham it up and show off all of their social media contacts, and Victoria and Irene are the gorgeous visuals. The stage would be called f(ReVe), it would be a 10 member powerhouse that showcases their blend of styles, and then Girls' Generation would go onto the stage and greet them with matching flower bouquets and it would just be a scene of girl group madness with immense joy. Maybe later, one of the Brown Eyed Girls interviews them on a variety show later and they make comparisons between the similarities of "Zimzalabim" and "Abracadabra" and then do a cute mash-up of their dances and be very supportive, and then go on and perform it as a special stage. But no, we don't live in that world of second generation special collaborations and variety show hijinks anymore, because that age of K-pop is long gone now. Instead, Red Velvet has to carry the weight of all the SM girl groups before them, by doing a "Happiness" redux that is refreshed with the intro from CSJH the Grace's "One More Time, Ok?" updated for 2019. The abrupt changes will invite Girls' Generation's "I Got a Boy" comparisons, but I find that "Zimzalabim" pulls more from its inversion of the vocal stylings and arrangement of the first half of f(x)'s "Zig Zag." Overall this is pulled together with the dissonance found in f(x)'s "Love" and using a similar EDM synth from "Red Light." This results in the entire song sounding like it is designed to be an intro into some kind of show, which makes sense considering that Red Velvet is releasing a three-part album where this song is the first single, and it's not like SM hasn't done reworks of debut songs for mid-career victory laps. The monotone, husky chanting of the title contrasts with the peppy verses and works with the chimes to try to hypnotize the listener into a hollow trance. The bridge is pretty much a mashup of the Brown Eyed Girls' "Abracadabra" bridge together with Luna's astronomical adlib in "Red Light," but afterward, "Zimzalabim" dives off the rollercoaster ride and goes up a panicky few notes for its final chorus before launching into a more riotous take on f(x)'s "Electric Shock" nananas and leading to a disruptive end. If "Zimzalabim" represents how Red Velvet is finally taking up the experimental spot that f(x) has long been forced to abdicate, this is not a bad choice, but the song lacks the effortless charm that I expect from them both. It's actually not strange enough or fresh enough, for either group, and its seams are too broken and getting in the way of the truly weird song it could have been. [6]

[Read, comment and vote on The Singles Jukebox]

#Red Velvet #pop #Kpop #music #music review #writing

[sneek-m]

Retro Future: A Year in Perfume

Rather than write a blurb about Future Pop, I decided to write about Perfume’s entire 2018 because I can never stick to something short when it comes to my favorite pop group. This post is also available on Medium.

Perfume observed quite a few anniversaries between its fourth and fifth albums, LEVEL 3 and Cosmic Explorer, respectively, so I assumed the group would do the same this year and commemorate a decade since the release of its debut full-length, GAME. But not a peep came from Kashiyuka, Nocchi or A-chan about the album when the release date came around in 2018. The three seemed to be interested instead more in what lies ahead, revealing the title of the new album as Future Pop.

The promotions for music leading up to what would become Cosmic Explorer really worked the anniversary angle. The year before the album, the trio premiered its world-tour documentary We Are Perfume in conjunction with Perfume’s 15th year together as a group. Kashiyuka, Nocchi and A-chan talked up the retrospective qualities behind the movie’s tie-up single “Star Train” during TV interviews, and they made sure to point out how the lyrics speaks as though Yasutaka Nakata is congratulating them after working as their producer for more than a decade.

The Future Pop period, however, had Perfume explore its next potential directions. Last summer’s single “If You Wanna” attempted to introduce future bass not only to the group’s own music but also the Japanese mainstream. This spring’s “Mugen Mirai” refined those experiments, and the members continued to act as a spokesperson to explain the subgenre to the masses. But while Perfume tried its best to stay ahead of the curve, the group also spent much of 2018 revisiting its past successes as inspiration for its current work.

Perfume’s 2018 started with a live tour for its fan club, P.T.A., which coincidentally turned 10 this year. The group has been more than generous when it comes to fan service: for its 15-year anniversary tour, the three incorporated a dice-rolling system to decide its set list with possible choices full of deep cuts. For this year’s fan-club show, the trio built its set based on fan votes. And which track won the number-one spot on that 10-song set? “The Best Thing,” a non-single from its second album, Triangle.

From GAME album track “Take Me Take Me” to “Perfect Star, Perfect Style” included in the 2005 best-of collection, the P.T.A. show featured even deeper cuts released before “The Best Thing.” But more than acknowledgment of long-forgotten favorites, seeing Perfume bring back choreography that hasn’t been performed in almost 10 years seemed like one rare experience. I have yet to see clips other than “The Best Thing” from the show, but reading about the group revisiting old dances has been exciting material in itself.

Watching Kashiyuka, Nocchi and A-chan interact with old material was also the highlight of this spring’s Reframe concert in collaboration with NHK. As the title suggests, Perfume brought back past tracks from various parts of its catalogs in new, reconsidered contexts. Initially a throwaway B-side tied in with a Panasonic ad, “Display” was rebooted as the opening track introducing the show’s mission statement. “With a new, fresh experience,” began the EDM track, fitting this new environment far better than the original.

Reframe also included “Secret Secret,” one of the singles from GAME. After witnessing grand, sweeping choreography in Perfume’s dances for its recent singles such as “Flash” or “Mugen Mirai,” it was intriguing to watch the three revisit more meticulous movements favored during its earlier years. As Kashiyuka, Nocchi and A-chan packed in so many micro gestures throughout the chorus of “Secret Secret,” it showed how far they’ve come as performers. They no longer need to establish themselves so much on stage nor do they have to constantly entertain to make the music more palatable to new ears.

As much as Reframe gave a spotlight on how much has changed, it also dedicated space to show what remains the same. While Perfume’s electro-pop production has been a huge draw of the group since the very beginning, the concert spent a part of its set connecting recurring lyrics and themes in the music. The extended outro section of “Secret Secret” (remixed by producer Seiho) stitched together fragments of Kashiyuka, Nocchi and A-chan’s voices reciting words like “anata,” (you) “boku,” (me) “omoi,” (feelings) and “hikari” (light) culled from a few dozen songs from its catalog.

Out of all of the highlighted lyrics, “Koi” (love) is perhaps the most central topic that carries on in the music to this day. For all that Perfume talked up about its future-bass-inspired production, “Mugen Mirai” lyrically concerns a classic theme of newfound emotions which also inspires the group’s breakout single “Polyrhythm.” The title track to Future Pop further works in a similar vein, capturing the spark of discovery and a first-time encounter. The three marvel at the magic of technology, and their fascination speaks to the song’s inspired EDM production as well.

The wide-eyed wonder of Kashiyuka, Nocchi and A-chan towards their environment in “Future Pop” recalls the tone of GAME, where they, too, were being introduced to a new sound, setting, and series of experiences. Echoes of their past glories can be heard elsewhere in Future Pop. “Fusion” stands tall as the updated version of past mostly-instrumental anthems such as “Edge” or “Story.” The infinitely ascending “Tenkuu” works a chorus with an elongated cadence that resembles the chorus of “GAME.” The titular hook of “Chorairin” revives Nakata’s knack for writing in made-up phrases — think creations for Kyary Pamyu Pamyu but also tsundere-ation in “Puppy Love” — favoring purely its sound over meaning.

However, Perfume doesn’t pretend as though it can recapture its youth so easily in Future Pop. The members’ voices sings more in a worn-out sigh in “Let Me Know,” tapping into a prevailing uncertainty in settling down in a new environment — a recurring worry for Perfume since at least “Computer City” in 2005. In a self-referential album such as Future Pop, Kashiyuka, Nocchi and A-chan’s words sound as though they’re asking their former selves for advice. As they hand down a key to what looks like kid versions of the members in the music video, they provide enough materials in this single alone to signal their transition into an older guard.

Made up of a thump, a snap and a loop of a guitar pluck as its base, “Let Me Know” is one the most contemporary-sounding songs in Future Pop. The other singles, too, depart from the idea of classic Perfume as heard in a song like “Chorairin.” “Tokyo Girl” bridges American EDM to the works of Perfume, and “Everyday” responds to a post-Chainsmokers pop landscape. But if Perfume sounding like other producers is the future Nakata hopes to present in Future Pop, it’s a rather bizarre conclusion to reach after holding on to the pop wonders of GAME 10 years ago.

That said, it’s a realistic snapshot of the present, where electronic pop music has finally caught up with Nakata to the point he is now essentially referencing versions of himself. Future Pop, then, is an echo of what he has always done, and same could be said about the rest of Perfume’s ventures this year as the group reworked, fine-tuned and re-introduced a once-forward-thinking vision of its now-storied past. Rather than predict the future, that album title announces the arrival of it. Everyone involved can say with confidence, after 10 years from the debut album, that a time where this type of pop is accepted as the present might be finally here.

#Perfume

[auditorydaydream-blog]

Michael Jackson - Scream (2017)

Released: 29th September 2017 (compilation) 1980-2014 (individually)

-

Many artists fall into myth and legend as superstars, and one artist who we can safely call both a legend and a superstar is Michael Jackson. He wrote and sung some of the most notorious tracks of the 1980s and 90s, releasing the best-selling remix album of all time with ‘Blood on the Dance Floor: HIStory in the Mix’ and some of the best selling albums of all time with ‘Thriller’ (1982) and ‘Bad’ (1987). ‘Scream’ is a compilation of some of his greatest Halloween-themed hits and album tracks, summing up the essence of an artist. While the track list was questioned by many reviewers and the inclusion of several songs was somewhat perplexing, I am coming to this album with an open mind, having heard very few Jackson songs in my life.

 The album opens with jazzy funk-pop song ‘This Place Hotel’ from ‘The Jacksons’ fourteenth studio album ‘Triumph’ (1980). The song is a perfect opener for the album, the percussion and brass complimenting Jackson’s smooth vocals on the chorus. The softer, piano driven segment towards the end of the song contrasts the rest of the song drastically, almost making one think that Michael wrote a few bars of a love-ballad and glued them onto the back end of the song, somewhat perplexing the listener. The hook is catchy, making the song a song that will no doubt be stuck in my head for days and the song is all round an extremely upbeat, catchy song, even if the ending does confuse me somewhat.

‘This Place Hotel’ – 8/10

 The next song on the album is ‘Thriller’, a song we all know and love from ‘Thriller’ (1982). The song is the catchy, Halloween-themed disco bop we all expect it to be, living up to expectations as Jackson’s signature song. The song re-emerges every 31st October, leaving it a little overplayed and trivial, although remaining nostalgic all the while. I also must compliment the brass on this track, as I did with track one. You could even dance to the instrumental of this song, being one of the greatest disco anthems of all time, we all know what this sounds like and it is hard not to bring out your monster claws whilst listening to this.

‘Thriller’ – 9/10

 ‘Thriller’ is followed by ‘Blood on the Dance Floor’, from Jackson’s incredibly well-selling remix album ‘Blood on the Dance Floor: HIStory in the Mix’ (1997). The song has a catchy bassline and the chorus is infectious, although the choruses are a little bland, consisting of whispery grunts and ‘ah-s’, leaving Jackson’s voice a little hard to hear. The vocals on the pre-chorus however, are impeccable, preceding the funky disco chorus that leaves the listener dancing, as with ‘Thriller’. The bridge is also really captivating, continuing the trend from the chorus and pre-chorus, leaving one wishing that he’d used those vocals on the verses. Also, the outro is a little generic, sounding like something you may hear in a lift, a little too soft to succeed the bridge. I almost hope the song went out with a bang. This song is a fun disco-bop on the chorus and bridge, but the verses are a little bland and incoherent.

‘Blood on the Dance Floor’ – 4.5/10

 ‘Somebody’s Watching Me’ is the next track from Rockwell’s album of the same name (1984). We don’t hear Michael until the choruses so I will not comment on Rockwell’s verses. Michael’s vocals on the chorus are notorious, and rightly so, the synth backing track and catchy beat complimenting Jackson’s voice. The vocals themselves are just as impeccable as ‘Thriller’, with very little audible flaws in Jackson’s voice. There is not much more to say on this track since we do not hear Michael much at all.

‘Somebody’s Watching Me’ (Jackson’s vocals) – 8/10

 ‘Dirty Diana’ follows, a catchy rock track from 1987’s ‘Bad’ album. The song is typical of a rock track from the period, almost reminding me of Journey’s ‘Don’t Stop Believing’ in some aspects, it may be the guitar instrumental in the background. Even if the song follows many rock conventions, it’s still a catchy and unique guitar-driven banger, simply a head-banging tune, not as disco-poppy as some of the previous tracks on the album. The lyrics are also interesting, alluding to ‘Diana’, a woman who is promiscuous and charming, sleeping with multiple people during the progression of the song, although Jackson does not let her lure him, singing ‘You seduce every man, this time you won’t seduce me’. As a rock fan, I can say that this is an extremely well-composed track.

‘Dirty Diana’ – 9/10

 The next track is ‘Torture’ from the Jacksons’ album ‘Victory’ (1984). The song seemed to mark a new turn for the Jacksons, who started as a Motown/funk family band, eventually ending up writing synth-new wave-rock songs such as ‘Torture. The guitar instrumental and Jackson’s vocals almost seem to foreshadow ‘Bad’, three years later. The songs is extremely pleasing to the ear, although it doesn’t stick with me and I expect to forget it in a few days’ time.

‘Torture’ – 5/10

 As we hit the halfway mark of the album, ‘Leave Me Alone’, my favourite Jackson track, follows ‘Torture’. Pulled from Jackson’s 1987 album ‘Bad’, the song’s instrumental is what keeps the song close to my heart, unique and dramatic, perfect for the song’s subject matter, fame and celebrity culture. The break into the chorus is extremely catchy too, the song’s title repeated multiple times before hitting the post-chorus where Jackson makes his trademark noises, Jackson also throws in a few ‘hee-hees’ throughout the post-chorus. It is almost impossible to fault this song, it is a piece of pure-Jackson perfection. My only complaint is that it would’ve been incredible for there to be a reprise of the song on the original album, the drop into the chorus setting the scene for a reprise perfectly.

‘Leave Me Alone’ – 10/10

 We get hit with a catchy, repetitive, funky beat as we arrive at ‘Scream’ from ‘HIStory: Past, Present and Future, Book 1’ (1995). The song features guest vocals from Janet Jackson, Michael’s sister. The two different voices complement each other on what turns out to be one of Jackson’s catchiest songs, something we learn as we progress through the 1970s style chorus. This song is also a good example of how you can throw in a few bars of piano solo correctly (I’m looking at you, ‘This Place Hotel’). Overall the song is very catchy and one of Jackson’s dancier tunes.

‘Scream’ featuring Janet Jackson – 9/10

 ‘Dangerous’ is the next track, from the 1991 album of the same name. The chorus and pre-chorus are catchy, although the verses share the same issue as ‘Blood on the Dance Floor’, Jackson is just too goddamn quiet and we somewhat lose the flow of the song, the drum instrumental overpowering Jackson’s whispers. The bridge follows the chorus in terms of flow and composition, including Jackson’s vocals and few ‘hee-hees’ Overall, the song is a little anti-climactic and one wishes the incredible instrumental and chorus had been used for a better song, the verse vocals are either too quiet or too raspy. The song also drags on for a lot longer than you think it will, dragging out the long verses.

‘Dangerous’ – 3/10

 We move from ‘Dangerous’ to ‘Unbreakable’ from 2001’s ‘Invincible’. Michael’s vocals return on this song, giving us a funky, slow song with an infectiously repetitive beat and instrumental. The instrumental and composition somewhat resemble David Bowie’s 1975 hit ‘Fame’, it’s quite possibly the tempo that draws the similarities for me. The song is one of the highlights of the album, one where Jackson really does show us what his voice can do, unlike ‘Dangerous’. The song also features a verse from The Notorious B.I.G, marking new territory for Jackson. It’s hard to believe that this incredible song was released only 7 years before Ke$ha’s song ‘TikTok’, a complete switch in genre for the music scene.

‘Unbreakable’ – 10/10

 Jackson returned in 2014 with a posthumous album of songs called ‘Xscape’. The title song from that album is next, and it’s a bop. It’s hard to imagine how much more unreleased material Jackson has, and how good that material is, since this song was clearly not deemed good enough to be released on an earlier album, possibly 2001’s ‘Invincible’ or a never-released album. The track is absolutely phenomenal for a song that was completely reworked without the artist present and leaves your head spinning.

‘Xscape’ – 9/10

 The penultimate track ‘Threatened’ is a funky song resembling ‘Unbreakable’, clearly since it is also from 2001’s ‘Invincible’. The song is a catchy song, still timeless to this day, following Jackson’s Halloween themes. He growls multiple times on this song too, giving the listener chills on the back of their necks as Jackson really flexes. However, an uninitiated listener is confused by the random entrance of a strange man’s voice near the end of the song, this is never explained, although I would like an explanation please. Overall, this track is groovy and classic Jackson, although lacks any real individuality.

‘Threatened’ – 7/10

 We leave our experience of this incredible album with ‘Ghosts’, another Halloween themed song, suitable for any of Jackson’s dance-groove albums. The backing vocals on the chorus are to be noted, featuring some elements similar to Michael’s Motown roots. One complaint is the lack of instrumental on his ‘ghost of jealousy’ line, most of the beat and instrumental vanishes, leaving the line to fall flat on its face, ruining any dance potential the song had. This track is not suited to be the closer, ‘Threatened’ would be a better closing track.

‘Ghosts’ – 5/10

 Overall, ‘Scream’ as an album really summarises Jackson’s career, transporting us through his various stages and eras, showing us what his vocals can really do when flexed and showing us his genre flexibility, singing pop with his sister and rock solo. ‘Scream’ is the compilation of a legend.

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Overall rating: 9.5/10

#michael jackson #scream #review #reviewer #bad #thriller #dangerous #invincible #blood on the dance floor: history in the mix #xscape #moonwalker

[hiddenplace]

The Top 18 Songs of 2018 (Songs 15-13)

CLICK HERE FOR SONGS 18-16 IF YOU HAVEN’T ALREADY

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APPLE MUSIC

YOUTUBE

15. Luv & TV- Travis Bickle (Single released 7.16.2018)

“Hey bitch what’s up?” ugh. Gets me every time. This song always brings me back to the summertime. I love songs that have a certain vibe right off the bat. Like that moment you hear a song and you think “ Oh, this would sound best in the summer/winter/fall/whatever”. Besides the intense summer vibe this song gives off, I love Travis Bickle’s style when it comes to instrumentation and vocals. His flow is really fun but he also has a very lyrical side to his singing. There’s this really cool funk to this song and I really don’t know how to categorize this song. I don’t know wether it’s Pop or R&B or Hip-Hop or even Electronic but I don’t care because it’s just such a fun song. I really commend Travis Bickle for borrowing from multiple musical genres and blending them together seamlessly to create his own original style. I think this song has so much originality which is huge considering the current musical climate. Music today is filled with a bunch of bland trap, copycat “personalities” and really untalented people dominating the charts. I don’t think Travis can be one of these chart-toppers just yet. My biggest issue with this song is the structure. Then again, I find it inventive. In the end, it was a risk that didn’t work out very well. For one, I have no idea what’s a verse and what’s a chorus. And that can be a very avant garde technique if done right. However, this song is too reminiscent of verse-chorus-verse-chorus-bridge-chorusx2 style songs to be able to manipulate that structure and do it well. The beginning section of lyrics sounds weird and muddy until he gets to this “I don’t have a thang to be” section. It makes the beginning seem like a bit of garbage until you hear the same refrain at the end and think “oh hey, I’ve heard that before”. But I sill think the middle section is the best section of the whole entire song and the rest of the song’s structure is too messy for me. 

14. Alone (ft. Stefflon Don) (Calvin Harris Remix) (Single released 4.20.18)

Let’s get one thing out of the way: this tarot card aesthetic Halsey has going on for Hopeless Fountain Kingdom is EVERYTHING. That aside, Calvin Harris has done it again. While I don’t enjoy his entire discography, I find that a handful of his songs are examples of some of the greatest contributions to electronic music by anyone in the last 10 years. Every now and then he comes out with some of the most genius shit and this remix is no exception. I already am in love with this song as is but Calvin completely reworked it and made a whole new song that blows the original Alone out of the water. The way he blended the horns of the original with the newly introduced house beats which are syncopated just right and that pouty bass that makes the chorus is just incredible. One technique Calvin does here a lot is dynamics. He crescendos and decrescendos as if this was Classical music. I mention that because electronic music has a tendency to stay one volume or intensity and it becomes insufferable after maybe 10 listens but the way Calvin plays with the intensity here increases the number of times you can listen to this song while still enjoying it to the fullest by a thousand. What’s wrong with it then to deserve the number 14 spot? Well, It’s so different from the original Alone almost to the point of being a completely different song. While it only used a tiny portion of the lyrics, I think Halsey’ flow on the original version would’ve fit really well here. It’s not like he couldn’t make this song 6 minutes long. Calvin Harris is known for his house music influence and so many house songs are ridiculously long and are still very good compositions. He made good use of the few elements he DID borrow from the original but I still feel like he could’ve done more. This song has a really compelling message that Calvin completely ignored. I understand it’s supposed to be more instrumental where the beat has priority and the words are more for flavor rather than narrative but I still don’t think adding the words would hurt. Not only that, repeating the same bassline the whole song is lazy on his part. The rest of the instrumental seems to show some variety but if it’s gonna serve as a melody to the chorus, it needs more substance. All my bitching aside, this song is a total banger. 

13. Queendom- AURORA (Single- 4.13.2018)                                                         (from the album Infections of a Different Kind (Step 1), released 9.28.2018)

I remember seeing this single cover on Spotify’s New Releases page and I knew this song was going to be great. This song is so captivating from start to finish and it feels like pure sunshine. Every element works so well together; the lyrics are poetic and clever, the instrumentation is simple and smooth yet features some interesting and complex rhythms, and those vocal harmonies before the chorus are just glorious. Overall, this composition is perfect; almost. My only problem with this song is that it’s way too fast. It’s three minutes long which is nothing new when it comes to a pop song but everytime I listen to this song, I feel like it’s 1-2 minutes shorter than it actually is and it pisses me off to be frank. I would have loved a longer bridge section to really slow things down and gradually build things back up to speed. I find it a bit silly to even critique a song on “feeling too short” but there’s really nothing else I dislike about this song. That alone, however, does actively annoy me when I really sit down and analyze this song. *Side note: I recommend checking out the music video for this song. It’s gorgeous*