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Polly Planturret
post May 12 2019, 05:49 PM
Post #21
I've seen the future and it's omelettes
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16/05/2019

#95. Martin Garrix feat. Macklemore and Patrick Stump - Summer Days [ADEQUATE]
#89. Vampire Weekend - This Life [[GOLD]] (FOTW HM)
#77. JayKae and Aitch feat. Bowzer Boss - On The Way Home [ALRIGHT]
#76. Iggy Azalea - Started [FAIR] (Least Fave Of The Week)
#74. Dominic Fike - 3 Nights [GOOD]
#67. Becky Hill & Weiss - I Could Get Used To This [GREAT]
#60. Billie Eilish - you should see me in a crown [[GOLD]]
#49. Bastille - Joy [BRILLIANT]
#41. MoStack - Wild [GOOD]
#18. Hardy Caprio & DigDat - Guten Tag [ALRIGHT]
#15. Logic feat. Eminem - Homicide [[GOLD]] (Fave Of The Week)
#9. Shawn Mendes - If I Can't Have You [ADEQUATE]
#4. Lewis Capaldi - Hold Me While You Wait [GOOD]


Summer Days has a different sound from Garrix’s usual EDM style; it carries a funky electric guitar with some solid production from Garrix himself to give a nice Summery feel.
This Life deals with a relationship that has lost its spark. This concept may seem downbeat, but the electric guitars blending with the percussion present an upbeat vibe to contrast with the lyrical content. The chorus has lead singer Ezra Koenig say that his partner has been cheating on him, while he has been cheating on her, as well as ‘cheating through this life’, thus rendering both sides of the relationship even. There’s also some beautiful additions of a piano in the 3rd verse and backing vocals from Danielle Haim in the 2nd chorus.
JayKae dropped an absolutely fantastic deep hip hop track last month in the form of Heartache. His new single On The Way Home isn’t on the same level of excellence as that track in my eyes, but it’s quite a chill song. I might give this another listen when I manage to find the lyrics to this.
Started has a good setup with those ascending three note synth lines and Iggy has some decent flows and brags, but I wasn’t too fond of the chorus.
Dominic Fike has left me impressed with his contributions to Kevin Abstract’s recent album Arizona Baby and his single 3 Nights has already become a Top 10 hit in Australia. After giving it a listen, I can safely say that this is a pretty nice acoustic guitar-driven tune. Fike delivers some good vocal lines on this and the lyrics remind me of Khalid a bit. I also quite like the backing vocals in the chorus.
I Could Get Used To This does a good job in dealing with intimacy during a relationship, with some colourful dance production from Weiss as well as a sublime vocal performance from Becky Hill (who has provided vocals for a lot of dance tracks I have really liked such as Rudimental’s Powerless, Matoma’s False Alarm and especially Oliver Heldens’ Gecko (Overdrive).)
you should see me in a crown showcases a bowl full of spine-chilling imagery backed up by an excellently dark delivery from Eilish, coming packed with gripping production and a fantastic drum pattern breakdown in the chorus. Also, I like the part in the chorus where she says “one by one by one” due to the mischievous syncopation used to carry it, as well as the drum pattern abruptly stopping at the third ‘one’. It’s my favourite track from her recent album next to “bury a friend”.
In last week’s edition of DT32 Rates The UK Debuts, I remember saying that I would have liked Bastille’s Doom Days [the song] more if there was one more verse added to it. Follow-up single Joy feels more like a complete song by having a complete verse-chorus structure. It's also carried by production that feels quite anthemic. From what I’m attempting to piece together, it’s about a man who’s at a rough point in his life and the fact that his partner is not present adds a level of despair to this situation due to implications that said partner would usually worry about his problems or be there to support him. The chorus reminds me of their 2016 hit Good Grief, due to the choir-style backing vocals and similar rhythm it contains.
Wild comes in the form of a piano driven hip hop song in a similar vein to Mo’Stack’s Top 40 hit from last year What I Wanna. Whilst that song made use of a piano sample from Brenda Russell’s 1979 song A Little Bit Of Love, Wild has a piano line that sounds similar to Cam’Ron’s 2002 hip hop classic Hey Ma, which in turn has its piano line borrowed from The Commodores’ soulful song Easy from 1977. Despite some questionable lines such as one involving Stack only missing his girl when she “post(s) a new pic” and some ‘stealing your girl’ brags coming before the chorus, he shows off a fun personality to go with the piano lines.
Guten Tag makes use of an interesting technique in which the two artists take turns in giving out verses, plus I quite like the beat. Don’t have anything else to say about this, but it’s pretty decent overall.
I was impressed by the three singles Logic has put out this year. Keanu Reeves was solid but this track and Confessions Of A Dangerous Mind were absolutely amazing. The track I’m referring to is Homicide. Both Em and Logic make excellent use of their fast flows, with Logic throwing some brutal shots at the state of the current rap scene. The chiming beat is also really hard and does a great job at backing up the artists’ parts, and there's also a good use of a piano addition in Em's verse. The part at the end with Chris D’Elia rapping really slow without any musical accompaniment does weigh it down a bit (though I get he’s parodying Eminem). But despite that, it’s still an excellent rap song.
Last year, Shawn Mendes put out a studio album that spawned three of my favourites from him. One about dealing with anxiety (In My Blood), one filled with an upbeat groove (Lost In Japan), and one that left me teary-eyed (Youth). How does his new single If I Can’t Have You compare to these three? I quite like it, but not as much as the three I mentioned. I like the uplifting groove of the song; there’s a funky guitar in the verses that gets me in a good mood, and the uplifting pianos in the chorus remind me of The 1975 (mainly their ‘iliwysfyasbysuoi’ and ‘ABIIOR’ eras). Some of the love-related lyrics feel a bit cliched though. Maybe this one might grow on me more upon repeated listens because I’m digging this production.
Hold Me While You Wait carries a bigger texture than Capaldi’s previous hit Someone You Loved (which was basically vocal and piano accompaniment). This one has an extra guitar and some hints of string accompaniment added to it. The production is a bit basic, but solid nonetheless. The lyrical content is about a relationship that has lost its spark, and one half of the couple involved is beginning to regret taking it for granted (at least that’s what I’m thinking it's about). While I didn’t like this look into a flavourless relationship as much as Vampire Weekend’s This Life did, it still has some solid execution of its concept.


This week managed to give me three songs with received a coveted 'gold' rating from me, which is quite impressive given that most of the weeks only give out one (and on some occasions, two). It was another good week of debuts for me altogether.
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Polly Planturret
post May 19 2019, 12:30 PM
Post #22
I've seen the future and it's omelettes
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23/05/2019

#84. FISHER - You Little Beauty [OUTSTANDING] (Fave Of The Week)
#68. ZAYN & Zhavia Ward - A Whole New World (End Title) [ADEQUATE] (Least Fave Of The Week)
#60. Avicii feat. Agnes and Vargas & Lagola - Tough Love [SUBLIME]
#47. David Guetta feat. RAYE - Stay (Don't Go Away) [BRILLIANT]
#42. Skepta - Bullet From A Gun [OUTSTANDING] (FOTW HM)
#35. DaBeatfreakz x Dappy x Swarmz x Deno - Motorola [SUBLIME]
#34. James Arthur - Falling Like The Stars [GREAT]
#22. Skepta feat. Nafe Smallz - Greaze Mode [GOOD]
#1. Ed Sheeran and Justin Bieber - I Don't Care [GREAT]



I have heard a handful of tracks sample vocal snippets of Loleatta Holloway’s soulful 1980 tune Love Sensation, with the likes of Cevin Fisher, Lenny Fontana & DJ Shorty, Chase And Status and the most well-known example, Black Box with their 1989 dance classic Ride On Time. FISHER has done the same on his new dance track You Little Beauty. The vocal sample can get repetitive at times, but the production boosts it up. I also like the use of the short lower range synth lines in the breaks. It’s basically Losing It, but with the Love Sensation vocal sample instead of “I’m losing it!”
Former 1D member ZAYN and newcoming artist Zhavia Ward team up to record a cover of A Whole New World for the upcoming live-action remake of the Disney classic Aladdin. The original version is a great song about opening your eyes to the many wonders of the world with some fantastic arrangements of piano, strings and woodwind instruments, as well as great vocal chemistry between Aladdin and Jasmine (with their singing voices respectively provided by Brad Kane and Lea Salonga)
The cover is transposed down a perfect 4th (beginning in A major before modulating to C major in the 2nd verse, and then an extra modulation to C# major). It is also set to a slower tempo (and a similar one to the Peabo Bryson and Regina Belle version that played in the credits of the original 1992 film), with some added finger clicks and software produced percussion, unlike the original which had no percussion. It also has the use of a traditional Dead Can Dance-like vocal at the beginning and the end, which I liked. It loses some of that lamp magic with the slower tempo and the addition of the clicks, but both vocalists sound decent over the song.
Posthumous Avicii recording Tough Love carries some great production, with a brilliant use of strings added to the mix and some swell sounding vocalists to go with it. The song is about a couple who aren’t that perfect; they get into fights quite frequently and their relationship is showing signs of falling apart. One person of the couple relies on tough love from the other person to solve their problems. While I didn’t like this concept as much as the one presented on SOS, I still thought it was executed solidly on this song.
Guetta returns to produce an excellent 80's synth-driven gem in the form of Stay (Don’t Go Away). Some of RAYE’s lines may be on the line of typical ‘making love’, but the production does a really good job at backing them up and RAYE provides a swell vocal performance altogether. There are also some points at the start of the song and in the post-chorus where RAYE sings a melodic line reminiscent of the synth melody at the beginning of David Morales’ remix of Jamiroquai’s 1994 song Space Cowboy.
Skepta has put out two new singles to make way for his upcoming album Ignorance Is Bliss. I really liked his Konnichiwa album, so I'm quite excited to see how this project will turn out.
The first of the two Bullet From A Gun sees Skepta take a great look into a lot of things going on in his life such as the origin of his name, the effects of police brutality and him wanting to write a song involving his dad, but then thinking about how his dad's treatment made him evolve into a better, stronger person in the future. There's also some really good production involving the use of dark leads blending with a drum pattern to back up his lyrics. Second single Greaze Mode bears some percussion similar to that of Drake's Nonstop, but Skepta adds some dark sounding synths to spice it up. Skepta brags in his verse, but his brags are presented really well, along with some great flows from him to back them up. It took me a while for me to get into Smallz' autotune-driven verse; I disliked it at first, but then ended up finding it okay despite a few questionable lines, including one about him getting your girl 'addicted to the sex'.
Motorola has a trio of UK rappers fitting very well with the beat consisting of chime sounds blending with the 808s produced by the freaks of the beat DABEATFREAKZ,
Swarmz and Deno deliver some good verses, and while Dappy has that line about how he should be calling his girl on the phone, even though he doesn't like her, he displays some solid uses of wordplay in his verse (one of which involves Swarmz' Top 40 hit Bally from earlier this year)
Falling Like The Stars carries a beautiful sound to go with its nice sentiment involving Arthur being there to comfort his partner. James Arthur sticks to a lower range than usual on this song, which, to me, fits better as I am not too fond of his croaky high-range vocal style found in songs like Empty Space and his duet with Anne-Marie in their cover of Rewrite The Stars, and while some elements of this style do show up at some points of the song, they don't weigh it down too much since they're used sparingly. Probably one of my faves from him along with You Deserve Better.
This week's number one single I Don't Care carries some upbeat tropical production with some Troye Sivan-like lyrics added in. Both Ed and Justin do a good job at painting these characters at a party they don't want to be at and them wanting to be with their partner in order to experience the best moments possible. It’s like I’m So Tired except with a more positive feel. Also, the use of the 'ooh-ooh-ooh' in the chorus provided by the backing vocals is also pretty good too.


Despite no songs with the gold rating, this week has been really good with no songs below the 7/10 region.
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Polly Planturret
post May 27 2019, 10:13 PM
Post #23
I've seen the future and it's omelettes
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30/05/2019

Just to let you know that since Dalek is going to go into exam mode, he will be pausing the extra elaborated thoughts for a month. Don't worry, he'll still continue his usual weekly ratings.


#96. Madison Beer - Dear Society [ALRIGHT]
#81. Polo G and Lil Tjay - Pop Out [ALRIGHT]
#76. OneRepublic - Rescue Me [SUBLIME]
#75. Lana Del Rey - Doin' Time [GOOD]
#73. Mahmood - Soldi [BRILLIANT]
#70. Charli XCX feat. Lizzo - Blame It On Your Love [FAIR] (Least Fave Of The Week)
#68. Slipknot - Unsainted [[GOLD]] (Fave Of The Week)
#67. Duncan Laurence - Arcade [[GOLD]] (FOTW HM)
#66. Sam Fender - Hypersonic Missiles [[GOLD]]
#61. KEiiNO - Spirit In The Sky [OUTSTANDING]
#54. Digga D - P4DP [ALRIGHT]
#50. Slowthai feat. Skepta - Inglorious [[GOLD]]
#48. DJ Khaled feat. Travis Scott and Post Malone - Celebrate [FAIR]
#43. DJ Khaled feat. Nipsey Hussle and John Legend - Higher [OUTSTANDING]
#41. Tyler, The Creator - IGOR'S THEME [[GOLD]]
#37. DJ Khaled feat. Chris Brown, Lil Wayne and Big Sean - Jealous [ALRIGHT]
#30. Tyler, The Creator - I THINK [[GOLD]]
#26. Halsey - Nightmare [ADEQUATE]
#17. Tyler, The Creator - EARFQUAKE [GREAT]






Dear Society makes use of a great sounding reverb effect used on the guitar to give a dark, depressing tone, with a drum pattern accompanying it to fully paint this downbeat image. I also quite like the multi-tracking vocoder effect on Beer’s voice in the chorus, similar to the one used in the chorus of Clean Bandit’s 2017 song I Miss You. The lyrics sound like one of those “comparing love and infatuation to drugs” songs (I’m not sure if it’s that though), but the production elevates it.
Pop Out has a solid setup of its production with the piano chords playing over a trap beat and our two rappers sound alright. Plus Tjay sounds better than he did on French Montana’s Slide.
Rescue Me starts to burst with energy after the bassline comes in during the 2nd chorus with some fantastic vocals from this point. I like how the lyrical content involving the importance of the partner during a relationship is handled, as it doesn’t get too overdramatic. Also, extra points given to the addition of the uplifting piano chords in the bridge. And before we move on… (images)




Is it me or are these cover arts similar?


I have been really impressed by Lana Del Rey with her two recent singles Mariners Apartment Complex and “hope is a dangerous thing for a woman…”, the former of which made it onto my Top 75 Songs Of 2018 during my EOY 2018 countdown. The single that follows these two up is her cover of the 1996 Sublime song Doin’ Time, which itself covered George Gershwin’s 1934 composition Summertime. The Sublime version has some pretty sad lyrics for an upbeat ska song; it’s about a man who feels like he’s doing time in prison while trapped in an abusive relationship. The array of instruments including a vibraphone, drum kit, bass, flute and occasional DJ scratches do a marvellous job at presenting the ironic happy vibe in this version. Lana’s version keeps the lyrical content of the song she’s covering, but there’s a slower rhythm and the music sounds more dark, with a harp and syncopated drum line playing to accompany Lana’s smooth vocal style. It’s nowhere near as brilliant as the Sublime version, but still a solid cover nonetheless.
This week sees three new songs from this year’s Eurovision Song Contest, including entries from Italy, Norway and this year’s winner The Netherlands. Soldi deals with Mahmood’s relationship involving his estranged father. The piano and guitar instrumentation is really good, and I also like the addition of the strings in the pre-chorus. Spirit In The Sky carries a wonderful anthemic 80s style, with some excellently produced synths and fantastic vocal performances. There’s also an unusual bridge in Joik. Winning entry Arcade uses arcade game metaphors to represent heartbreak, with Laurence being accompanied by a melancholy piano line along with an enchanting choir occasionally coming in.
Blame It On Your Love is a song about a girl who feels bad for messing up a relationship. The song is okay, Charli's parts are fine, and Lizzo delivers a pretty fun verse.
One thing I really like about metal is the sense of energy and darkness the guitars display over the frantic percussion lines, and Unsainted carries these elements.
The song is a fantastic look into depression with the heavy instrumentation backing the themes up excellently and Corey Taylor puts on an incredible vocal performance throughout. I also love the addition of the haunting choir in the intro.
The dystopian themes from Play God carry on from there into Sam Fender’s latest track Hypersonic Missiles, with some great rock production that reminds me of The Killers. There’s also a magnificent saxophone line added at the end.
P4DP may have some lyrics involving shooting up people, but it also contains some solid flows and wordplay from Digga D, plus the beat is decent.
Inglorious carries some organ chords in G# minor to present a menacing tone for the track, and sound great over the trap beat produced for this. Slowthai then comes in and he goes hard with his aggressive flows in his verse, which is then followed by Skepta, who also delivers a brilliant verse.
We see two three-track sets from two particular albums this week. One is from DJ Khaled’s latest album Father Of Asahd (and none of these new entries is Holy Mountain, which is a shame because it is such a great album opener). Jealous has some nice synth chords, and all three rappers delivering some decent parts. Celebrate acts as a celebratory party song, which contains a flute sound at some points of the song which I like. Higher is my favourite of the three. It’s filled with sacks of soul, with John Legend delivering an uplifting chorus accompanied by a beautiful sounding choir. Nipsey’s verses are also excellent and insightful with heartfelt lyrics involving him looking back on his life.
The other album set comes from Tyler, The Creator’s marvellous studio effort IGOR. IGOR’S THEME does a great job at setting up the album with the sound of a dark lower range synth before transitioning to a night time drive feel. There’s not a lot of lyrics present except for Lil Uzi Vert’s chorus (which is repeated twice). His voice sounds much different from his usual melodic autotune style and he unexpectedly fits well. Also, that high pitched synth at the end sounded amazing. EARFQUAKE is a breakup song carrying the usual 80s feel of the album. Tyler sings really well and Charlie Wilson adds a soulful vibe to the song. Playboi Carti’s verse feels out of place, though it’s starting to grow on me after a couple of re-listens. I THINK bears some fantastic synth production, along with a catchy handclap backbeat. The song sees Tyler let out his true feelings while in the middle of a relationship. He conveys his emotions well throughout the song. Plus Solange delivers a really good vocal performance during the chorus.
Nightmare starts off with the interpolation of the prayer "Now I lay me down to sleep", which I first heard being referenced in Frankie Knuckles' raunchy house track Baby Wants To Ride from 1987. While that track used the four-line prayer to set an erotic tone, Nightmare uses this in order to have the peaceful tone of the prayer contrast with the nightmares our protagonist is bracing herself for. I quite like the alternative metal influence the song carries from its instrumentation, it reminds me of Bring Me The Horizon a bit. Also, this is the 2nd week in a row in which I covered a song containing a trap beat similar to Drake's Nonstop; it's in the verses.



This has been a great week overall, with not one, not two, but six golden songs.


This post has been edited by DalekTurret32: May 28 2019, 12:09 AM
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Polly Planturret
post Jun 1 2019, 08:19 PM
Post #24
I've seen the future and it's omelettes
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07/06/2019

#82. Naomi Scott - Speechless (Full) [OUTSTANDING] (FOTW HM)
#81. DJ Khaled feat. Cardi B & 21 Savage - Wish Wish [ADEQUATE]
#66. DJ Khaled feat. SZA - Just Us [BRILLIANT]
#42. Joyner Lucas feat. Logic - ISIS [[GOLD]] (Fave Of The Week)
#39. Sigala feat. Becky Hill - Wish You Well [BRILLIANT]
#31. Jess Glynne & Jax Jones - One Touch [GREAT]
#29. 5 Seconds Of Summer - Easier [FAIR] (Least Fave Of The Week)
#18. Young Thug feat. J Cole and Travis Scott - The London [GOOD]
#17. NSG - OT Bop [GOOD]
#9. Ed Sheeran feat. Chance The Rapper and PnB Rock - Cross Me [GREAT]




14/06/2019

#95. Will Smith - Friend Like Me [BRILLIANT]
#88. NF - The Search [[GOLD]] (Fave Of The Week)
#72. Jim Radford - The Shores Of Normandy [OUTSTANDING] (FOTW HM)
#66. One Acen feat. Yungen - Miss Diva [ADEQUATE]
#64. Tiesto, Jonas Blue & Rita Ora - Ritual [SUBLIME]
#57. Cheryl - Let You [GREAT]
#56. The Chainsmokers & Bebe Rexha - Call You Mine [BRILLIANT]
#44. Cardi B - Press [GREAT]
#41. Mark Ronson feat. Camila Cabello - Find U Again [OUTSTANDING]
#31. Miley Cyrus - Mother's Daughter [SUBLIME]
#15. Mo'Stack feat. Stormzy - Shine Girl [ALRIGHT] (Least Fave Of The Week)
#14. Skepta feat. J Hus - What Do You Mean? [GREAT]
#13. Katy Perry - Never Really Over [GOOD]





21/06/2019

#69. CamelPhat & Jake Bugg - Be Someone [BRILLIANT]
#66. Tyga feat. J Balvin and Chris Brown - Haute [GOOD]
#64. Jonas Brothers - Only Human [ADEQUATE]
#61. BTS & Charli XCX - Dream Glow [ADEQUATE]
#49. B Young - Gucci Demon [ADEQUATE]
#39. Mo'Stack x Fredo - I'm The One [ALRIGHT]
#30. Young T & Bugsey feat. Aitch - Strike A Pose [GOOD]
#22. Liam Gallagher - Shockwave [OUTSTANDING] (Fave Of The Week)
#20. Avicii - Heaven [OUTSTANDING] (FOTW HM)
#19. Mo'Stack feat. Dave and J Hus - Stinking Rich [FAIR] (Least Fave Of The Week)
#18. Mabel - Mad Love [FAIR]
#8. Chris Brown feat. Drake - No Guidance [ALRIGHT]


This post has been edited by Darwin Turretson: Jun 22 2019, 08:56 PM
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Polly Planturret
post Jun 24 2019, 07:55 PM
Post #25
I've seen the future and it's omelettes
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28/06/2019

#96. Machine Gun Kelly x Yungblud x Travis Barker - I Think I'm Okay [ALRIGHT]
#91. Freya Ridings - Castles [OUTSTANDING] (FOTW HM)
#87. Dermot Kennedy - Outnumbered [OUTSTANDING]
#75. Lil Tecca - Ransom [ALRIGHT] (Least Fave Of The Week)
#73. Krept & Konan - Ban Drill [[GOLD]] (Fave Of The Week)
#71. Ashley O - On A Roll [GREAT]
#63. Joji - Sanctuary [BRILLIANT]
#57. Tion Wayne feat. Swarmz - Drive By [GOOD]
#47. Nafe Smallz feat. Tory Lanez - Good Love [ADEQUATE]
#33. Drake - Omerta [BRILLIANT]
#13. Drake feat. Rick Ross - Money In The Grave [GREAT]
#10. Little Mix - Bounce Back [BRILLIANT]
#5. Taylor Swift - You Need To Calm Down [ADEQUATE]



I Think I'm Okay sees Machine Gun Kelly opt for an emo rock style, which I did not expect him to do, while being accompanied by Yungblud and Blink-182 drummer Travis Barker (both of whom previously collaborated on 11 Minutes). The instrumentation is decent, with the likes of Travis' drumming and the rock instrumentation blending with the G major acoustic guitar line and the piano chords, and I also respect the themes of depression and addiction covered throughout this song. Some of the swearing feels forced and the screaming right before the chorus does get a bit too loud though.

Freya is best known for her incredible smash hit from last year known as Lost Without You. The song was about a girl who was begging for her lover to come back. Fast forward to her latest song Castles and we see that person thinking over her bad relationship and attempting to move on from it, by ‘building castles from the rubble of [his] love’. The song does a great job at exploring vulnerability and insecurities in its lyrics. Freya delivers a fantastic sense of emotion with her vocal style and the instrumentation consisting of pianos and drums delivers a powerful, cathartic vibe that fits brilliantly with the song.

Outnumbered sees Dermot search far and wide for a soulmate over a nice acoustic guitar line. There’s also a use of trap percussion to back up the guitar, which is an unusual thing to expect in a singer-songwriter song, but it surprisingly fits in with the other elements of production. While I would have loved for Power Over Me or Lost to be his first charting hit, I’m happy with this beautiful song to earn this spot for him. Also, the chord progresion in this song (VI-III-VII-i) is quite similar to the one used in The Chainsmokers’ 2016 hit Don’t Let Me Down.

I'm not too fond of the vocal style Tecca carries in Ransom, but some of the braggadocious lines are decent and the beat is solid enough to pull it up a bit.

Krept & Konan managed to pull my heartstrings a few months ago with their tribute track to late rapper Cadet. This week’s entry Ban Drill sees them voicing their opinions on the banning of drill music by the Metropolitan Police. It is a magnificent, melancholy example of storytelling in hip-hop.
The song shows the perspective of a boy growing up in a rough environment and finding music as his way from getting away from the horrible side of society. It showcases a fantastic insight into the average drill rapper's life, the situations he ends up in, and his struggles after the type of music he's making gets banned. This is all backed up by a heartwarming beat consisting of a melismatic vocal sample accompanied by lower range bass chords and a slow trap backbeat.
It reminds me of when David Cameron slammed Radio 1 DJ Tim Westwood back in 2006 for playing Lethal Bizzle’s “Pow (Forward)”; due to Cameron’s belief that it glorified gun culture (This was during a time where politicians were against grime). Bizzle spoke on the controversy in an article in The Guardian and he delivered some really good points about the damaged society and how music has helped kids in that society get away from its grim aspects. [1]
Before I close this short track review off, I recommend giving the short film of that K&K track a watch. It left me teary-eyed after I did so.

We managed to get a colourful pop song spawned from Black Mirror in the form of On A Roll by Ashley O.
Miley Cyrus does a swell job portraying the teen pop star persona of Ashley O with her vocal style blending with some colourful production. The song also takes Nine Inch Nails' fantastic 1989 industrial hit Head Like A Hole and blends it with a more modern pop sound. Weirdly, it works well for me.
I might have to see the Black Mirror episode the song is featured in to gain a better sense of its context, but my first impression of this turned out to be very positive.

George Miller was once known as viral YouTuber TVFilthyFrank, and had also released some comedic material under the name Pink Guy. I first discovered him back in March 2015 when some friends of mine and I got together in the ICT room of our school during lunchtime and saw a video called "ROCK PAPER SCISSORS?"; I remember it being quite humorous.
As of today, he is now performing under the stage name Joji, and has recently put out a track called Sanctuary that has given him his first charting single in the UK.
The song itself is quite vibrant with some beautiful synth sounds and Joji delivers a great vocal performance to fit with the affectionate, emotional lyrics spoken from the point of view of a person attempting to get in touch with a partner far away from him. It has an 80s synth-driven vibe going for it which I really like.

Drive By starts off with a pleasant guitar line. Pat Monahan sounds okay but some of the lyrics feel blan… Oh wait, wrong song!

Drive By carries a pleasant tropical sound to it, and Swarmz's vocal style fits well with this summer-y type of production. Tion Wayne's verses may have some weak lines such as one where he compares his ass to a shoe and a ‘steal your girl’ line with him being the crack and the girl being the ‘fiend’, but he does give some solid flows to bring them up, and there are some decent lines such as when he talks about how he ‘[came] a long way from the flip phone’ (a line used to evoke a sense of nostalgia).

I like the dancehall elements found in Good Love, from the tropical instrumentation blending with the syncopated beat produced by Gummy Beatz & OT BEATZ to Tory Lanez' soothing Jamaican accent. Smallz also sounds better than usual in his verse. The lyrics may get sexual at some points, but some of them fit the vibe of the song. Overall, pretty adequate summer jam.

We get a set of two songs by Drake from his 'Best In The World Pack'. Omerta shows an insightful side of Drake that sees him compare himself to a mafia member while looking back at the events of his life from a few years back.
Money In The Grave carries a darker sound than its sister track with most of his brags being pretty good due to the assertive tone of the track. Rick Ross also provides a solid verse with his lower range style blending well with the dark sound of the production.

Bounce Back is really good. I love how the C# minor organ sounds on the lower range blend with the trap beat and Big… Damn, I got the wrong song… again!

Bounce Back has a frantic trap beat that Little Mix manage to ride well throughout with a lot of swagger. Like with On A Roll, there is an interpolation of a song from 1989, but this time it's Soul II Soul's “Back To Life (However Do You Want Me)” in the chorus with the girls providing some great harmonisation at that part. There is also a groovy saxophone bridge that comes in the song which further solidifies this as a bop in my book.

You Need To Calm Down has the addition of the "oh-oh" layers of harmonisation in the chorus that sound a bit too overly loud and some lines may come off as ridiculous like the 7AM line, but the synth sounds are pretty flamboyant and I give credit to the message it's attempting to convey (i.e. try not to be too negative in this life).



[1] Bizzle, Lethal. David Cameron is a donut. June 2006. (URL: https://www.theguardian.com/commentisfree/2...ameronisadonut)
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Polly Planturret
post Jul 2 2019, 12:46 PM
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04/07/2019

#95. Marshmello & Kane Brown - One Thing Right [GOOD]
#78. T'Mulla feat. Hardy Caprio - Droptop [ADEQUATE]
#77. Ali Gatie - It's You [ADEQUATE]
#76. Zara Larsson - All The Time [ADEQUATE]
#68. Stefflon Don feat. Lil Baby - Phone Down [MEH] (Least Fave Of The Week)
#55. Lil Nas X and Cardi B - Rodeo [SUBLIME]
#50. Gerry Cinnamon - Canter [SUBLIME]
#34. Nicki Minaj - Megatron [MEH]
#28. Russ splash & Digga D - Mr. Sheeen [SUBLIME]
#25. Lil Nas X - Panini [GOOD]
#20. Bugzy Malone feat. Aitch - Kilos [[GOLD]] (FOTW HM)
#19. JAY1 - Mocking It [GOOD]
#5. Stormzy - Crown [[GOLD]] (Fave Of The Week)
#2. Shawn Mendes & Camila Cabello - Senorita [ALRIGHT]





One Thing Right sees Kane Brown look through the regrets he’s thinking through in his life. The instrumentation consisting of solo guitar and dripping percussion is pretty pleasant, but the drop sounds a bit out of place (though I do like the addition of the higher range country style guitar at that point).

Droptop is an upbeat summer hip hop song in a similar vein to Best Life (Hardy Caprio's Top 40 bop from last Summer). T'Mulla's parts are okay and Caprio bears some good flows; I think both of them fit the summertime vibe well enough. The shortening of the term 'fifty thousand'(£50,000) to 'fifty thou-' was pretty silly though.

It's You covers the pain of being in love. The production makes this feel like an acoustic demo of itself, but that doesn't completely ruin it.
I like how the lyrics convey a sense of vulnerability throughout the song. The line 'don't break me again' could imply that the girl in the song has broken Gatie's heart before and could make a side of me question why he would choose her as his eternal love. However, he does state in the 2nd verse that he’s ‘not the best at choosing lovers’, so I might be pulling a slight nitpick at this point. There's also a gorgeous string section added towards the end which I like as well.

All The Time has some fantastic upbeat 80s style production and the repetition of 'from the breaking of the day to the middle of the night' in the chorus is pretty catchy.
The lyrics are, to me, the weakest part of the song. I give credit for the concept involving Larsson trying to block memories of her previous relationship, but there are some ridiculous lines such as one in which Zara's ex isn't on her bedroom floor and that he's doing some business in New York. Also, the line in the chorus where she 'dies' while picturing her ex with someone else is pretty questionable.

Phone Down is about a guy who spends too much time on his phone. It's a pretty ridiculous song that could have brought some ironic enjoyment, but the result didn’t work very well for me. Some of Stefflon's parts are covered in autotune, which weighs down the song. Lil Baby’s verse could have potentially served as the perspective of the guy with the phone but even his parts are focused on that ‘get off your phone’’ thing. Plus the chorus is a bit annoying with the use of autotune.

We have new entries from Lil Nas X's recent 7 EP. Rodeo sees him dealing with a girl in a relationship that has become too dependent on him. I like the E minor guitar covered in reverb carrying this song, as well as the vocal effect Nas X uses in the chorus which reminds me of Lil Peep. Cardi B also delivers a pretty good verse to go with the track. Panini is about a fan who put Nas X on a pedestal when he had a relatively small fanbase but at the point where he’s getting more recognition the fan doesn’t seem to show as much support. The synth patterns provide a swell nighttime atmosphere and the whistling near the end is quite amusing. The interpolation of the vocal melody from the chorus of Nirvana’s 1991 track In Bloom into the chorus weirdly works well for me.

Canter starts off with just an acoustic guitar and vocal but by the time we get to the 3rd verse, the texture becomes thicker with the addition of a bass drum line. The rhythm at that point reminds me of that of the 1st verse of George Ezra’s Paradise. The lyrics are pretty good at showing that you would find life easier if you were more patient and considerate of others, or in Gerry Cinnamon’s case, ‘just a wee bit less of a w*n**r’. There are some points at which Cinnamon’s voice overpowers the other instruments and his high range vocals can be distracting at points.

I’m mixed on Megatron. On one hand, I appreciate the reggae and dancehall influences coming from the production, with a good use of the Filthy Riddim, which was done so in many tracks of these two genres, such as Chaka Demus And Pliers’ Murder She Wrote from 1993. Nicki also carries some good flows in her two verses. On the other hand, I’m not too fond of the use of autotune in the pre-chorus, plus the melodic phrasing in the chorus involving taking shots causes the repetition of ‘drinking’ to weigh down the song. Also, the bridge says the word “p***y” too much (If it was for one or two lines involving it then it would be fine). I don’t know, I might be nitpicking at this point. It’s uncertain whether this song will be a grower or shrink on me overtime but right now, it’s a meh for me..

Mr. Sheeen has Digga D carrying some really good flows throughout his parts, and I like the wordplay he brings to the table such as putting a grim twist on the name of Liam Payne. I thought the two verses from Russ were pretty solid too, despite one parts where he uses 'D' as a metaphor for male bits (I'm not a fan of people doing that)
The chorus is a bit similar to that of Keisha & Becky. It's set in the same key (Eb minor), has a similar beat and our two rappers have similar vocal exchanges, but that doesn't bring down my enjoyment of the song too much.

Kilos involves a peculiar comparison between selling clothes and smuggling drugs; it works with the mixture of the terms 'key' and 'kilos' in the chorus. There's also a clever use of wordplay in the line 'High profile we never be low-key'.
The Spanish acoustic guitar lines blend really well with the syncopated trap beat. Like with Drake's Omerta (which I covered in last week's edition of DT32RTUKD), mafia-related vocabulary is used to show a sense of assertiveness and power. The mafia metaphors make most of the brags end up coming off as presented well.
Bugzy Malone delivers some fantastic parts throughout, and while Aitch's verse isn't as good as Bugzy's, it's pretty solid and it's better than his verse on Strike A Pose.

Some innuendos don't work too well, but Mocking It carries some decent minimilastic production and there are some enjoyable parts from JAY1.

Crown is a fantastic look into the pressure Stormzy has been feeling throughout his life, while presenting an excellent sense of emotion throughout the song. There’s also some touching backing choir vocals from the LT Singers and a sorrowful piano line from MJ Cole added to further convey the sentimental tone of the song.

Senorita may feel like a cliche pop song about love, but it does makes good use of its Cuban style guitar throughout and Shawn and Camilla have some solid chemistry between each other.
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danG
post Jul 2 2019, 07:35 PM
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For me:

Best of the week: All the Time - another great pop bop from Zara
Honourable mention: Crown - great lyricism from Stormzy as ever
Worst of the week: It’s You - boooring
Dishonourable mention: One Thing Right - please stay away from country acts Marshmello
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Polly Planturret
post Jul 3 2019, 02:06 PM
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QUOTE(danG @ Jul 2 2019, 08:35 PM) *
Crown - great lyricism from Stormzy as ever

Dishonourable mention: One Thing Right - please stay away from country acts Marshmello


Yeah, the lyrics in Crown are really good.
Fun Fact: One Thing Right isn't the only EDM song with a country artist featured as the vocalist. There's The Middle by Zedd (with Maren Morris) and This Feeling by The Chainsmokers (with Kelsea Ballerini)


This post has been edited by Darwin Turretson: Jul 3 2019, 02:06 PM
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danG
post Jul 3 2019, 02:53 PM
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Neither of those are good either! Country just stay away from EDM plz.
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WhoOdyssey
post Jul 3 2019, 02:54 PM
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The Middle and This Feeling aren't really country songs though.

I absolutely love One Thing Right tongue.gif
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Polly Planturret
post Jul 10 2019, 08:57 AM
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11/07/2019

#98. NF - When I Grow Up [BRILLIANT]
#95. Y2K & bbno$ - Lalala [MEH]
#66. K-Trap - Big Mood [GOOD]
#57. Dave & AJ Tracey - Thiago Silva [OUTSTANDING] (Fave Of The Week)
#53. Unknown T feat. AJ Tracey - Leave Dat Trap [ADEQUATE]
#45. Ellie Goulding and Juice WRLD - Hate Me [MEH] (Least Fave Of The Week)
#43. The Plug feat. Dappy and Tory Lanez - Not Today [SUBLIME]
#36. Kygo and Whitney Houston - Higher Love [BRILLIANT]
#29. Chris Brown feat. Justin Bieber and Ink - Don't Check On Me [SUBLIME]
#3. Ed Sheeran feat. Khalid - Beautiful People [OUTSTANDING] (FOTW HM)


NF has left me impressed a few weeks ago with The Search. Follow-up When I Grow Up isn't as spectacular, but still really good.
A spine-chilling music box does a good job driving the dramatic tone of the song, and NF's vocal delivery blends well with the tone. The gang vocals can be off-putting at times and there are points where it can get a bit too OTT, but it's still a great one for me.

Lalala has a pleasant guitar melody, but the way bbno$’ lower range singsongy vocal style backs up the flexing in the verses (as are some of the flexes in general) is a bit too weird for me. There's some guilty pleasure elements in it, such as the line in the chorus involving bbno$' wrist going 'shashasha', that gave me a bit of ironic enjoyment, though.

Big Mood has a nice flute sound in its chorus and the beat is good too. There are some parts in the verses where the flows get too slow, but it doesn't disrupt the song too much.

Originally released in 2016, but blew up following the viral Glastonbury performance. Thiago Silva serves a fantastic throwback to the early days of 2-step influenced grime of the 2000's.
Both Dave and Tracey ride this song really well with their excellent flows and wordplay (such as "Mad mystic with the pen like J.K" referencing Harry Potter author JK Rowling and "Man's got style on the riddim like Gangnam" referencing PSY's viral 2012 sensation). The way the synths sound on this track reminds me of some of the tracks I've heard from Chase And Status' 2015 EP London Bars, which also carried some elements of 2000's grime.

The way the dark sounding bass guitar, synth strings and syncopated drill beat blend at the beginning of Leave Dat Trap is a great combination.
Unknown T’s parts are okay, but AJ Tracey's verse boosts the track up due to his really good flows and wordplay like he did in Thiago Silva (though not as amazing as in that track). Some of the lyrics are a bit disjointed and bump down the song, but it's still decent for me.

Ellie and Juice. Weird teamup. Either this could be a surprisingly spectacular hit, or a straight up clusterf***.
What is my first impression on Hate Me? Song, you might be pleased to hear that I don't hate you, but I'm not very fond of you either.
Juice's verse is okay. I give him credit for displaying an insight into the pains of handling a post break-up situation.
I'm not too fond of Ellie's parts. Maybe it's just me, but the lyrics don't fit her vocal style. Also, 'I bet you don't kiss her with your eyes closed' is a weird line.

Not Today starts off okay and I do quite like Dappy's quick flows in his verse, but his verse wasn’t as impressive as Tory’s, who nails it with the incredible rhythm he carries and elevates the track to a light 8/10. The melisma in 'ease' and 'trees' in the chorus is a bit off-putting though.

Posthumous releases have been pretty divisive amongst listeners. One side of listeners are against it because we don't know if the deceased artist has approved of the posthumous release we're listening to, which is probably a reason why stuff like Drake's Don't Matter To Me (which used a previously unreleased Michael Jackson vocal in the chorus) received some flack from music reviewers alike, so we would have to research if said artist did so.
We have a posthumous Whitney Houston collab with Kygo in a cover of the 1986 Steve Winwood song Higher Love charting this week.
Whitney's family (particularly her sister-in-law Pat Houston) picked Kygo as the right choice to enhance her vocals for this cover, and he does a great job in doing so with his breath-taking style of production, plus Whitney sounds absolutely fabulous on this. There are also some glorious choir vocals added at the end to further convey the uplifting, spiritual vibe established in this song.
My least favourite part of this was the post-chorus with the chopped vocal samples but it didn't feel as messy as some other recent EDM tracks I heard attempting it (Hi, "Who Do You Love?"!).

Back in 2017, Chris Brown released a 2-and-a-half-hour long album consisting of 40 tracks (or 45, if you count the bonus ones) called Heartbreak On A Full Moon. This year, he has released a shorter, but still very long album called Indigo. The album is approximately two hours long and contains 29 (or 32, if you, again, count the bonus stuff). One of the tracks entered the chart this week and it's called Don't Check On Me.
The song is driven by a nice sounding acoustic guitar line in G major throughout. The lyrics pack in a solid exploration of a past relationship. The guy tries to better himself for the future as he realizes that he and his ex aren't together for a reason.
Despite having a thin texture of guitar and vocals and the lack of percussion, I ended up liking this.

We have new rules added to the chart, so we won’t be expecting all 15 tracks of the No. 6 Collaborations Project to take up the Top 20. Anyway, here’s one of the songs from that album.
Anyway, Beautiful People is a song about accepting who you are after attending a party you don't fit in. The production is breathtaking and both Ed and Khalid provide some sublime vocal performances.
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post Jul 13 2019, 09:17 PM
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18/07/2019

#99. Joel Corry - Sorry [GREAT]
#98. Sam Feldt feat. Rani - Post Malone [SUBLIME]
#91. The Plug feat. D-Block Europe and Offset - Rich [FAIR]
#82. Wiley feat. Tory Lanez, Kranium and Dappy - My One [BRILLIANT] (FOTW HM)
#62. Kenny Allstar feat. Digdat - Friday [GREAT]
#59. Craig David - When You Know What Love Is [OUTSTANDING] (Fave Of The Week)
#42. Headie One feat. Skepta - Back To Basics [GREAT]
#20. D-Block Europe - Home P***y [SUB-PAR] (Least Fave Of The Week)
#11. MIST feat. Fredo - So High [GREAT]
#5. Post Malone feat. Young Thug - Goodbyes [SUBLIME]


Heard this on Radio 1 a week ago and liked the sound of it and was quite happy to see it chart (albeit at a low position).
Sorry takes Monsta Boy's 1999 UK garage classic Sorry (I Didn't Know) and puts an uplifting house spin on it.
The original was about a guy who got caught cheating on his spouse with her best friend; it deals with infidelity. The lyrics are changed up a bit in this version to make it about someone struggling through a lifeless relationship. An example of a rewritten line in this song is "Should have known better than to sleep with your best friend" is changed to "Should've known better, should've known you're my best friend"
While I dig the production of the original more than this version, Corry's version has some better lyrics with less of the guilt-tripping elements in those of the original.


Sam Feldt's last charting hit was a tropical rework of Robin S' 1993 club classic Show Me Love, which was four years ago. Now he's back with a new track named after hip hop artist Post Malone. And speaking of Post Malone, he's popping up later on this week.
The song is about a group of friends going to a club and partying like Post Malone. While I had uncertain feelings towards that comparison (at this point, you can say you party like anyone), it doesn't stop the song from being an enjoyable listen.
The drop is also pretty fun and reminds me of the good electronic stuff from the Newgrounds Audio Portal.


Rich starts off with an entertaining flute sample and a string of ad-libs a la Playboi Carti.
We then get to Offset's verse, which is fun and his parts fit well with the trap beat. And even though there is a line involving diamonds and s*m*n, most of his brags work well.
I'm not fond of D Block Europe's autotuned vocal styles and the way they phrase their sexually explicit lines, but their verses had a few enjoyable elements to it (like the way their parts go with the trap percussion and an amusing reference to Recess), only to be bogged down by some weak lines such as one in which one of them shoots a girl's boyfriend in the head and another involving eating a "p***y" with no teeth.


My One sees our cast of artists show appreciation for their partners, over some nice summertime instrumentation. There are a lot of things I like about this song such as Wiley and Kranium’s genuinely nice attitudes, Tory’s sublime use of Jamaican patois like he did in his 2016 song Luv and the female vocals in the chorus to portray the character of the girl(s) Wiley and the others are showering praise towards. It’s a really pleasant listen for the summer. Before we move on, it is me or does the way Dappy say “baby” in his verse remind me of Fetty Wap?


Friday’s production sounds like it came from a 90s horror video game, like with the instrumentation in Digga D’s No Diet. I also notice a crescendo used on a quiet syncopated drill beat in the beginning.
DigDat blend in well with the dark production while discussing the happenings in their lives and the exchanges they make in their trap. The line about someone with no bra was a weird thing to hear though.


When You Know What Love Is sees Craig David play a character who has fallen under the spell of Cupid. The lively piano chords blend well with the percussion to give a modern mainstream house feel in the style of Sigala. The switch up from software percussion to natural drumkit percussion in the post-chorus was unexpected, but it transitions smoothly. Fraser T Smith’s production overall enhances the song thanks to these excellent elements. Also, that high note held in the final chorus gave me feels.


Back To Basics carries a warbling synth throughout, with it clashing together with the trap beat. The chorus has Headie and Skepta both give out 8-line verses, which I appreciate since it means that both artists gain their opportunities to shine in the spotlight and none of them feeling like a short guest feature. Headie gives out a solid verse and Skepta’s verse is really good with him remembering his time in the trap back in the early days of grime and even making an amusing line about clingfilm and a Ribena drink.

I'm covering the next three songs for a UK Top 20 ranking of the Summer. So stay tuned for my thoughts on these three, which I will leave summarized on this post after the release of that ranking, along with the placeholders of favourite of the week, honorable mention and least favourite of the week.


I think I already pointed out my least favourite aspects of D Block's material (from some of the songs I heard from them) when talking about Rich earlier on in this post, so I don't need to repeat them since both elements I brought up in that section show up in Home P*ssy.
Other than that, there is a line in the 1st verse where one of the two rappers (Young Adz) wishes his girl's friends drown. Okay, there are some instances of shocking lyrics in music which I can, for the most part, tolerate, like with Eminem and Goblin-era Tyler The Creator. The former adds an amusing sense of self-awareness to it, and the latter used it in Goblin to explore the mind of a twisted character. That particular line in Home, to me, came off as shocking for the sake of shocking.
If there's anything I like from this, it's that the piano line playing throughout is a pleasant thing to hear. The Harrod's shoutout is quite decent, I guess.

My fave from MIST since that collab with Jessie Ware from last year. So High makes a great use of a vocal sample from Toni Braxton’s 1996 R&B classic You’re Makin’ Me High. You know the other UK hit that did this back in 2014? I Wanna Feel by SecondCity? I bought that track on iTunes around the time it came out. That’s a fun Dalek fact for you!
Anyway, the echo of the “I get so high” sample enhances Fredo’s display of appreciation for his girl in the chorus, along with some call and response between him and the sample. There's also the verses, which contain some bragging from both rappers that are presented well for the most part.

Goodbyes is a good look at heartbreak, with Post showing a solid sense of emotion in a situation involving an unhealthy relationship. Young Thug’s verse was a weird addition, but it was also an amusing thing to listen through. Plus that glimmering synth sounds really gorgeous.


This post has been edited by Darwin Turretson: Jul 14 2019, 09:17 PM
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post Jul 23 2019, 05:11 PM
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25/07/2019

#89. David Guetta and Martin Solveig - Thing For You [SUBLIME]
#80. Beyonce - Spirit [[GOLD]] (Fave Of The Week)
#59. Jax Jones & Bebe Rexha - Harder [ADEQUATE]
#37. Remedee feat. Not3s and Young Adz - Love Of My Life [FAIR] (Least Fave Of The Week)
#18. Krept & Konan feat. Headie One and K-Trap - I Spy [ADEQUATE]
#3. Ed Sheeran feat. Stormzy - Take Me Back To London [BRILLIANT] (FOTW HM)



Thing For You has some great production with a dark vibe that reminds me of CamelPhat. The lyrics deal with the "girl shouldn't be with this guy but keeps coming back to him anyway" concept that would usually end up falling flat, but the instrumentation elevates it (as well as the instrumental post-chorus). Also, Michael Calfan (the artist behind tropical summertime track Treasure Soul) is an additional producer of this and that's nice to hear.


This week, we have Spirit, a track from Beyonce's soundtrack album to the forthcoming remake of The Lion King.
Beyonce succeeds in evoking a powerful, gospel feel to fit with the themes and culture explored in the movie. There is also an integration of "Great I Am" from Exodus 3 to add another level to the gospel vibe. While there was some noticeable autotune in the chant in the beginning of the song, I did like the use of Swahili language in it (which is something I don't expect in a UK Top 100 single).
Don't know if this will hold up compared to Elton John's work for the original 1994 animated version, but nonetheless, marvellous song.


Harder isn’t as good as a ‘love me harder’ song as that of Ariana Grande from 2014, but it does have a groovy bass guitar line and Rexha gives off a decent vocal performance..


Love Of My Life has some sexually explicit lines (and flexing) occasionally popping up throughout the song but most of them come off as weak (though "eat the beat up like I'm Remedee" was ridiculously amusing). However, our two artists ride the beat decently and the synth pattern itself is nice.


I Spy With My Little Eye, two things beginning with K. Krept and Konan! With their brand new single I Spy! It isn’t as touching as Last Letter To Cadet or as heartwarming as Ban Drill, but it’s pretty adequate.
It’s good to see Krept And Konan join in with the drill movement considering their views on the controversy surrounding it around the time Ban Drill got released. Despite some ridiculous lines like "Suck your mudda, I said it with chest" (LOLOLOL), both of the K men's parts are packed with a solid sense of assertiveness and some good wordplay involving the likes of Mr. Muscle and NSG's recent Top 10 hit Options. There's also a solid reference to their restaurant Crepes And Cones in the 3rd verse.
K-Trap and Headie One deliver some alright verses to go along with it and I also like the pitch-shifting voice at the back of the mix and the way it blends with the beat.


So... Remember The Name didn't end up on the chart after all. If it did, it would have gotten a spot for my honorable mention this week. But hey, let’s get to this new Ed entry anyway!
Take Me Back To London return to his grime collaboration roots from his No. 5 project in 2011 back when he was a relatively under-the-radar musician. Ed’s melodic rapping is a weird touch, but works solidly enough. He makes some amusing brags such as those involving his BRIT award and how his Divide album sold hundreds of copies. The production is also sublime, with the pizzicato strings blending smoothly with the trap percussion. We also have Stormzy, who nails it with his fantastic feature, and the way he and Ed switch up parts in the 2nd verse is also a nice touch to show some vocal chemistry between them.
Not my favourite off of the No. 6 album but still a really good track.
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post Jul 29 2019, 03:22 PM
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01/08/2019

NEW ENTRIES:
#100. Taylor Swift - The Archer
#87. Beyonce, Donald Glover, Billy Eichner and Seth Rogen - Can You Feel The Love Tonight
#74. Nafe Smallz feat. Yxng Bane - Fake Love
#58. Charli XCX feat. Christine And The Queens - Gone
#56. Beyonce, Jay-Z and Childish Gambino - MOOD 4 EVA
#42. Beyonce, SaintJhn and Wizkid feat. Blue Ivy Carter - BROWN SKIN GIRL
#12. Sam Smith - How Do You Sleep




The Archer opens up with some beautiful sounding 80s-style synths while Taylor presents a great sense of vulnerability in her vocal performance, like she did in Delicate (my favourite song from her, along with Love Story, until I heard this). We get a look into how being a controversial public figure can affect other people as well as some sympathy and sorrow felt from Taylor while she’s looking over her actions from her past relationships.



We have three new entries related to the forthcoming remake of the Disney classic The Lion King. The first one is the remake's version of Can You Feel The Love Tonight.
The original version from the movie sounds very passionate for a love song with a lot of liveliness from the traditional instrumentation. Elton John’s version for the end credits, which is set at a slower tempo and driven by a piano (like with most of Elton’s works from the 1970’s) along with some orchestral arrangements, is also very good. How does this version compare? Not as good as these two, but I still like it.
This version keeps the soothing panpipes from the original and both Beyonce and Glover sound very good in their parts. I didn't like Eichner and Rogen's parts with them playing the roles of Timon and Pumbaa in this as much as those of Nathan Lane and Ernie Sabella in the original, but they were decent (though Rogen's ad-libs at the beginning were distracting)

The other two entries are from Beyonce's soundtrack album "The Lion King: The Gift".
MOOD 4 EVA makes a good use of a Malian language sample (like how Spirit applied some elements of Swahili in the beginning of the song).
Beyonce pulls on a great, braggadocious performance throughout the song while comparing herself to royalty and referring to different Lion King characters.
Jay-Z's verse is also really good with his interpolation of "forever ever" from Outkast's 2000 hit Ms. Jackson (This isn't the only charting song this year to make use of an Outkast allusion. Just Us by DJ Khaled and SZA from last month carried a similar melody to Ms. Jackson) and his shoutouts to hip hop artists such as Nas and the late Nipsey Hussle. Childish Gambino contains some Jamaican like elements to reflect on the royalty theme recurring throughout the soundtrack album.
BROWN SKIN GIRL has Wizkid show off a pleasant personality in the 1st verse, while Beyonce's verses present a good message showing appreciation for girls of different colour.



Fake Love carries some discordant, but catchy sounding instrumentation with Dra...
...
I've got the wrong song again, haven't I?
....
......



Fake Love carries a piano line that's decent enough and that string solo at the end was a nice touch, but I'm not fond of most of the lyrics and the autotune on Yxng Bane's voice was a bit distracting, though the line in which he only wears glasses when he's not allowed to swear was quite funny though.



Gone has a flamboyant sound to it thanks to the 80s style synths and both Charli and Christine complimenting that sound really well with great vocal chemistry between them. I also like how the song explores isolation and insecurity throughout its lyrics with the instrumentation giving life to them. The cut up vocal part in the outro sounded weird though, but I’m getting used to it.



Is it me or is Sam Smith changing sound from gospel-influenced singer-songwriter ballads to beautiful sounding pop. I really liked his duet with Normani on Dancing With A Stranger. Follow-up single How Do You Sleep is also very good, but I don't like it as much as its predecessor.
I like the chiming music box sound playing at the start, it adds a level of meaning to the sleepy imagery the song is attempting to convey. Sam details his insecurities and struggles in a lifeless relationship well, while being accompanied by an instrumental texture consisting of a glossy synth sound and trap percussion The use of pitch-shifting in the post-chorus is a bit of a turnoff though and bumps the track down a bit. Other than that, I really like this.



This week was fantastic. Really liked every debut here, except for one I was mixed on.



#100. Taylor Swift - The Archer [[GOLD]] (Fave Of The Week)
#87. Beyonce, Donald Glover, Billy Eichner and Seth Rogen - Can You Feel The Love Tonight [GREAT]
#74. Nafe Smallz feat. Yxng Bane - Fake Love [MEH] (Least Fave Of The Week)
#58. Charli XCX feat. Christine And The Queens - Gone [BRILLIANT]
#56. Beyonce, Jay-Z and Childish Gambino - Mood 4 Eva [[GOLD]] (FOTW HM)
#42. Beyonce, SaintJhn and Wizkid feat. Blue Ivy Carter - Brown Skin Girl [GREAT]
#12. Sam Smith - How Do You Sleep [BRILLIANT]











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Polly Planturret
post Aug 4 2019, 07:18 PM
Post #35
I've seen the future and it's omelettes
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I'm thinking of changing up my rating scale in order to broaden my use of vocabulary for my short reviews.

[GOLD] (I'm keeping this though)
9/10: BRILLIANT, OUTSTANDING
8/10: SUBLIME, GREAT
7/10: ALRIGHT, ADEQUATE, GOOD
6.5/10: Okay border (FAIR/ALRIGHT)
6/10: MEH (higher side 56-59), FAIR
5.5/10: Mixed bag territory
5/10: MEH (lower side 51-54), SUB-PAR, WEAK
4/10: POOR, INADEQUATE, BAD
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Polly Planturret
post Aug 8 2019, 10:16 AM
Post #36
I've seen the future and it's omelettes
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08/08/2019

NEW ENTRIES:
#94. Mabel - Bad Behaviour
#93. Mahalia feat. Burna Boy - Simmer
#90. Headie One - Rubbery Bandz
#87. Lizzo - Good As Hell
#80. The Chainsmokers and ILLENIUM feat. Lennon Stella - Takeaway
#76. NF - Time
#71. AJ feat. Geko, Ard Ardz and Koomz - Bad & Boujie
#49. Liam Gallagher - Once
#42. Rick Ross feat. Drake - Gold Roses



Mabel's pop charisma shines through in Bad Behaviour along with some glossy synths to back it up.


Simmer makes a clever use of mixing ‘simmer’ and ‘sinner’ together in the chorus with a swell vocal performance from Mahalia. Despite some autotune on Burna Boy's voice. It doesn't overshadow his parts and he shows some good reggae elements in his lines while playing the role of the 'sinner' Mahalia refers to in the chorus.


Rubbery Bandz contains some minimal tropical production which sounds different from the other tracks I heard from Headie which had dark, syncopated trap beats. I like it! I notice some offbeat flows at some points on the 2nd verse though, and they’re a few ridiculous lines, such as one involving pouring champagne on a girl's ass, but other than that, a pretty decent track.


Potential sleeper hit like with Truth Hurts? 2016 cut Good As Hell sees Lizzo put on a passionate, empowering performance over soulful piano R&B chords while presenting a great message telling us that we’re beautiful in our own way. There's also some elements of feminism in the pre-chorus ("If he don't love you anymore, just walk your fine ass out the door"). I think that is a really good line (don’t know if it’s as iconic as the DNA test line in Truth Hurts though), because it could possibly tell us that you don't need to waste your energy throwing bad things at your ex and that you should spend it doing the things you love.


Takeaway deals with themes of heartbreak (a common theme in most of The Chainsmokers’ material). The lyrics aren’t that brilliant, but the drop is absolutely fantastic. In my opinion, it is one of the most colourful drops I’ve heard in a Chainsmokers song since Roses.


Time starts off with some beautiful violin sounds, before switching to piano chords. NF does a good job in exploring a crumbling relationship through the song’s lyrics. The post-chorus further emphasises the melancholy tone of the song with a vulnerable use of vocal chopping.


Bad & Boujie bears a nice tropical sound and AJ gives off a decent, fun verse to go with it. I'm not a fan of the other performers' verses though and in the end, it's an overall okay track.


Once is a heartfelt song dealing with the situations Noel and Liam are dealing in the present with following Oasis' breakup in 2009. Liam looks back on the good old morning glory days fantasticaly with his well-written lyrics dealing with these issues.
The final line in the chorus ("You only get to do it once") is a great way of showing that once we get famous, we enjoy the taste of it for a limited amount of time before growing to despise it and wish for our lives to return to normal.


Rick Ross has been having his music pop in the Billboard Hot 100 for years, with some of my faves from him being Hustlin’ and BMF (Blowin’ Money Fast). He also has had his controversial musical moments, like that infamous line in Rocko’s UOENO that music reviewers have been mad about and the Trayvon Martin line in BLK & WHT (the former of which cost him his Reebok sponsorship). After featuring in UK charting hits by the likes of Chris Brown and Drake, he has finally done it in this country as a lead artist with the new single Gold Roses.
This song has the insightful lyrical content of Omerta mixed with the artist features and sense of assertiveness in Money In The Grave. Like with the former, the beat sounds slightly similar, and like with the latter, both Rick and Drake give off solid verses. I like the production consisting of a 20th century piano sample and the pitch shifting in the mix, and the instrumentation switchup in the chorus with those lower range synths sounds really good.




No Top 40 entries? That's weird!
Anyway, Fave Of The Week goes to Once by Liam Gallagher, for showing a great sense of emotion with the perfect kind of instrument arrangements to back it up. With the honorable mention going to Gold Roses by Rick Ross and Drake
Least Fave Of The Week goes to Bad And Boujie by AJ, Geko, Ard Ardz and Koomz. I like the summery vibe of it, but the verses aren't very good (with that of the lead artist being decent at best in my eyes)



#94. Mabel - Bad Behaviour [8/10]
#93. Mahalia feat. Burna Boy - Simmer [8/10]
#90. Headie One - Rubbery Bandz [7/10]
#87. Lizzo - Good As Hell [9/10]
#80. The Chainsmokers and ILLENIUM feat. Lennon Stella - Takeaway [7/10]
#76. NF - Time [8/10]
#71. AJ feat. Geko, Ard Ardz and Koomz - Bad & Boujie [6/10] (Least Fave Of The Week)
#49. Liam Gallagher - Once [9/10] (Fave Of The Week)
#42. Rick Ross feat. Drake - Gold Roses [9/10] (FOTW HM)
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TheJüpreme
post Aug 8 2019, 11:06 AM
Post #37
they're girls - and cousins too!!
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This isa great read, super content!
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Polly Planturret
post Aug 9 2019, 10:01 AM
Post #38
I've seen the future and it's omelettes
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QUOTE(TheJüpreme @ Aug 8 2019, 12:06 PM) *
This isa great read, super content!


Thank you, Jupiter
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sergejdordij98
post Aug 9 2019, 10:10 AM
Post #39
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Really enjoyed reading this, reminds me a lot like the Billboard Breakdown Videos from Spectrum Pulse.
I'll make sure to give the Best and worst songs of today's week when you will publish it.
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danG
post Aug 9 2019, 10:13 AM
Post #40
can you hear me? S.O.S ◢ ◤
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have to disagree with 'Gold Roses', it's so slow and boring and Rick Ross has never excited me as a rapper.
'Takeaway' would have to be BOTW for me but I don't love any of these new entries.
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Lo-Fi Version Time is now: 16th September 2019 - 06:46 AM