at the time of writing my last post i was preparing for a city break to malaga, which mostly involved drinking copious amounts of lemon fanta and trying not to sweat off all my foundation.
since then, several exciting things have happened, including:
a) the arrival of cher's world tour in manchester: twenty years (!) after i first heard believe via one of the cassette tapes that came with my much-loved barbie karaoke machine, i finally got to hear it live and as predicted, it was a life changing experience. it was a Proper Show which included dancers, several (excellent) costume changes, the infamous elephant and a speech about the "two times" she turned 40 which ended with the already-iconic quote "what's your granny doing tonight?". highlights included the slept-on club banger woman's world, the disco-inspired strong enough, incredible power ballad i found someone and karaoke classic if i could turn back time. there was also her tribute to ABBA, where she reprised her role as sophie's grandma in the second mamma mia film, donning a blonde wig to perform fernando, waterloo and SOS.
b) charli xcx's gig at the albert hall - it goes without saying that she was incredible and a full review will follow soon - followed by my second pilgrimage to girls night out, which was by far the best pre-birthday celebration i've ever had. i've already bought my ticket for their final event of 2019 which includes entry to a lady gaga club night in the venue upstairs; this is truly what dreams are made of.
c) speaking of which, i turned 24 (!!) the day after and remarkably didn't feel bad at all, despite all the horror stories i've heard about how hangovers become even more unbearable as one enters their mid 20s (help). seeing as 24 isn't a particularly significant age, it was a fairly low-key occasion, made a tad more exciting by...
d) the news that my chemical romance are performing in LA this december, which sent the entire internet into meltdown. if more tour dates don't follow i'll be devastated, as i can barely remember any of the gig when i saw them in 2011. my glow in the dark band t-shirt has been sitting in a drawer patiently waiting for this moment, though if my reaction to yesterday's news was anything to go by, i'm not sure i'll be able to handle hearing their back catalogue again.
i'd also like to take this opportunity to remind you that i wrote about my love of danger days for vibbidi a few months ago and have started writing for them again, making my return with a review of charli's latest self-titled album.
it's safe to say i've had a wild few weeks but any fears i had about getting older have vanished and been replaced with a sense of clarity about where my life is heading. i'm still hesitant to talk about Good Things after the dreadful year i've had, but for the first time in months i feel excited about life again and this week's new releases definitely reflect that.
1. dua lipa
ever since she made her debut with new love back in 2015, i've been largely underwhelmed by dula peep's musical outputs, but today she finally blessed us with a decent banger by the name of don't start now. a departure from the subdued electro-pop she cut her teeth on, dua began teasing the song a few weeks ago, sporting a newly blonde bob in the promotional images, and as soon as i heard the disco-tinged, ten second teaser i knew we had a banger on our hands. the full track doesn't disappoint and i'm prepared to hear it at least twice when i go out later.
2. vardaan arora
i've been keeping tabs on this LA-based newcomer for a few months after i fell in love with his song dance like you last year. his latest release famous perfectly captures the pressure we all feel to cultivate an engaging internet presence, but he takes it one step further as he ponders whether his friends "would like me more if i get famous", bringing to mind lily allen's iconic track the fear. released in 2009, the song undoubtedly foreshadowed our obsession with fame and celebrity culture.
in a 2008 interview with the observer, she said the track was about "being scared that there’s never going to be anything real anymore that isn’t sponsored" and with instagram scrambling to establish new guidelines which force influencers to disclose whether the products they're promoting are paid for advertisements and trips to the maldives "gifted" by a brand, it would seem her fears have become our day-to-day reality.
this isn't the first time arora has been so candid about the pressure millennials feel to have our shit together; the electro-pop bop thirty under thirty vocalises those worries we all experience while scrolling through social media in the middle of the night, bombarded by yet another "i said yes" announcement and smug-looking soon-to-be homeowners posing with the keys to a house that their parents no doubt helped them buy. luckily social media has allowed us to be more open about our fears and while there are some terrifying statistics floating around the web about how much worse off we are than our parents, at least we know we're all in this together.
3. HAIM
the last time i wrote about haim was in 2017 following the release of their single right now, which i was incredibly disappointed with. things continued on a downward slope with the lacklustre want you back and little of your love, so by the time they returned with the jazz (?) inspired summer girl, i feared their glory days might be over. luckily they've redeemed themselves with new single now i'm in it, which features a thudding bassline and frenetic lyrics detailing the sisters' struggle with depression; they took to twitter to elaborate further, urging fans to "take care of yourself". there's nothing i love more than a Sad Banger, so this message has been much appreciated and i can only hope their next album will prove that days are gone wasn't just a flash in the pan.
4. kitten
if there's one track i've been yelling along to at the top of my voice this week, it's ME by the alt-rock LA band kitten. sitting somewhere between MUNA, pale waves and the 1975, the track combines an 80s-inspired synth refrain with a huge guitar-led chorus and a smattering of autotuned vocals to create something new that still manages to pay homage to the past. lyrically it speaks to that part of me which still feels ~misunderstood~ as i attempt to justify my life choices and desire to pursue my dreams to family, friends and total strangers on a regular basis, but with songs like this blasting through my speakers it reassures me that i'm on the right path.
5. NCT 127
my foray into k-pop began with BTS and their alarmingly catchy track boy with luv, and i now have another obsession thanks to NCT 127 and their track highway to heaven. forget all the heavy stuff, this is pure pop perfection featuring a Huge Chorus and lyrics about a blossoming love affair. they were also kind enough to record an english version of the song, so i can yell along to it at full volume. the ten-member (!) group has collaborations with ava max and jason derulo under their belt and have appeared on good morning america, so BTS-style world domination could be on the cards.
6. MOODY
once again i have popjustice to thank for my introduction to this danish pop sensation. her latest track leave is pure 80s pleasure, with one of the best choruses i've heard in a long time, and after bemoaning the lack of same-sex pronouns in pop music in my last post, it's so exciting to hear MOODY sing them with pride. elsewhere, taboo is a crying-in-the-club banger in the making (camila cabello? i don't know her).
7. CHAV
as well hitting the road as a backing dancer on dorian electra's latest tour, CHAV is establishing themselves as an artist in their own right with the release of two impeccable tracks; kickin' on the floor and the super-spooky patient zero. while i'm not sure how well their stage name will translate to UK audiences - "chav" has historically been a derogatory term for working class people - this rising star might just be the one to reclaim it.
Showing posts with label haim. Show all posts
Showing posts with label haim. Show all posts
Friday, 1 November 2019
Friday, 7 July 2017
we told you this was melodrama: lorde's coming of age
lately i've been frustrated with a) the generic sound being produced by 99% of pop artists, and b) the direction (or lack of) my life appears to be heading in.
let's backtrack. a few weeks ago i got my uni result and was disappointed to discover that i would graduate with a 2:1. right from the start, i always wanted to get a first, and it was even worse to discover that i was three marks off an A. then last tuesday - though it seems like a lifetime ago now - i made the arduous trip down to london with my family to attend my graduation at the royal festival hall. naturally, it was an early start, so i arrived exhausted with only an hour to get from euston to the venue, and had a minor panic attack in the toilets trying to get my stupidly uncomfortable dress to zip up. i also discovered that my brand new "anti-cellulite" tights had a huge ladder in them just as i put them on, and my shoes were horrendously uncomfortable.
arriving at the venue, i was ushered into various queues; one to collect my tickets, then to put on the complicated gown and mortar board which was pulled right down over my forehead, resulting in yet more discomfort and self-consciousness. getting to shake the hand of UCA chancellor zandra rhodes and briefly seeing my friends again were the only highlights, and before i knew it i was back on the train to manchester with a crushing sense of finality. even though my course ended in may, and i've been (unsuccessfully) looking for any kind of work since, it hit me that we'll be seeing a lot less of each other due to the distance.
receiving my first jobseekers payment on wednesday also brought home the reality that i'm Officially Unemployed, and despite applying for several jobs a day, i keep getting rejected from even the most basic of retail roles. what do i need to do to prove that i'm perfectly capable of dealing with difficult customers and folding endless amounts of t-shirts in a particular way, only for said customers to come along five minutes later and ruin all my hard work as they ferret around for a t-shirt right at the bottom of the pile? as for any kind of Serious Journalism, the majority of companies expect a minimum of two years experience in a "similar role".
the only highlight has been volunteering at the manchester international festival over the last two weeks. i didn't expect to enjoy it so much, but it's reminded me just how much i love the city and given me some kind of purpose. i worked the opening day of the true faith exhibition, curated by the man who made me want to start writing about music, jon savage himself, and featuring ian curtis' hand written lyrics to love will tear us apart. the average person would probably find it odd my tearing up when faced with this single sheet of paper, encased in its own glass box, but for those who love music as much as i do, i'm sure they'll all be having a similarly surreal experience. if you're in town, it's definitely worth seeing, and it's free. typically though, on the one day i wasn't working, one of my heroes jarvis cocker made an appearance at festival square, presumably to visit the BBC who are stationed there. not getting to see pulp live is one thing, but to miss seeing the front man himself is something it will take me a while to get over, but seeing new order next thursday will hopefully soften the blow.
so that just about covers the state of my life so far, but the other pressing matter is the state of pop music lately. artists and producers alike are still riding the wave of tropical-inspired sounds that helped justin bieber's 2015 album purpose convert hordes of people who wouldn't normally listen to the former teeny bopper. that's when they can get a word in edge ways however; first they must break through the mass of SOTS (songs of the summer) being churned out by calvin harris. even artists like dua lipa, with her sultry vocals, has fallen foul to the generic dance-pop sound that can be heard in every revolution up and down the country of a friday and saturday night. i've even found myself disappointed with haim's latest release, something to tell you, which hasn't produced a single Banger. some have argued that it showcases a more refined sound and a body of work that should be listened to all the way through, rather than being judged by its singles, but even lead single want you back, with its half-hearted choreography can't hold a candle to this. (the only stand-out has been the man, the latest single from the killers, which i've had on repeat ever since its release.)
enter lorde, and her second album melodrama, which was released on the 16th june. that weekend ended up being pretty good, as my best friend made a spontaneous trip to manchester and we went out on canal street for the first time in what felt like forever. i also broke the news to him that i got tickets to see lorde herself in september, and he'll hopefully be joining me when she plays the apollo on the 26th. until then, i've been immersing myself in her new sound, and feel like i'm finally ready to share my two cents. having read some amazing reviews prior to writing this, i felt that old wave of self-doubt wash over me, wondering if my opinion is really necessary when other people have written about this album in ways i could never dream of doing, but its lyrics are so painfully relevant to my current situation that i just couldn't resist.
the other day i found this quote on tumblr that perfectly sums up melodrama, so let's start with that:
"take your time but please tell me the secret on how to be better. i am the night sky and a dimly lit room all in the same sentence and i don’t really know where to put the period. some days i am better and I’m here with this abundance of love in my heart and the other days I am all alone and no way to cope with the sadness. give me the grass stained jeans and give me the love i used to feel but not while in the arms of others. i’m not alone but sometimes i am. let me learn how to cope with the bad days and let me learn how to find comfort in my own arms and my own bed and then i swear i can give them the best parts of me after that."
we already know that the album deals with the events of a single night, which takes place at a house party. it feels wrong to call it a "concept album" - a term that usually means an album is full of cringey gimmicks - but i suppose that's exactly what it is. as someone who likes to have every detail of their life meticulously planned out, i enjoy the structure lorde has given the album, but its sound is anything but systematic. it's bold, brash and messy; the sweaty mass of a nightclub crowd, the burning at the back of your throat after one too many shots and the heat of stranger's body next to your own as your lips touch just as the chorus of your favourite song blares from the speakers.
powerful opener green light deals with the highs and lows of relationships new and old, while sober is its comedown. i'm queen of the weekend, she sings with all the self-assurance of a 20 year old who thinks she's got the world figured out. it doesn't last long though, as she finds herself asking what will we do when we're sober?
it reminds me of when i first started drinking, the summer before uni began and life as i knew it would change forever. i recognise that confidence in 18 year old me, who didn't stop to think about what would happen once the party ended and i was walking home in the early morning light, how i'd sustain that high once the alcohol wore off and i retreated back into my shy, scared self. i suspect lorde has undergone a similar transformation; we both went through a breakup, drank to dull the pain, kissed people to fill the void, and eventually came out of it with a sore head and the crushing realisation that the party can't last forever. (side note: i'm seriously put off drinking after perusing the drinkaware website last night, which revealed the full horror of what drinking can do to your mind and body, as well as the revelation that three ciders contain a total of 600 calories.)
homemade dynamite takes me back to my first night at uni, more specifically to a party being held in a nearby halls of residence, where i would meet all of my closest friends. don't know you super well but i think you might be the same as me, goes the song's opening verse, perfectly encapsulating the rush you get when you combine several vodka and cokes and a blossoming friendship. it's reassuring that lorde appears to be an over-sharer after a drink or two, as she confesses in the pre-chorus. let's let things come out of the woodwork / i'll give you my best side, tell you all my best lies, she sings, and i think we're all guilty of embellishing our lives with tiny white lies to make ourselves sound a touch more interesting to people we've never met.
back in march, i professed my love for liability in a new music friday post, and four months later, it still hits me hard. now i've been home and away from my friends (and acquaintances) at uni, it's given me time to reflect on who i really want to keep in touch with and who was just there to sink a few shots with me every weekend. it's strange to feel like you've got friends but aren't really close to any of them, and there were times where despite having the biggest group of friends i've ever had in my life, i felt like i had nobody to really confide in, a sentiment echoed on this track. lorde is at her most confessional at the start of the second verse; i can just see her sitting down in front of a friend, a few glasses of wine down, ready to release a secret she's kept inside for weeks. then suddenly it all spills out: the truth is, i am a toy that people enjoy / till all of the tricks don't work anymore / and then they are bored of me. again, she speaks of the highs and lows presented by The Night; i know that it's exciting running through the night / but every perfect summer's eating me alive until you're gone / better on my own. and sometimes, that's the best way to end the night, walking the streets as the sun comes up, heels in hand, knowing that you're enough just as you are.
the only song more devastating is writer in the dark, another sprawling piano ballad that sees lorde reach new heights with her vocal range and come to terms with the ending of her relationship. bet you rue the day you kissed a writer in the dark, goes the pre-chorus, and i can almost hear the snarl in her voice. it builds to a spectacular chorus; i am my mother's child / i'll love you till my breathing stops / i'll love you till you call the cops on me - and it's this utterly devastating devotion that's missing from the majority of pop music, which deals only with hook ups in Tha Club. these lyrics break my heart every time, as they remind me of the distance between my best friend and i. going from spending nearly every day of your life with someone for eighteen years to only seeing them every few weeks takes some getting used to, a sentiment echoed in the next line; but in our darkest hours, i stumbled on a secret power / i'll find a way to be without you babe. it doesn't get easier, but eventually you learn to live without the other person, and to depend on yourself, something lorde discusses in hard feelings/loveless, with the line i care for myself the way i used to care about you hitting me harder than i was prepared for.
in a total contrast, supercut celebrates the best parts of a relationship, as lorde plays a supercut of us / all the magic we gave off / all the love we had and lost. its euphoric sound contrasts with the raw emotion seen in lines like we were wild and fluorescent, come home to my heart. there's clearly some regret too; in my head i do everything right, she laments, and i know how it feels to wish you could go back and fix the mistakes you made, and the frustration that arises when things don't go your way.
the album's closing track perfect places pretty much sums up the entirety of my three years at uni (i told you i was feeling reflective). every night i live and die / feel the party to my bones, goes the first verse. it goes on: watch the wasters blow the speakers / spill my guts beneath the outdoor light, and it brings to mind endless nights outside in the smoking area consoling my friends over breakups and bad guys. it's the pre-chorus that feels like a blow to the head though; something about that melody and how it's sad and hopeful all at once. are you lost enough? implores lorde. no? have another drink, get lost in us / this is how we get notorious, she continues, and it's me and my friends, recalling anecdotes from days/weeks/months ago that only we find funny, our only common ground when we came from such varied backgrounds. she takes it up a notch with the chorus, the beat so intense it feels like standing right next to a speaker, or the thump in your chest at a concert, perfectly timed to your own heartbeat. all of our heroes fading / now i can't stand to be alone / let's go to perfect places. this is our escape, cause we are young and we're ashamed. i'm not proud of the states i've got myself into, but sometimes it's been the only way to deal with whatever i'm feeling. what the fuck are perfect places anyway? she concludes, leaving me asking myself the same thing. the shine has worn off and away from the temptations of two for one cocktails, i'm finally seeing the damage i was doing trying to run away from my problems, and though i miss those nights, i don't miss coming home and breaking down, the weight of all my hopes and fears pushing down on my chest so hard i could barely breathe.
all i want now is stability, and i think a few more listens to melodrama will help me purge the last of these negative thoughts that have eaten away at me for such a long time as i try to find a a way to be happy without the bright lights of the dance floor. even though i've never met lorde, i feel closer to her than most of my actual friends, because despite her new superstar status she's just the same as the rest of us; making that transition from teenager to adult and experiencing the same spectrum of emotion. there's days where she's all i want to hear, and others where the lyrics hit so hard it's as if she's torn them straight out of my diaries. but it's comforting to know that it's there when i need it; all the glamour, and the trauma, and the fucking melodrama.
let's backtrack. a few weeks ago i got my uni result and was disappointed to discover that i would graduate with a 2:1. right from the start, i always wanted to get a first, and it was even worse to discover that i was three marks off an A. then last tuesday - though it seems like a lifetime ago now - i made the arduous trip down to london with my family to attend my graduation at the royal festival hall. naturally, it was an early start, so i arrived exhausted with only an hour to get from euston to the venue, and had a minor panic attack in the toilets trying to get my stupidly uncomfortable dress to zip up. i also discovered that my brand new "anti-cellulite" tights had a huge ladder in them just as i put them on, and my shoes were horrendously uncomfortable.
arriving at the venue, i was ushered into various queues; one to collect my tickets, then to put on the complicated gown and mortar board which was pulled right down over my forehead, resulting in yet more discomfort and self-consciousness. getting to shake the hand of UCA chancellor zandra rhodes and briefly seeing my friends again were the only highlights, and before i knew it i was back on the train to manchester with a crushing sense of finality. even though my course ended in may, and i've been (unsuccessfully) looking for any kind of work since, it hit me that we'll be seeing a lot less of each other due to the distance.
receiving my first jobseekers payment on wednesday also brought home the reality that i'm Officially Unemployed, and despite applying for several jobs a day, i keep getting rejected from even the most basic of retail roles. what do i need to do to prove that i'm perfectly capable of dealing with difficult customers and folding endless amounts of t-shirts in a particular way, only for said customers to come along five minutes later and ruin all my hard work as they ferret around for a t-shirt right at the bottom of the pile? as for any kind of Serious Journalism, the majority of companies expect a minimum of two years experience in a "similar role".
the only highlight has been volunteering at the manchester international festival over the last two weeks. i didn't expect to enjoy it so much, but it's reminded me just how much i love the city and given me some kind of purpose. i worked the opening day of the true faith exhibition, curated by the man who made me want to start writing about music, jon savage himself, and featuring ian curtis' hand written lyrics to love will tear us apart. the average person would probably find it odd my tearing up when faced with this single sheet of paper, encased in its own glass box, but for those who love music as much as i do, i'm sure they'll all be having a similarly surreal experience. if you're in town, it's definitely worth seeing, and it's free. typically though, on the one day i wasn't working, one of my heroes jarvis cocker made an appearance at festival square, presumably to visit the BBC who are stationed there. not getting to see pulp live is one thing, but to miss seeing the front man himself is something it will take me a while to get over, but seeing new order next thursday will hopefully soften the blow.
so that just about covers the state of my life so far, but the other pressing matter is the state of pop music lately. artists and producers alike are still riding the wave of tropical-inspired sounds that helped justin bieber's 2015 album purpose convert hordes of people who wouldn't normally listen to the former teeny bopper. that's when they can get a word in edge ways however; first they must break through the mass of SOTS (songs of the summer) being churned out by calvin harris. even artists like dua lipa, with her sultry vocals, has fallen foul to the generic dance-pop sound that can be heard in every revolution up and down the country of a friday and saturday night. i've even found myself disappointed with haim's latest release, something to tell you, which hasn't produced a single Banger. some have argued that it showcases a more refined sound and a body of work that should be listened to all the way through, rather than being judged by its singles, but even lead single want you back, with its half-hearted choreography can't hold a candle to this. (the only stand-out has been the man, the latest single from the killers, which i've had on repeat ever since its release.)
enter lorde, and her second album melodrama, which was released on the 16th june. that weekend ended up being pretty good, as my best friend made a spontaneous trip to manchester and we went out on canal street for the first time in what felt like forever. i also broke the news to him that i got tickets to see lorde herself in september, and he'll hopefully be joining me when she plays the apollo on the 26th. until then, i've been immersing myself in her new sound, and feel like i'm finally ready to share my two cents. having read some amazing reviews prior to writing this, i felt that old wave of self-doubt wash over me, wondering if my opinion is really necessary when other people have written about this album in ways i could never dream of doing, but its lyrics are so painfully relevant to my current situation that i just couldn't resist.
the other day i found this quote on tumblr that perfectly sums up melodrama, so let's start with that:
"take your time but please tell me the secret on how to be better. i am the night sky and a dimly lit room all in the same sentence and i don’t really know where to put the period. some days i am better and I’m here with this abundance of love in my heart and the other days I am all alone and no way to cope with the sadness. give me the grass stained jeans and give me the love i used to feel but not while in the arms of others. i’m not alone but sometimes i am. let me learn how to cope with the bad days and let me learn how to find comfort in my own arms and my own bed and then i swear i can give them the best parts of me after that."
we already know that the album deals with the events of a single night, which takes place at a house party. it feels wrong to call it a "concept album" - a term that usually means an album is full of cringey gimmicks - but i suppose that's exactly what it is. as someone who likes to have every detail of their life meticulously planned out, i enjoy the structure lorde has given the album, but its sound is anything but systematic. it's bold, brash and messy; the sweaty mass of a nightclub crowd, the burning at the back of your throat after one too many shots and the heat of stranger's body next to your own as your lips touch just as the chorus of your favourite song blares from the speakers.
powerful opener green light deals with the highs and lows of relationships new and old, while sober is its comedown. i'm queen of the weekend, she sings with all the self-assurance of a 20 year old who thinks she's got the world figured out. it doesn't last long though, as she finds herself asking what will we do when we're sober?
it reminds me of when i first started drinking, the summer before uni began and life as i knew it would change forever. i recognise that confidence in 18 year old me, who didn't stop to think about what would happen once the party ended and i was walking home in the early morning light, how i'd sustain that high once the alcohol wore off and i retreated back into my shy, scared self. i suspect lorde has undergone a similar transformation; we both went through a breakup, drank to dull the pain, kissed people to fill the void, and eventually came out of it with a sore head and the crushing realisation that the party can't last forever. (side note: i'm seriously put off drinking after perusing the drinkaware website last night, which revealed the full horror of what drinking can do to your mind and body, as well as the revelation that three ciders contain a total of 600 calories.)
homemade dynamite takes me back to my first night at uni, more specifically to a party being held in a nearby halls of residence, where i would meet all of my closest friends. don't know you super well but i think you might be the same as me, goes the song's opening verse, perfectly encapsulating the rush you get when you combine several vodka and cokes and a blossoming friendship. it's reassuring that lorde appears to be an over-sharer after a drink or two, as she confesses in the pre-chorus. let's let things come out of the woodwork / i'll give you my best side, tell you all my best lies, she sings, and i think we're all guilty of embellishing our lives with tiny white lies to make ourselves sound a touch more interesting to people we've never met.
back in march, i professed my love for liability in a new music friday post, and four months later, it still hits me hard. now i've been home and away from my friends (and acquaintances) at uni, it's given me time to reflect on who i really want to keep in touch with and who was just there to sink a few shots with me every weekend. it's strange to feel like you've got friends but aren't really close to any of them, and there were times where despite having the biggest group of friends i've ever had in my life, i felt like i had nobody to really confide in, a sentiment echoed on this track. lorde is at her most confessional at the start of the second verse; i can just see her sitting down in front of a friend, a few glasses of wine down, ready to release a secret she's kept inside for weeks. then suddenly it all spills out: the truth is, i am a toy that people enjoy / till all of the tricks don't work anymore / and then they are bored of me. again, she speaks of the highs and lows presented by The Night; i know that it's exciting running through the night / but every perfect summer's eating me alive until you're gone / better on my own. and sometimes, that's the best way to end the night, walking the streets as the sun comes up, heels in hand, knowing that you're enough just as you are.
the only song more devastating is writer in the dark, another sprawling piano ballad that sees lorde reach new heights with her vocal range and come to terms with the ending of her relationship. bet you rue the day you kissed a writer in the dark, goes the pre-chorus, and i can almost hear the snarl in her voice. it builds to a spectacular chorus; i am my mother's child / i'll love you till my breathing stops / i'll love you till you call the cops on me - and it's this utterly devastating devotion that's missing from the majority of pop music, which deals only with hook ups in Tha Club. these lyrics break my heart every time, as they remind me of the distance between my best friend and i. going from spending nearly every day of your life with someone for eighteen years to only seeing them every few weeks takes some getting used to, a sentiment echoed in the next line; but in our darkest hours, i stumbled on a secret power / i'll find a way to be without you babe. it doesn't get easier, but eventually you learn to live without the other person, and to depend on yourself, something lorde discusses in hard feelings/loveless, with the line i care for myself the way i used to care about you hitting me harder than i was prepared for.
in a total contrast, supercut celebrates the best parts of a relationship, as lorde plays a supercut of us / all the magic we gave off / all the love we had and lost. its euphoric sound contrasts with the raw emotion seen in lines like we were wild and fluorescent, come home to my heart. there's clearly some regret too; in my head i do everything right, she laments, and i know how it feels to wish you could go back and fix the mistakes you made, and the frustration that arises when things don't go your way.
the album's closing track perfect places pretty much sums up the entirety of my three years at uni (i told you i was feeling reflective). every night i live and die / feel the party to my bones, goes the first verse. it goes on: watch the wasters blow the speakers / spill my guts beneath the outdoor light, and it brings to mind endless nights outside in the smoking area consoling my friends over breakups and bad guys. it's the pre-chorus that feels like a blow to the head though; something about that melody and how it's sad and hopeful all at once. are you lost enough? implores lorde. no? have another drink, get lost in us / this is how we get notorious, she continues, and it's me and my friends, recalling anecdotes from days/weeks/months ago that only we find funny, our only common ground when we came from such varied backgrounds. she takes it up a notch with the chorus, the beat so intense it feels like standing right next to a speaker, or the thump in your chest at a concert, perfectly timed to your own heartbeat. all of our heroes fading / now i can't stand to be alone / let's go to perfect places. this is our escape, cause we are young and we're ashamed. i'm not proud of the states i've got myself into, but sometimes it's been the only way to deal with whatever i'm feeling. what the fuck are perfect places anyway? she concludes, leaving me asking myself the same thing. the shine has worn off and away from the temptations of two for one cocktails, i'm finally seeing the damage i was doing trying to run away from my problems, and though i miss those nights, i don't miss coming home and breaking down, the weight of all my hopes and fears pushing down on my chest so hard i could barely breathe.
all i want now is stability, and i think a few more listens to melodrama will help me purge the last of these negative thoughts that have eaten away at me for such a long time as i try to find a a way to be happy without the bright lights of the dance floor. even though i've never met lorde, i feel closer to her than most of my actual friends, because despite her new superstar status she's just the same as the rest of us; making that transition from teenager to adult and experiencing the same spectrum of emotion. there's days where she's all i want to hear, and others where the lyrics hit so hard it's as if she's torn them straight out of my diaries. but it's comforting to know that it's there when i need it; all the glamour, and the trauma, and the fucking melodrama.
Friday, 28 April 2017
new (and old) music friday #18: haim, angie, rupaul, foster the people, tinashe
today was a somewhat momentous day as my uni magazine arrived from the printers, and i am ridiculously pleased with how it turned out. naturally, i'm going out to celebrate, but just wanted to share a few of the songs that will feature in my Getting Ready playlist.
1. haim
after what felt like an eternity, haim finally made their return to the music world, and i have to admit i'm slightly disappointed with their new single, right now. combined with the video, which shows the sisters in the studio, it all felt a bit like a rough demo, and a tad lazy. they've had nearly five years to make an amazing comeback, and it was a little lacklustre for me. their new album something to tell you, will be released on the 7th july, and i'm hopeful that it will still deliver bangers such as this and this.
2. angie
the video for spun was suggested to me as i was watching something on youtube (probably a make-up tutorial) and i was instantly captivated by the swedish star's dreamy pastel world, a stark contrast with her risque lyrics. this interview provides more of an insight into the life of this rising star, and i'm looking forward to her next release, whenever that may be.
3. foster the people
the indie pop quartet also made their return to music this week with the release of three new songs, and though i wasn't massively into them, i was reminded of excellent tracks from their back catalogue such as best friend, fire escape, coming of age and of course, pumped up kicks.
4. rupaul
this is the first year i've actually watched drag race from the beginning and i have to say, i'm loving it so far (valentina to win!). the lip sync songs rupaul has set have all been excellent so far, including this karaoke classic, and this party-ready number by britney, but it was a song of his, played during the closing credits of one episode that i've been obsessed with, and kitty girl will be played at full volume while i get ready later.
5. tinashe
the singer, dancer and actress released the video for her latest single flame last week, and i've had it on repeat ever since. i've found her singles so far to be a bit hit and miss; some i love, others not so much, but this one is destined to be a hit.
honourable mention: the 1975
not technically a new release, but matty healy did an interview with zane lowe for beats 1, and discussed the band's third album, music for cars, set to be released sometime next year, and hinted that it would be the end of an era, but hopefully not the end of the band. he also talked about how they are in a transitional phase, trying to work out what to do next after such an incredible year, and i can't help feel the same. i'm pretty much done with uni now, save for a few last minute changes to my portfolio before our hand in next wednesday, and it's only now that i realise just how much i've achieved over the last three years, while worrying about what's coming next.
hopefully it will involve tickets to see harry styles though, as today he announced a world tour in support of his yet to be released, self-titled album.
this week's playlist is here.
1. haim
after what felt like an eternity, haim finally made their return to the music world, and i have to admit i'm slightly disappointed with their new single, right now. combined with the video, which shows the sisters in the studio, it all felt a bit like a rough demo, and a tad lazy. they've had nearly five years to make an amazing comeback, and it was a little lacklustre for me. their new album something to tell you, will be released on the 7th july, and i'm hopeful that it will still deliver bangers such as this and this.
2. angie
the video for spun was suggested to me as i was watching something on youtube (probably a make-up tutorial) and i was instantly captivated by the swedish star's dreamy pastel world, a stark contrast with her risque lyrics. this interview provides more of an insight into the life of this rising star, and i'm looking forward to her next release, whenever that may be.
3. foster the people
the indie pop quartet also made their return to music this week with the release of three new songs, and though i wasn't massively into them, i was reminded of excellent tracks from their back catalogue such as best friend, fire escape, coming of age and of course, pumped up kicks.
4. rupaul
this is the first year i've actually watched drag race from the beginning and i have to say, i'm loving it so far (valentina to win!). the lip sync songs rupaul has set have all been excellent so far, including this karaoke classic, and this party-ready number by britney, but it was a song of his, played during the closing credits of one episode that i've been obsessed with, and kitty girl will be played at full volume while i get ready later.
5. tinashe
the singer, dancer and actress released the video for her latest single flame last week, and i've had it on repeat ever since. i've found her singles so far to be a bit hit and miss; some i love, others not so much, but this one is destined to be a hit.
honourable mention: the 1975
not technically a new release, but matty healy did an interview with zane lowe for beats 1, and discussed the band's third album, music for cars, set to be released sometime next year, and hinted that it would be the end of an era, but hopefully not the end of the band. he also talked about how they are in a transitional phase, trying to work out what to do next after such an incredible year, and i can't help feel the same. i'm pretty much done with uni now, save for a few last minute changes to my portfolio before our hand in next wednesday, and it's only now that i realise just how much i've achieved over the last three years, while worrying about what's coming next.
hopefully it will involve tickets to see harry styles though, as today he announced a world tour in support of his yet to be released, self-titled album.
this week's playlist is here.
Friday, 20 May 2016
new (and old) music friday #5: ariana grande, haim, shura, DNCE
it's safe to say that this week's selection is a pretty mixed bag; then again i love nothing more than proving wrong those people who think you can't be a die-hard fan of bowie and bieber at the same time.
1. ariana grande
i wasn't even going to write a post this week, until ariana's new album, dangerous woman, was released in the early hours of today. it's ironic that she has a song called focus, because that's exactly what her third album needed. (also why was that song not included on the album?) it feels disjointed; much like in her earlier releases, she tries to incorporate a wide range of genres which means she doesn't give herself the chance to develop a signature sound of her own. if i had to describe her sound, i would honestly struggle. is it pop? is it r'n'b? is it dance? is it house? only time will tell if she manages to focus (ha) in on just one area and make it her own.
there was however, one song that completely floored me, and it goes by the title of greedy. if i could have one wish, it would be that ariana made a whole album that sounds like this song. part pop, part funk, part disco, with a fantastic pre-chorus that gives a nod to prince, and searingly honest lyrics. it's everything i could have asked for in a song, pop or otherwise. but that's not even the best part.
ariana grande, our lord and savior, has done what no current pop artist has ever done. in the year 2016, she has brought back the key change! that's right, the key change! i'm using exclamation marks, such is my level of excitement! however, no amount of exclamation marks can fully express how much i love this song, so please for the love of god stop whatever you're doing and listen to it now.
2. DNCE
following the excellent news that joe jonas' band DNCE featured plus size model and sports illustrated cover star ashley graham as his love interest in their latest video for toothbrush, i had to give it a watch. never underestimate the power of representation - i can't explain how good it feels to see someone who has a body like mine dancing around in her underwear and giving no fucks. (2009 me is also incredibly jealous that she gets to do it with joe jonas.)
subsequently i fell in love with the song, and after playing their first single cake by the ocean to death it was nice to hear something else from the four-piece, and i've had not only the song, but the video too, on repeat for the last two days.
3. HAIM
after what feels like an eternity, haim are finally back with new music... sort of. so there haven't been any ~official~ releases as of yet, but at their show in orange county on tuesday, the trio debuted two new songs, as well as a cover of one of my favourite prince songs, i would die 4 u, which makes me so insanely happy/furious that i wasn't there to witness it for myself.
as always, they bring serious stevie nicks realness, best seen in the latter of the two new songs, titled nothing's wrong, which starts out slow but soon builds to a frantic pace as they question their lover, why do we do this to each other, baby?
if these songs are anything to go by, their long-awaited second album should have no problems living up to my (admittedly ridiculously) high expectations.
4. pet shop boys
i know, i know. it would seem i can't go more than one post without mentioning this band, but i find myself constantly discovering new gems from their previous albums that had somehow passed me by, and this week it's their 2013 album electric which finds itself in the spotlight again, with the tracks fluorescent, the last to die and inside a dream taking centre stage. after a fairly uneventful trip to morrisons with my mother (the joys of being home; that was literally the first time i'd left the house in days), driving down the motorway with these songs blasting through the speakers was one of those moments i know i'll look back on in the months to come.
also worth a mention from their latest, and somewhat underwhelming, album super are burn and the pop kids. if there's anything about this band i admire, it's their desire to continue making music even if it doesn't reach the number one spot in the top 40. they do it because they love it, and that's something i respect in any artist, but particularly those who have been around for so long and continue to shape modern electronic music. my friends mock me for my love of 80s bands, but let's be real; half the music they listen to now wouldn't exist without the contributions of the pet shop boys and others like them.
5. tegan and sara
another repeat offender, but tegan and sara are on a roll lately, releasing a stream of sinfully catchy songs from their upcoming album love you to death. june 3rd, can't come soon enough, likewise the 22nd, when i'll finally get to see them live for the first time. their latest release, stop desire, sees the duo explore a more passionate side to their songwriting, quite literally. take this passion, turn it into action, they sing on the second verse, and it's an imperative, a command, making me want to be brave and seize the moment with whomever i so desire. this coupled with their new (ish) electro-pop sound means i've had it playing non-stop this week. also this interview they did with out magazine is well worth a read.
6. shura
call me biased, but there really are some incredibly talented musicians coming out of manchester lately. shura makes dreamy synth-pop that remains stuck in your head after only one listen. she's been around for a while, but after hearing a remix of her song touch in a spotify playlist last night, i listened to the original and forgot how much i loved it. the video garnered a fair bit of attention when it was released in 2014 for the diversity of couples involved, racking up an impressive 26 million views, and its lyrics hit me hard upon hearing it again - i can't believe that it's been three years / now when i see you it's so bittersweet - as they perfectly encapsulate those still-real feelings of loss for someone who has been gone a long time already. do we ever really let go?
white light is also worth a listen; there's something about it that draws me in every time i go back to it, and it's got me incredibly excited for the release of her debut album nothing's real on july 8th this year.
7. all tvvins
my last favourite comes from a relatively unknown irish band called all tvvins; a google search for them doesn't throw up much background information, except for this article by the irish times. their track record is pretty impressive though as they've supported arcade fire on tour. i first heard them in a random spotify playlist of rock-sounding songs, though if the title of this article is anything to go by, rock isn't really their thing any more. listening to their back catalogue, its clear they've taken a more pop route in recent years, and they seem totally fine with that. the song that drew me in from this aforementioned playlist was called unbelievable and had that searing, somewhat painful, passionate energy of the pop-punk bands 14 year old me used to listen to, only this time around i'm spared the dodgy haircuts and outfit choices (who let me cut my own fringe?) and just get to experience the music. 2015's too young to live sees them dabbling in funk, with its heavy bass-line and jangly guitars - the overall effect is part duran duran, part foals; a mix i'm totally into - while still retaining the sound of their indie roots, and i can't wait to see what they'll do next.
this week's playlist can be found here.
1. ariana grande
i wasn't even going to write a post this week, until ariana's new album, dangerous woman, was released in the early hours of today. it's ironic that she has a song called focus, because that's exactly what her third album needed. (also why was that song not included on the album?) it feels disjointed; much like in her earlier releases, she tries to incorporate a wide range of genres which means she doesn't give herself the chance to develop a signature sound of her own. if i had to describe her sound, i would honestly struggle. is it pop? is it r'n'b? is it dance? is it house? only time will tell if she manages to focus (ha) in on just one area and make it her own.
there was however, one song that completely floored me, and it goes by the title of greedy. if i could have one wish, it would be that ariana made a whole album that sounds like this song. part pop, part funk, part disco, with a fantastic pre-chorus that gives a nod to prince, and searingly honest lyrics. it's everything i could have asked for in a song, pop or otherwise. but that's not even the best part.
ariana grande, our lord and savior, has done what no current pop artist has ever done. in the year 2016, she has brought back the key change! that's right, the key change! i'm using exclamation marks, such is my level of excitement! however, no amount of exclamation marks can fully express how much i love this song, so please for the love of god stop whatever you're doing and listen to it now.
2. DNCE
following the excellent news that joe jonas' band DNCE featured plus size model and sports illustrated cover star ashley graham as his love interest in their latest video for toothbrush, i had to give it a watch. never underestimate the power of representation - i can't explain how good it feels to see someone who has a body like mine dancing around in her underwear and giving no fucks. (2009 me is also incredibly jealous that she gets to do it with joe jonas.)
subsequently i fell in love with the song, and after playing their first single cake by the ocean to death it was nice to hear something else from the four-piece, and i've had not only the song, but the video too, on repeat for the last two days.
3. HAIM
after what feels like an eternity, haim are finally back with new music... sort of. so there haven't been any ~official~ releases as of yet, but at their show in orange county on tuesday, the trio debuted two new songs, as well as a cover of one of my favourite prince songs, i would die 4 u, which makes me so insanely happy/furious that i wasn't there to witness it for myself.
as always, they bring serious stevie nicks realness, best seen in the latter of the two new songs, titled nothing's wrong, which starts out slow but soon builds to a frantic pace as they question their lover, why do we do this to each other, baby?
if these songs are anything to go by, their long-awaited second album should have no problems living up to my (admittedly ridiculously) high expectations.
4. pet shop boys
i know, i know. it would seem i can't go more than one post without mentioning this band, but i find myself constantly discovering new gems from their previous albums that had somehow passed me by, and this week it's their 2013 album electric which finds itself in the spotlight again, with the tracks fluorescent, the last to die and inside a dream taking centre stage. after a fairly uneventful trip to morrisons with my mother (the joys of being home; that was literally the first time i'd left the house in days), driving down the motorway with these songs blasting through the speakers was one of those moments i know i'll look back on in the months to come.
also worth a mention from their latest, and somewhat underwhelming, album super are burn and the pop kids. if there's anything about this band i admire, it's their desire to continue making music even if it doesn't reach the number one spot in the top 40. they do it because they love it, and that's something i respect in any artist, but particularly those who have been around for so long and continue to shape modern electronic music. my friends mock me for my love of 80s bands, but let's be real; half the music they listen to now wouldn't exist without the contributions of the pet shop boys and others like them.
5. tegan and sara
another repeat offender, but tegan and sara are on a roll lately, releasing a stream of sinfully catchy songs from their upcoming album love you to death. june 3rd, can't come soon enough, likewise the 22nd, when i'll finally get to see them live for the first time. their latest release, stop desire, sees the duo explore a more passionate side to their songwriting, quite literally. take this passion, turn it into action, they sing on the second verse, and it's an imperative, a command, making me want to be brave and seize the moment with whomever i so desire. this coupled with their new (ish) electro-pop sound means i've had it playing non-stop this week. also this interview they did with out magazine is well worth a read.
6. shura
call me biased, but there really are some incredibly talented musicians coming out of manchester lately. shura makes dreamy synth-pop that remains stuck in your head after only one listen. she's been around for a while, but after hearing a remix of her song touch in a spotify playlist last night, i listened to the original and forgot how much i loved it. the video garnered a fair bit of attention when it was released in 2014 for the diversity of couples involved, racking up an impressive 26 million views, and its lyrics hit me hard upon hearing it again - i can't believe that it's been three years / now when i see you it's so bittersweet - as they perfectly encapsulate those still-real feelings of loss for someone who has been gone a long time already. do we ever really let go?
white light is also worth a listen; there's something about it that draws me in every time i go back to it, and it's got me incredibly excited for the release of her debut album nothing's real on july 8th this year.
7. all tvvins
my last favourite comes from a relatively unknown irish band called all tvvins; a google search for them doesn't throw up much background information, except for this article by the irish times. their track record is pretty impressive though as they've supported arcade fire on tour. i first heard them in a random spotify playlist of rock-sounding songs, though if the title of this article is anything to go by, rock isn't really their thing any more. listening to their back catalogue, its clear they've taken a more pop route in recent years, and they seem totally fine with that. the song that drew me in from this aforementioned playlist was called unbelievable and had that searing, somewhat painful, passionate energy of the pop-punk bands 14 year old me used to listen to, only this time around i'm spared the dodgy haircuts and outfit choices (who let me cut my own fringe?) and just get to experience the music. 2015's too young to live sees them dabbling in funk, with its heavy bass-line and jangly guitars - the overall effect is part duran duran, part foals; a mix i'm totally into - while still retaining the sound of their indie roots, and i can't wait to see what they'll do next.
this week's playlist can be found here.
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