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charlotte-is-a-swiftie · 3 months

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The tortured poets department CD🩶🩶🩶

@taylorswift @taylornation

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foreshvdowing · 9 months

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okay it’s 2:52 am on the fifth of august. and of course i have to run to tumblr to find pretty edits of lyrics from you are who you hang out with.

#the front bottoms #tfb #you are who you hang out with #album #album release #new albums #new music #music #folk punk #folk pop #help #lyric edits #(:#song lyrics #lyrics

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spreadtunes22 · 1 year

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Strong songs from New album of theirs or nice vocal mlodies.

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#heavy metal #hard rock #new albums #thrash metal #new songs #newmusic #new videos #Youtube

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rockartfashion · 5 months

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Two Great Albums for this month -WITHIN TEMPTATION - Bleed Out et THE STRUTS - Pretty Vicious

View On WordPress

#album review #chronique #heavy metal #music #new albums #new music #Paris #rock #The Struts #within temptation

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pagingdrmusic · 2 months

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Had a really good day today!

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manysmallhands · 6 months

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New album: Scarlet by Doja Cat

All things considered, I think that Scarlet will probably end up as my favourite record of 2023. While there have been plenty of others that I’ve enjoyed before now, there hasn’t really been anything else that I’ve obsessed over quite so much and played to absolute death as this. However, i'm not seeing many people who feel the same. While a few have declared themselves fully on board, reviews have often been middling, bemoaning its sharp turns of style and tone. Similarly, it's failed to gain much popular momentum, charting high in the first week but then dropping out of the charts at speed. So far as I can tell, anyone not put off by its embrace of hard rapping and old style beats appears to have balked at the relentless barbs directed at her online stans. Given how lonely my position feels, I figured that I ought make a case for it. No doubt sales will be impacted. Warn the pressing plants. Put Spotify on alert.

First of all, Doja comes out swinging. Megahit single “Paint The Town Red” is surely already familiar but it bears repeating what an extraordinary banger it is. The track appears relatively slight on first hearing, underpinned by a glitchy retro sample of Walk On By, but its real power comes from a bouncing bassline and Doja’s joyously unrepentant delivery - “Bitch, I said what I said” - as she rips into the losers and haters alike. This vibe dominates the front end of the album, with the stakes raised even higher on “Demons” and “Fuck the Girls”, tracks where she goes off at an absolute fever pitch. But while the music on “Demons” matches her ferocity with a heavy 808 attack, FTG feels like a musical harbinger for the rest of the record, its twitchy live bass forming a bridge into some of the easier going material.

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And it’s fair to say that, beyond these harder edged songs, most of the album sounds absolutely gorgeous. Tracks like the high octane pop of “Ouchies” and the warm, swirling RnB of “Gun” and “Go Off” are entirely absorbing, the kind of music that you don’t so much listen to as luxuriate in. If there is an issue here, it’s that it sometimes feels like Doja isn’t letting go as much as the music is. 97 is one of the best examples of the kind of disjointed funk that comes to dominate later on but her claim that it “looks like we don’t give a shit” is heavily undermined by how often she returns to attacking her enemies. When she (hilariously) begins a line with “…in a tweet that I’m probably gonna stand by…”, you start to get the feeling that Scarlet may be one of the most '...and another thing...' albums ever to be released.

And yet, I can’t say that I really mind. Being new to her, it may be that I just haven’t had time to get bored of it, but I’ve heard plenty of hip hop albums where rappers string out beefs like this whilst being far less entertaining. Say what you like about Doja but, a few clumsy rhymes aside, her rapping is generally excellent and she always has a choice insult for her detractors, whether they’re mocking her shaved head on Attention (“boo hoo my n-, I ain’t sad that you won’t fuck me”) or fretting over her mock-‘Satanic’ affectations on “Shutcho” (“got you cussin’ on a Sunday now - GOOD LORD!”). Do we get more of this stuff than we really need to? Yes, we probably do, but even where it wears out it’s welcome a bit, it’s a rare tune where she can’t make me crack a smile.

And in any case, there’s always something else worth focusing on. This continues to be true through the second half, where its softer elements mutate into dislocated neo-soul, full of twisting funk basslines and a strong late night vibe. This is especially so on Skull and Bones, where Doja’s overlapping vocal lines knit into an intoxicating psychedelic sweep, and the slinky sex track “Often”, a rare non-rap tune where she comes off like a huskier and hornier Erykah Badu. In general, the few love songs here feel genuinely touching, especially new single “Agora Hills” where her adoption of a teen girl persona only heightens her vulnerability as she gently pokes fun at it. And while even here the conflict isn’t quite done with (Doja’s desire to “rub it in their face” refers to the media controversy over her new and deeply unpleasant boyfriend), that softening is not just a welcome respite from the fury but a real ace in Scarlet’s sleeve.

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Yet apparently it isn’t enough. And that's a perspective I can understand tbh: the people waiting for a Doja Cat album might be interested in the poppier material but they probably want to hear a lot more singing and they could certainly do without the relentless bitching and sniping. And from the other side, a lot of the people who might be interested this kind of hip hop are fairly unlikely to hear it: Doja Cat is a big pop star, whereas rap is notoriously focused on “keeping it real” and shunning the supposedly commercial (so long as it suits them anyway). Given the pace with which it's dropped out of the charts, it seems a bit late for Scarlet to find a mass audience now, though while its singles remain on the radio I guess that all is not yet lost. Regardless of anything, it’s a record that makes me extremely happy but for Doja Cat, I guess the challenge is to knit this - in all truth - absolutely breathtaking sound into something that makes a little less effort to rub everyone up the wrong way. But with the biggest single of the year still under her belt, I feel like she’s got a few lives left in her.

#Doja Cat #Scarlet #New Albums #Rap #Hip Hop #RnB #New Music #good #not bad #don't listen to that guy #you know the one #Spotify

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randomreasonstolive · 1 year

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Reason to Live #8659

New album Friday!– Guest Submission

(Please don't add negative comments to these posts.)

#sad #help #hope #reason to live #depressed #depression #empty #alone #mental illness #anxiety #trauma #guest submission #mental health #new album Friday #new albums #music #Friday #Fridays

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luuurien · 8 months

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Carly Rae Jepsen - The Loveliest Time

(Dance-Pop, Contemporary R&B, Synthpop)

Carly Rae Jepsen’s companion album to last year’s The Loneliest Time ends up her most experimental, putting down her usual synthpop for songs that fizz with IDM beats and French house grooves and funk basslines. The Loveliest Time may not be her most consistent, but it’s by far her most surprising.

☆☆☆☆

Right from the start, The Loveliest Time places itself as Carly Rae Jepsen’s strangest album. Far from the anthemic synthpop she usually kicks her albums off with, Anything to Be With You is a dry, playful sunshine pop cut, a honking baritone saxophone and bouncy drum groove opening the album with a lighter atmosphere than ever before. It’s a strange but wonderful way to be introduced to her latest collection of outtakes and B-sides that are much stranger than her offerings from EMOTION or Dedicated, more like the excitement of a fresh start rather than simply more of a good thing. It’s hard to imagine these songs being slotted somewhere on last year’s The Loneliest Time, but all these songs are great regardless, making up her most diverse project yet where synth leads and dance grooves don’t always reign supreme, drifting into the worlds of IDM and funk-pop and expanding her sound without letting go of the bubblegum melodies her voice works best with. It’s more scattered in feeling than her other albums, lacking the thematic cohesion or onslaught of hooks her 2010’s releases prided themselves on, but The Loveliest Time’s slower pace and matured palette plays a different game entirely, seeking to contemplate and fantasize about romance more than it dives head first into it.

The album’s best moments are its most sensitive ones, where the softer beats and lighter instrumentation make way for a new kind of storytelling in her starry-eyed pop. After Last Night’s icy synth leads and scattered drum programming splits the difference between glittery IDM and Jepsen’s moody R&B cuts, Rostam Batmanglij’s sugar-coated production exactly what she needs for this romantic dreaming, while the glossy nu-disco of Shy Boy and Come Over replace her usual yearning with direct calls to action usually reserved for her most intense tracks, the fluttering guitar leads in the latter track the most intense part of the song as she makes her intimate moments as meaningful as the biggest gestures within her songs. It does make the heavier songs on offer feel unusually overpowering - Kamikaze’s fiery synthwave feels especially out of place situated between the breezy opener and After Last Night, and Stadium Love’s throaty belts and noisy synths clash too harshly with the warmth of all eleven tracks that precede it - but The Loveliest Time uses these contrasts to its advantage, expanding on the bits of soft rock and organic ‘90s R&B responsible for some of her last album’s strongest moments with the funk-pop jam Aeroplane or Kollage’s reflective downtempo, working her usual lyrical themes of breakups and hopeless romanticism into instrumentals who don’t require nearly as much intensity to get the same feelings across more effectively than ever before. It won’t knock you off your feet like Cut to the Feeling or sink you into a vibe like Too Much, but The Loveliest Time fully owns its brand of relaxed dance-pop where being a little left-of-center supports her new musical goals.

It does bring to the surface some of the strongest songs in her discography, particularly in the album’s magnificent second half. Psychedelic Switch’s blissed-out French house finds itself right at the heart of a new love Jepsen can’t get enough of, four-on-the-floor kicks and disco strings and flickering guitar loops pushing her music to a hypnotic, full-body high worn beautifully by her lively voice. Put It to Rest makes fantastic use of its darker atmosphere and snaggletoothed breakbeats as Jepsen lets go of situations and people she hadn’t handled with the most grace, taking ownership of what she’d lost and letting grief hang over her music more than ever before, putting the sentimentality of Shadow and After Last Night’s into context as part of Jepsen’s effort to let go of past hangups and push herself back into the light. The Loveliest Time is extroverted and willing to get a little weird with things, handling the artificiality of So Right and Come Over’s shuffling nu-disco with a commitment to her heart that overcomes just how gummy and bright the beats are, never so sweet to where it becomes a purely joyous experience as Jepsen contemplates how always seeking out romance puts her in precarious but wonderful positions, putting solid pop songcraft underneath songs foremost about Jepsen’s honest emotions. Her foundation hasn’t changed, and that’s inarguably a good thing.

While the wide range of feelings and production styles make it a little too clear it’s a collection of outtakes at times, the strength of The Loveliest Time’s songs nonetheless prevails. She scales every feeling here from sheer ecstasy to romantic defeat with the same confidence as usual, the flexibility of this being an outtakes album allowing her to add in new ideas and sounds without bending them to whatever the feel of her latest album is, The Loveliest Time going from careful and introspective to maddeningly euphoric in the blink of an eye and all the better for it. It’s easily her best B-side collection yet, matching the highs of EMOTION: SIDE B and the surprise left turns of Dedicated Side B and adding some new flavors of bubbly dance pop along the way. The Loveliest Time may be the strangest album she’s put out to date, and just through that it becomes one of her most thrilling and dynamic listens, promising even more electrifying anthems and oddball electropop with the same level of ingenuity and sincerity she’s always had. It may surprise more than usual, but Carly Rae Jepsen is as lovely to listen to as ever.

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shadowdemon-gd · 1 year

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Late as hell but finally listened to NF's new album. It was really fucking good

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charlotte-is-a-swiftie · 3 months

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My CD collection consists of:

-fearless💛

-speak now💜

-red ❤️

-1989🩵

-reputation🖤

-folklore🩶

-evermore🤎

-midnights💙

- the tortured poets department (pre ordered)🤍

@taylorswift @taylornation

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st-a-y · 2 years

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WHATS YOUR FAVOURITE SONG FROM HARRY'S HOUSE????????

#asks #Harry's house #harry's house #harry styles #one direction #new albums #lyrics #songs #harrys house #satellite #matilda #late night talks #keep driving

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raredye · 1 year

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Artwork for SZA's upcoming album S.O.S.

#sza #sos #album #new albums #black women #black alternative girl #music #musician #rare dye

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tahyirasavanna · 11 months

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Tyler Posey Is Alone & Alive While Seeking Freedom On Debut Album ‘UNRAVEL’

If you’re looking for adrenaline-filled pop-punk, beach-ready love songs, and more mellow moments of introspection, look no further! Tyler Posey has officially released his debut album, UNRAVEL, and this is seriously one project you can’t miss. We love it when you can really understand who an artist is from their first full-length, which UNRAVEL flawlessly pulls off. Being an independent…