#Eminem The Hills Remix

[instant-ramen]

The Weeknd ft Eminem - The Hills Remix [Lyrics] Official Audio

Said you want a little company And I love it, 'cause the thrill's cheap Said you left him for good this time Still, if he knew I was here, he'd wanna kill me (Kill me) But it's time you met the real me, filthy But wasn't always, will be Your pill refill and I'll still be your addiction You can touch a prescription, but don't fill me I let you see my dark side But like a mic check, you got one too So when the sparks fly We hit the flight deck and got sprung (Pew!) Like an ejector seat from an F-15 But tonight, we don't need those pills Just the effects of each other, but we gon' film 'Cause I will want your ex to see (Get it?) That... And every time he hurt you, I heard you Your shoulder to cry on And I'll be damned if I weren't who you turned to You said he drove you to my arms But don't you know (Don't you know) Remember when I told you (Told you) I would never let down my guard? And I hope you (Hope you) Feel like dirt when I hold you (Hold you) 'Cause is it really over? But you just want a little company And you just really wanna thrill-seek Said you left him for good this time Bullshit, what your friends do, spill beans? Or you just wanna be guilt free, and still creep But these hills see from their POV, we can touch But the only way you'll film me is with a camera, feel me? You're nothin' but a barfly You got your sights set on the one who you run to But I'm a far cry from what you might get, if we come true So keep textin' me But at night, if you seek those thrills, what I expect to be? 'Cause if you cheat on him Just means I will be the next to be your ex So no complexities, just sex And don't lecture me, just accept that... I only call you when it's half past five The only time that I'll be by your side I only love it when you touch me, not feel me When I'm fucked up, that's the real me When I'm fucked up, that's the real me, yeah I only fuck you when it's half past five The only time I'd ever call you mine I only love it when you touch me, not feel me When I'm fucked up, that's the real me When I'm fucked up, that's the real me, babe

[aggelos965]

The Weeknd - The Hills ft Eminem (Komplichated Remix)

[ratlordsarah]

absolute ton of wg music HCs because I am obsessed with music

dr two brains/ steven

-obsessed with the 80s

-favorite song is between careless whisper, and out of touch by Daryl hall & John Oates

-most certainly goes on summer night drives with the window rolled down listening to songs like everybody rules the world and other various 80s songs

-favorite band is between queen and abba

Amazo guy

-obsessed with the 90s

-secretly loves Britany spears, but won’t tell anyone

-favorite songs are starman by David Bowie, everybody by the Backstreet Boys, and his secret third favorite is baby one more time by Britany spears

-favorite bands/artists are David Bowie and the backstreet boys

becky

-doesn’t listen to music much, but really likes come on Eileen by dexys midnight runners, and livin la vida loca by Ricky Martin

-will listen to about everything except rap (out of spite towards Toby)

toby

-Eminem fan

-absolutely loves counting stars by one republic, the ceiling can’t hold us by Macklemore, and nearly any imagine dragons song

-probably would be a lemon demon fan

lady redundant woman

-favorite songs are definitely 9 to 5 by dolly pardon, bad romance by lady gaga, and dancing queen

-favorite song by frank Sinatra is definitely strangers in the night

-favorite band is abba

-probably cries to dancing queen each time that song plays

the butcher

-favorite songs are sweet home Alabama, fortunate son, and stayin alive by the bee gees

-favorite bands/artists are lynyrd skynyrd, Elton John, Bon Jovi, and Billy Joel

-goes nuts over you may be right by Billy Joel and will talk about it for hours

-old time rock n roll by bob seger is actually his ultimate favorite

invisi-bill

-favorite songs are counting stars by one republic, and centerfold by the j. Geils band

-half his playlists are energetic songs from movie soundtracks

-quite literally floats of the ground listening to free bird

-if the song’s not energetic, he doesn’t like it

miss question

-favorite song is without a doubt killing me softly with his song by fugees and ms. Lauryn hill (based)

-Whitney Huston is her hero

-other favorites are funky town, super freak by Rick James, cake by the ocean by dnce, and just about any Michael Jackson song

-her and two brains probably have the best music taste for a long late night car ride

chuck the evil sandwich making guy

-listens to mostly video game soundtracks

-favorite songs are nearly every remix made of megalovania and buddy holly by weezer

-loves 80s music but doesn’t know it

-will listen to nearly anything

-listens to emo music when people don’t find the “deeper meaning” behind him nearly crushing a school under a sandwich press over a hair net (same bro, same 😔)

Miss power

-favorite song is holding out for a hero by Bonnie tyler

-enjoys just about any song with the word ‘power’ in the title

-secret that handsome devil, and Katy Perry fan

Leslie

-likes anything abba

-favorite song is lay all your love on me by abba

whammer

-literally any loud and energetic song

-likes 2econd 2ight 2eer by will wood, but hates the lyrics for no reason

mr. Big

-Huey Lewis and the news fan

-really likes the 60s

-really likes loud music

Am I a little too hyper obsessed with music? Absolutely 👍

[dwtspotify]

ᯤ •၊၊||၊|။||||။‌‌‌‌‌၊|• Dreamaf

if you think im pretty — Artemas (5:38 pm EST)

Please Please Please — Sabrina Carpenter (5:40 pm EST)

Deja Vu ft DJ Drama — Logic (5:44 pm EST)

Espresso - Mark Ronson x FNZ Working Later Remix — Sabrina Carpenter (5:49 pm EST)

Houdini — Eminem (5:54 pm EST)

Thank You For Leaving — Sports (5:56 pm EST)

True Colours — Becky Hill (6:02 pm EST)

Slow It Down — Benson Boone (6:04 pm EST)

(his listening to the same songs again)

[deadcactuswalking]

REVIEWING THE CHARTS: 15/06/2024 (Sabrina Carpenter, RAYE, Charli xcx's BRAT)

Surprisingly enough, Eminem holds on to the #1 for a second week with “Houdini” on the UK Singles Chart. Welcome back to REVIEWING THE CHARTS!

content warning: sex, depression

Rundown

There aren’t many massive stories this week outside of Charli xcx’s album and Sabrina Carpenter’s follow-up, but that has led to a deceptively busy week where instead of songs already on the charts crawling up to fill in gaps, we have a lot of new and returning songs, and as a result, a plentiful amount of notable dropouts, those being songs exiting the UK Top 75, which is what I cover, after five weeks in the region or a peak in the top 40. This week, they include: “euphoria” by Kendrick Lamar, “Down Bad” by Taylor Swift, “Outside of Love” by Becky Hill, “Tell Ur Girlfriend” by Lay Bankz, “Green & Gold” by Rudimental and Skepsis featuring Charlotte Plank and Riko Dan, “Lovers in a Past Life” by Calvin Harris and Rag’n’Bone Man, “Alibi” by Ella Henderson featuring Rudimental (Good riddance), “FE!N” by Travis Scott featuring Playboi Carti, which lasted way longer than I expected, “Hell n Back” by Bakar, helped in part by a remix with Summer Walker, “Unwritten” by Natasha Bedingfield and finally, “greedy” by Tate McRae.

As for our re-entries, we have two at the bottom of the charts that pose an extreme polarity: one of my favourite songs of all time, and one of my least favourites. Vance Joy’s “Riptide” is back once again at #70, for some Godforsaken reason but the much more interesting story is with Disclosure’s “You & Me” featuring Eliza Doolittle at #75. The original song is excellent but Flume’s remix, which I’m sure I’ve discussed before on this series, is one of my favourite songs of all time, and it’s damn high up in that ranking - Hell, a lot of people seem to agree too considering how many more streams it has on Spotify. A newer remix by Rivo has gone viral and helped the track re-enter the charts. It originally debuted and peaked at #10 in 2013, when Daft Punk’s “Get Lucky” featuring Pharrell Williams was #1. Whilst the Rivo remix doesn’t completely reimagine the track like Flume did, it’s still a decent track, there’s not really many ways to ruin something as solid in its foundation as pretty much any Disclosure song, and the re-entry of this song in particular is the first of many ways in which this weird, semi-filler week that’s busier than it has any right to be, appeals to me specifically. Also Taylor Swift’s “Cruel Summer” is back at #17 for tour reasons…. okay.

We actually have less gains than you may have expected, largely because new entries took their spot in filling up the chart. We do see some boosts for Lithe’s “Fall Back” at #58 and Flex’s lazy remix “6 in the Morning” featuring the late Nate Dogg at #40 (more on that later), but the rest I’m actually pretty happy about. Once again, good week for Disclosure as “She’s Gone, Dance On” is at #52, Chappell Roan continues bubbling up with “Red Wine Supernova” at #51 and “HOT TO GO!” at #46, and then of course, Charli xcx’s “360” zooms to #27 thanks to being the opening track on her fantastic new album, BRAT, which debuts at #2 on this week’s album chart and once again, we’ll be discussing it more later. Why it’s #2 and not #1 is a different story and not one I find worthwhile discussing when I could be reviewing the music

As for our top five, we start with Shaboozey at #5 with “A Bar Song (Tipsy)” - hopefully he can get at least one hit after this one phases out - followed by Billie Eilish’s “BIRDS OF A FEATHER” at #4 and a double shot of Sabrina Carpenter, with her follow-up “Please Please Please” debuting at #3 and “Espresso” sticking to #2, of course with Em at the top. We’ll get to Sabrina after an unexpectedly large amount of new entries, but we start off really promising.

New Entries

#74 - “Mind Still” - Sonny Fodera featuring blythe

Produced by BLYNE

I hadn’t heard much from Sonny Fodera before this, but I liked his song with Becky Hill and “Asking” is okay, so I was expecting at least some of the detail and dynamics he brings to his production to be here and bizarrely enough, turns out he didn’t produce it, or at least as far as I’m aware, he isn’t credited as a producer. Nope, instead, it’s credited to BLYNE, a German DJ and production duo who also were the primary songwriters alongside Fodera and Issey Cross, who is familiar to the charts. Unless this is some kind of error emerging from the female vocalist blythe’s similarity to the duo in name, this means that this can barely be considered a Sonny Fodera song, which is a shame because it’s pretty damn good as far as atmospheric house-pop goes. blythe coos in glitch form over punchy kicks and incessant synths that despite their cloudy, detached tone, feel constant and stuttering, and combined with the bizarrely structured first build-up and drop, constantly teasing you and restarting its own momentum, as well as the lead melody being that glitched, inhuman cooing from blythe, this song almost malfunctions before you can even get to the more typicla house drop, and it fits for the abstract mental imagery of the lyrics. This isn’t something that really grips me but it’s a lot more interesting than some house that charts, both structurally and sonically, and I’m all for weirder approaches like this charting… though preferrably credited to their actual producers next time.

#71 - “Nasty” - Tinashe

Produced by Ricky Reed and Zach Sekoff

And for the true exhibit A of why this week seems perfectly built for me, we have Tinashe, returning to the UK charts after God knows how long with her new viral hit, “Nasty”. Her last record, BB/ANG3L, was my absolute favourite album of last year and one I return to pretty much constantly. Explaining why would require a full essay, but to sum it up, it’s a concise, self-contained R&B record that explores the nuances of its relationships, from the almost primal and controlled sex talk to the frantic electronic uncertainty that comes with speaking more frankly of where that relationship is and what it means to her. It’s futuristic and icy in its production, even when it calls back to smooth 90s R&B, with some pretty abstract, glitchy contributions from people like Nosaj Thing and Machinedrum, it balances its twinkling detail and sound design with some insanely catchy and immediate hooks, performed by a breathless Tinashe who sounds just as overwhelmed as I was when first listening to the album, though letting loose when she’s in the mood to play a breezy control over the man - men? - she’s involved with. It’s even kind of unambitious at a sleek 20 minutes, with seven songs that don’t stray far away from an expected structure or build in thematic ways towards a concept, which ends up being possibly its most resonant appeal to me: despite everything, it’s human. Instead of playing up the baby or the angel, she finds herself in that slash between the two, and despite the largely electronic production, it all ends up very organic. It’s quickly becoming one of my favourite albums ever, which I’m not surprised with given how much I liked 333, but it does mean I have higher expectations for what she does next.

The next record seems to be a direct follow-up and given both the lead single and the title of QUANTUM Baby, I’m not necessarily expecting that same level of honest humanity, to say the least. The drowned-out intro already calls back to the baby/angel dynamic, but it quickly bubbles up into a deadpan delivery where Tinashe is looking for someone to “match her freak”, fit what sounds like a storied legacy of being a “nasty girl”. In her half-rap cadence over a basic but effortless trap beat, wherein she uses her own backing vocals as a sample loop, very clever, she explains that this bored exhaustion comes from all the pillow talking getting her throat raspy. Then she finally releases on that chorus, warning that she might get attached if this guy goes above the threshold of “matching” that freak and impressing her too much, almost giving off the idea that you do NOT want to deal with her for more than you need to. The relaxed pop-rap flow on the second verse is so slick and sexy, with a focus on just how effortlessly she can change his life completely: there’s an almost alien aspect to how Tinashe appears here, and some of her delivery would come off as such if it weren’t for the inherent character present in her voice. An immediate comparison would be “Needs” where she uses similar vocal effects to reel this guy in for sex, but there, she emphasised that she was human and she needed, primally, to have that freak matched - here, it seems like a game for her. I’m interested to how the rest of the album balances that out or Hell, maybe plays into it completely. To no surprise, this is brilliant and I am so glad it caught on with the general public, I knew it was going to happen again eventually.

#61 - “the boy is mine” - Ariana Grande

Produced by Ariana Grande, Max Martin, Shintaro Yasuda, DaviDior and ILYA

Once again, specifically engineered for me - this is my favourite track off of Eternal Sunshine and the one track I’d consider genuinely great. Thanks to a video where she plays as Catwoman or something, I don’t know, I don’t watch music videos and given it’s #61 no one else does either, it’s charting a couple months after initial album release and if anything, it’s grown on me since. There’s a delightful pettiness to just how committed she is to possessing this guy, presumably the SpongeBob guy with a wife and kids, but this is what I wanted from, say, a “yes, and?” - embrace the ugliness of the “sticky situation” and don’t deflect. She jokingly remarks that she’s “usually so unproblematic” but her heart just took her this way, and on that route, she snarkily may take some responsibility for the people she hurt… but really, she’s too proud of the fact she was the one the guy chose, she’s not going to let anyone get to her on a closer level. As for the production, it’s an excellent modernisation of the 90s R&B she’s referencing, with the same shimmering keys of the song of the same title this acts a semi-tribute to, by Brandy and Monica, that peaked at #2 in 1998 behind the relentlessly silly “C’est la Vie” by B*Witched, but the glitchy Timbaland grooves that a Timbaland or Darkchild would have gone with - more on Darkchild later on, oddly enough - are replaced with a punchy DJ Mustard-esque hyphy groove and chipmunk vocal harmonies ran into the ground in such a way that would be distracting if it weren’t for the fact that, well, the song’s supposed to piss you off a little bit. The business of the production combined with Ari’s unavoidable presence, sticking to a register as high as the weedy synths in the chorus, makes it a stressful but undeniable pop song, and whilst I say it’s a modernisation, this really sounds a lot more like 2016 than 2024 given that it’s a DJ Mustard beat with sound design borrowed from future bass, especially in that excellent and surprisingly natural vocal splicing at the tail-end of the chorus, a genius touch that might not have been added by less dedicated producers. I know I haven’t been kind to Ari in a while on this show, and I would have really liked for a longer or more impactful bridge here, but I can’t dislike this… in fact, I love it, hope it sticks around a little longer so she has at least one good hit from this album cycle.

#60 - “Never Let Go” - Jung Kook

Produced by Bak, Sim Fane, star boy and Outtatown

BTS member Jung Kook enlisted in the Korean military in December but the label still needs to celebrate the group’s anniversary, doing so with… a fully English solo track where he begs for his fans - ironically, the ARMY - to never let go. It’s a weird choice, but he does have a writing credit and despite the lyrics ending up in somewhat generic platitudes that sound like awkwardly-malformed love ballad writing suggestions, he does have a writing credit and some of what he says either calls back to previous interviews or does seem genuinely quite sincere regarding the love he has for his fans, so I can’t really be upset with it lyrically. Sonically, what is going on? Firstly, what are Ken Carson’s producers doing on this and who let them put their producer tags on this heartfelt ballad? Also, what did they even do? I can hear a rage synth texture in there but this is a house-influenced track with tropical guitars and Afrobeats percussion - though the rhythm section is really busy, to an obnoxious level here - that… leads up to one of the laziest and most faceless vocaloid chops I have ever heard. To go for a vocal chop, you need to fill up all available space to make it really memorable, even if it leads to some garbled nonsense instead of a coherent lyric, you can’t just repeat the same “go” vocal take with some harmonies over a rote drop, and punch it in and out based on seemingly arbitrary times and not aligning with the song’s rhythm very well, without filling it up with some counter-melody, interesting sound effect or exciting drum fill. For an upbeat, festive EDM track like this, sound design is key and these are just not EDM producers for a reason. I checked the credits of the other two producers and saw names like Gunna, DJ Khaled, Lil Skies, YoungBoy Never Broke Again and Yeat, and it just makes me feel bad for Jung Kook here. Lyrically, this is fine, his performance is appropriately joyous and sincere, but he’s been served a really bad hand in the production by enlisting guys who just don’t really make this kind of stuff, or at least, aren’t very well-known for it or well-versed in it. I’m not even sure if this needed to be as upbeat as it is considering the subject matter, and frankly, I think this song is good on paper and was largely mismanaged, and given Jung Kook I presume is still in his mandatory military service, I don’t like the lack of control he had on the final product. I’m sure this’ll hit harder for the devoted fans, but I just find this a shame.

#56 - “Sympathy is a knife” - Charli xcx

Produced by EASYFUN and Charli xcx

Like everyone else, I loved the newest album from Charli xcx, BRAT, and you can read more about specifically what I appreciated on my RateYourMusic listening log (account name: exclusivelytopostown). I was actually so taken aback by the pure amount of coverage and appreciation for this album in particular that I was sure it would go #1, and also, I feel like everyone’s said it better than me already. I love Charli’s music but this one didn’t emotionally resonate with me as much as how i’m feeling now did, so I struggle to get to the core of a lot of this a bit more than I did for a record that… didn’t really chart at all, and even if it did, I was on my hiatus during that time so wouldn’t have reviewed it. To paraphrase that Ari song, oh, how the stars align. Naturally, two tracks from earlier in the album - though, bizarrely not “Club classics”, perhaps the stickiest track on the whole work - have charted, and we start with “Sympathy is a knife”, potentially charting because it could be about another pop star, similar to “Girl, so confusing”, which is very evidently (allegedly) about Lorde. “Sympathy” is comparatively more vague and features the first example of the emotional wall she builds up through Auto-Tune and dance jams on the album breaking thanks to that belting chorus where Charli practically gives up any control of her feelings, taking what sounds like a personal issue and exploring how it’s damaged both her internal psyche and her relationship with others in her life, like her fiancé, George Daniel of the 1975. This is far from my favourite on a tracklist that consists largely of 8/10 songs but not many that really grip me beyond being very well-crafted electropop tracks, mostly because the synthy instrumental is a bit unmoving, but that chorus is a belter and the lyrical detail in the verses is kind of refreshing from Charli, it feels very specific and honestly maybe a bit pointed towards whomever it may appear to be. Moving on swiftly though…

#54 - “PICK UP THE PHONE” - PAWSA featuring Nate Dogg

Produced by PAWSA

Last week, I discussed the phenomenon of putting Nate Dogg’s “Gangsta Walk” a cappella over EDM production, first established by SNBRN’s remix of a fully authorised and licensed sample from his estate of a track that had been leaked and in circulation for a while. This song has been taken out of the late Nate Dogg’s ownership, even though it’s not only the original but the best version of the song, and now you’ll see, thanks to the lack of fact-checking or an official release for the original 2000s track, as well as somewhat misleading reporting from publications that don’t seem to recognise long-standing and quite popular YouTube uploads of that very song as being “heard before”, that tracks that sample Nate Dogg’s a capella are credited to SNBRN instead of the original track. I’m not sure what this phenomenon means exactly for Nate Dogg’s legacy as a whole, and it’s not my place to decide, but it does suck to see yet another faceless, bassy house remix land on the Spotify profile of a man who has long passed. Last week, we had Flex’s “6 in the Morning”, a basic and murky remix that is damn near identical in approach and vibe to PAWSA’s new track here, “PICK UP THE PHONE”, which simply switches around what it extracts from the hook as the title, and hence uses more phone call sound effects… you know, the ones that were already in the Nate Dogg version. Legitimately, the only differences worth caring in this version is that there are extended spoken word passages and the bassline sounds straight out of an underground level from the NES. It’s cheap, it’s ugly, it’s remarkably basic, and whilst I love how samples can spread through both club culture and the Internet, I wish that more interesting things were being done with a vocal from one of hip hop’s most recognisable and legendary West Coast figures than just disposable, bare-bones garbage that barely adjusts the fundamentals of what SNBRN was going for in 2015. I know it’s easy money to just pick up a viral vocal take and put it over a pre-programmed demo, but for the love of all that is good music, please try harder.

#47 - “Talk talk” - Charli xcx

Produced by Hudson Mohawke and A.G. Cook

Much like on the record itself, “Sympathy is a knife” and “Talk talk” are in this episode, separated by a brief break. On BRAT, we have the ambient passage “I might say something stupid” where Charli reckons with self-worth and belonging, with “Talk talk” expanding on that arc by showing how she deals with that loss of self by latching onto other people, in this case, a specific person she becomes somewhat obsessed with despite a distance. Long-time producer A.G. Cook is joined by Hudson Mohawke of all people for this shimmering house track taking quite a few elements from nu-disco with all the flashy keys and guitars, as well as a filtered hook that is incessant and really sugary. To be completely honest, this track as a singular piece kind of annoys me - I mean, obviously, the album’s called BRAT - but it hits really hard coming off of “I might say something stupid” in album context because that way of dealing with self-worth issues really resonates with me, even if, once again, it’s a little bit too unmoving to grab me when taking as a sole piece. It doesn’t make that desperate, semi-rap outro any less impactful though, especially when you expect her to flash back or repeat after that loose request to go back to her place… but it never comes. Then on the album, we spiral into the self-obsessed “Von dutch”. Perhaps I appreciate it more on an emotional level than musically, which is the opposite than for most of the rest of the album outside of maybe “So I”, but it’s still great. If you haven’t listened to it for whatever reason, it’s an album worth checking out. My favourite track is “B2b” by the way and no, that has nothing to do with Gesaffelstein producing it, of course it doesn’t… ahem… next, please.

#35 - “Close to You” - Gracie Abrams

Produced by Sam de Jong and Gracie Abrams

What we have a duo of this week is the emergent female popstar following up her biggest hit yet with starting off an album cycle, and both following quite derivative songs that I liked quite a lot but maybe not hitting the way the label intended, at least for me. The main difference here is that Abrams’ “Close to You” debuts incredibly high compared to her prior “Risk”, with her entering the top 40 for the first time, and immediately, it’s quite different from the folk frolick of “Risk”, going for an almost industrial-hinting alt-pop sound with distorted bass and looming, stray sound effects maintaining what could potentially count as a melody behind a more constant but subtle piano. Also, this is a Taylor Swift song sung by Lorde. I’m sorry, but apart from the actual voice itself, Taylor is written all over this, from the Antonoff-esque sound design, glitchy effects from the Midnights bag of tricks, the backing ghostly harmonies and even in the lead vocal melodies that start in a lower register for the verse’s story-telling, building up with pattering drums into the slab of synthpop that acts as the chorus and God, it’s almost impressive to replicate an artist as singular as Taylor Swift so perfectly. Even the weird attempts at poetic word choice are here, and it’s a bit difficult to be dragged into the personal conflict of a voice or composition that reminds me so explicitly of another artist. In fact, as a composition, it’s kind of dull, anyway, as those industrial touches are faded so intensely by algorithmic 80s-pastiche synths that I kind of have to focus on how it functions both structurally and lyrically instead, and yeah, it’s frustrating how basic this is as a love song, and combined with a lack of unique personality, yeah, it’s rough. Still holding out some hope that “Risk” won’t be the one song I like from Ms. Abrams, but maybe she should take the hint from the title of her big hit, because this is truly playlist fodder.

#22 - “Genesis.” - RAYE

Produced by RAYE, Rodney Jerkins, Shankar “shanks.” Ravindran and Tom Richards

I did not really know what to expect out of a sophomore single from RAYE. Given she’s an independent artist now and has had her first shot at genuine pop stardom as a solo act after years of faceless dance-pop, I figured she could go two ways: continue trying to chase the magic of “Escapism.” because without a major-label budget, taking risks is difficult, or she could… well, release a three-stage, seven-minute jazz-rap epic co-produced by Darkchild that she’s been crafting since 2022, which is what she did. “Genesis.” reflects not only a personally desperate isolation but that of the UK public in recent times, starting deeply at home with the social media obsession, drug addiction and generational gap, hinting towards the COVID-19 lockdown, that strips RAYE of her most youthful years, and continues to expand through the fullest middle segment of the song that branches her own experience with that of the society she sees everyday, until that last segment can bring it even further to what can damn near be considered a protest song praying for those most harshly affected by hard times yet most taken for granted by people like RAYE, to get a damn well deserved pay rise.

That constant expansion of an initially contracted lyrical idea is reflected musically as well, with the first part consisting largely of spoken-word passages backed by a swell of strings and a cappella vocal harmonies, as well as stray vocal sound effects that emulate the voices of the outside coming into her home before a familiar boom-bap rhythm drops in for its second part. The gang vocals and looming bass alongside that James Brown shriek make this section really cinematic and whilst as a rapper, RAYE has a long way to go technically, she’s definitely got the conviction to sell the content, especially with the slippery, melodic and overly wordy flow in the verses that clumsily displays the kind of utter desperacy for something to care about, something to look forward.

The primary conceit of the track is “the light”, praying for the eventual arrival of just… anything to relieve her, or us, of suffering. Given the gospel choir that belabours that idea, I expected the third part to be a drumless orchestral swell and whilst there are absolutely gospel elements, it becomes an almost lackadaisical swing track with blasts of unaffected horns and sing-songy, nearly condescending backing harmonies, that hit in a really odd tone especially with RAYE’s frail, highest register. As a finale, it’s effective but hits a really discordant note that almost rings of giving up. It’s a fascinating choice, one I still haven’t gotten to grips with, but it hardly detracts from the song, in fact I respect it more for taking such a theatrical and genuinely bizarre twist - I’m not surprised it’s the least streamed of the parts, which are cleverly separated on Spotify in addition to the full song to allow people to pick and choose their favourite parts. Nothing can beat the piece as a whole though, and this is an incredibly nuanced and intricately-composed track in all its seven-minute glory. I’m pretty confident in saying it won’t last, and I’m not even sure if this is a lead single or just something she needed to get out there, but it’s excellent.

#3 - “Please Please Please” - Sabrina Carpenter

Produced by Jack Antonoff

As soon as I saw that this was produced by Jack Antonoff, I’m pretty sure both my heart and hopes sank into a deep depression and dread that can only be replicated by three hours holding your breath underwater. Apart from the weird “Skin” one-off, the songs I’ve heard from Sabrina since her rise to fame were enjoyable primarily because of their breezy lack of care towards anything that wasn’t her, an effortless riding of grooves with pretty automated songwriting and feathery vocal delivery, with certain quirky inflections, ad-libs and wacky lyrics stretching the corners to make them not as immediate but still really interesting growers of songs that crack down a couple of my “no-fun-allowed” walls when it comes to pop music. The Antonoff credit made me know exactly how this would sound, and my expectations were met almost immediately by how the track starts off with a slab of twinkly 70s synth-funk, bordering on yacht-rock, that probably fits a guy like Antonoff to use for his Bleachers side-project. Drown his despairing vocals in reverb, have a cool guitar solo, it could be a nice, melancholy jam, but bringing Sabrina into a 70s adult contemporary mode seems counter-productive when one of her most delightful aspects is her youth and her playfulness, refuting the need to care about her lyrics missing the mark or her vocal delivery peppering a song with all sorts of oddity that takes the song in weirder directions but ultimately doesn’t derail a track. It should be obvious by now but I find this quite disappointing. She may be a Carpenter but she doesn’t have a voice that works for me within this specific chintzy meadow of soft pop, especially with that F-bomb in the chorus that drifts off into the distance and her cute little failed jokes throughout the verses. Additionally, the song doesn’t sound instrumentally like it was written for the song as it exists lyrically and as a performance - why have those extraneous back-and-forth claps in the first half of the chorus if there’s nothing to justify them in the lead vocal? Why have Sabrina beg desperately for him not to embarrass her if she’s going to clash onto a string swell wherein her lyrical quirks are so distracting they end up embarrassing herself? It just doesn’t mesh. This is a completely serviceable track, especially if I didn’t pay attention or have many expectations, but the more I think about it, the less I get what it was really going for, or if it learned the wrong lessons from “Espresso”. Alas, it seems like it’ll be just as big of a hit, helping “Espresso” resurge alongside it, so we’ll see how that album shapes up if it’s coming. I just hope they don’t rush the process.

Conclusion

Best of the Week goes to Tinashe for “Nasty”. It could be any Tinashe song, it could be her spitting up blood in a bucket for three minutes, it would get Best of the Week. That’s not to say it wasn’t actually pretty close considering the high level of quality for pretty much most of this week, even the songs that fall apart when you think about them for too long come off pretty charming and pretty. The Honourable Mention, despite all the Charli songs, despite Ari’s best song in years, is going to RAYE for the immaculately-crafted “Genesis.” It’s not as much to my personal taste as it is just an incredibly respectable and hard-hitting trilogy of a track. As for the Worst of the Week, PAWSA takes it on principle for “PICK UP THE PHONE”, whilst I hate to say it but the producers really butchered the promise Jung Kook showed on what is my Dishonourable Mention, “Never Let Go”, a kind of subtly bad song that crept up on me as I was thinking more about it, much like nearly all the songs this week that I didn’t like as much. As for what’s on the horizon, we’ll probably see Don Toliver’s album trickle down, maybe some impact from that surprise Father’s Day album from Luke Combs, and there are singles aplenty, though how many of them ill have any effect on chart movement is much fewer. For now, thank you for reading, long live Cola Boyy, and I’ll see you next week!

[powerbottomeminem]

Mgk singing agora hills to Eminem

I love the Remix that Eminem did of The Hills (by The Weeknd) 💚💚💚

[cherienymphe]

hii, pls can you recommend songs that remind you of Rafe too? Idk if you have done a list for him before

Okay, Ozone, Friends, Right Here - Chase Atlantic

Goosebumps remix - Travis Scott + chase atlantic

Rich boy - Payton

Daddy issues, afraid - the NBHD

Champagne & sunshine - plvtinum

Rockstar - post malone

Intro - the xx

Million dollar man, serial killer, summer bummer, west coast, old money, young and beautiful - LDR

Unholy - Sam smith

Vegas, streets - Doja cat

Hands on the wheel - schoolboy q

Lovely, when the party's over, copycat - billie eilish

I Wanna be yours - arctic monkeys

Cold - aqualung

Hancock - villain

The Big Bang - rock mafia

Superman - Eminem

The hills, often, wicked games, starboy - The Weeknd

Him and I - Gerald Earl Gillum and Halsey

Lotto - exo

Kill bill - sza

Confident - Justin Bieber

[dxsturbia]

Pac

Slick Rick and Doug fresh

Dr dre (self)

Slick Rick and Doug fresh

Outkast

Lauryn hill

Fugees

One more chance is used again and idr

No it’s not that is r&b

Hail Mary got used a couple times

And before you ask no it is not keep your head up

[wqbytop100]

WQBY

Top100 for the week ending June 30, 2024

End Of Time --Lucas & Steve, LAWRENT f/Jordan Shaw -1 [6weeks@#1] --9weeks--

Outside Of Love --Becky Hill -10 --13weeks--

I Had Some Help --Post Malone, Morgan Wallen -2 --7weeks-- (#2)

Naked & Alive --Milky Chance -54 --5weeks--

***Tease Me --Nicky Your -(new) --1week--

Larger Than Life --Armin Van Buuren -24 --3weeks--

Love & Pain --Enrique Iglesias -6 (#3) --12weeks--

Midnight Ride --Orville Peck, Kylie Minogue, Diplo -21 --3weeks--

Multiply --Becky Hill -9 --4weeks--

Hero --Vintage Culture, Emery Taylor -11 --5weeks--

Shallow Water --Elderbrook -12 --3weeks--

Lovers In A Past Life --Calvin Harris, Rag'N'Bone Man -5 (#5) --10weeks--

Heaven Or Not --Diplo, Riva Starr, Kareem Lomax -4 (#3) --11weeks--

One, Two & 3 --Galantis -3 (#2) --13weeks--

Unsure --Alan Walker, Kylie Cantrall -25 --2weeks--

I Go Dance --Kiesza -13 (#13)--4weeks--

Role Model --Fat Boy Slim, Dan Diamond, Luca Guerrieri -14 -(#14)--6weeks--

Lighter --Galantis, David Guetta, 5 Seconds of Summer -7 (#1**) --20weeks--

Buscando Money --TWENTY SIX, Tayson Kryss -8 (#3) --10weeks--

Underwater --DubVision, Afrojack -16 (#11) --18weeks--

***Music Is Better --RUFUS DU SOL -(new) -1weeks-

LA --Northeast Party House -22 --6weeks--

Whatever --KYGO f/Ava Max -30 (#22) --10weeks--

Lost In Space --Foster The People -55 -2week-

Left Or Right --Laidback Luke, Mathew Nolan -28 --5weeks--

Hell Together --David Archuleta -26 (#10) --13weeks

Sleep Tonight (This Is The Life) --Switch Disco, R3HAB, Sam Feldt -18 (#3) --16weeks--

Eyes Closed --Imagine Dragons -15 (#6) --10weeks--

Can't Slow Down --Almost Monday -42 --4weeks--

Addicted --ZERB, The Chainsmokers f/INK -20 (#9) --13weeks--

Beat Of Your Love --Ownboss, LAWRENT f/Ekko -17 (#5) --16weeks

No Shade At Pitti --The Chainsmokers -19 (#19) --7weeks--

One Cry --Galantis, Rosa Linn -23 (#23) --6weeks--

Take A Moment --ATB, David Frank -27 (#11) --20weeks--

What If We Met --Ali Gatie -29 (#3) --16weeks--

Houdini --Eminem -33 (#33) -3week--

Morning --Cheat Codes, Jason Derulo -37 --5weeks--

The Craving --Twenty One Pilots -31 (#31) --5weeks--

Without You --Disco Fries, Lavish Life -35 (#11) --16weeks--

It's Love (Trippin) --Kolsch, Goldtrix, Andrea Brown -68 --3week--

Fallin Luv --Gordo, Jeria -34 (#8) --10weeks--

God Don't Leave Me Alone--Gioli & Assla -41 (#35) --7weeks--

We Ain't Good At Breaking Up --Brothers Osborne -36 (#12) --13weeks--

The Moves --NEIKED, Muni Long, Nile Rodgers -38 (#13) --12weeks--

Jet Plane--R3HAB, VIZE, JP Cooper -32 (#1**) --23weeks

Kissing Strangers --USHER -39 (#5) --21weeks--

Disconnect --Becky Hill, Chase & Statis (Tiesto Remix) -47 -7weeks--

Gravity --Frank Walker, Tyler Shaw -43 (#43) --4weeks--

Glad I Found You --Elderbrook & George Fitzgerald -44 (#23) --9weeks--

Old Fashion Feeling --Midland -45 (#45) --4weeks--

Automatic --Roosevelt -40 (#25) --5weeks--

A Tear In Space --Glass Animals -52 (#52) -3weeks--

Only Way Is Up --Robin Schultz, Izzy Bizu -53 (#53) --3weeks--

My Favorite Drug --Justin Timberlake -46 (#22) --12weeks--

Shadow --Trixie Mattel -48 (#37) --8weeks--

Come Come --Vintage Culture, Tube & Berger, Kyle Pearce -49 (#49) --6weeks--

Forgive Me --ODESZA, Izzy Bizu -50 (#50) --7weeks--

Promised Land --Vintage Culture, Paige Cavell -51 (#51) --6weeks--

Without You --Felix Jaehn, Jasmine Thompson -56 (#56) --7weeks--

Enhancer --Northeast Party House -57 (#29) --10weeks--

Nothing Ever Changes --Vintage Culture, MAGNUS -58 (#30) --10weeks--

Level Up --Wolfgang Gartner, Scrufizzer -59 (#32) --13weeks--

***Stumblin' In --CYRIL -(new) -1week-

My Fault --Shaboozey, Noah Cyrus -75 --3weeks--

Paradise --Madison Rose -66 --4weeks--

Sun Comes Up --Timmie Trumpet, Sam Feldt, Ekko, Joe Taylor -67 --5weeks--

Me Caes Muy Bien --Deorro -69 --3weeks--

I Believe --Bassjackers, WUKONG, D Jayne -71 --6weeks--

Carry You Home --Alex Warren -73 --3weeks--

Southern Rock --Travis Denning, HARDY -65 (#65) --4weeks--

Weatherman --Zach Hood -63 (#63) --7weeks--

Weight Of The World --Bonnie X Clyde -60 (#1**) --19weeks-->>>

Willing To Let You Go --Diplo, Anella Herim, Abby Anderson -61 (#35) --8weeks-->>>

My Body --Illusionize, Y&M -63 (#31) --16weeks-->>>

Anthem --Diplo, Sharam, Pony -62 (#26) --16weeks-->>>

NNTS --Ookay -72 (#72) --5weeks--

Whatever --Kyle Walker --74 (#74) --3weeks--

Barcelona --Alan Walker, Ina wroldsen -86 --2weeks--

Love Bites --Nelly Furtado, Tove Lo, SG Lewis -70 (#70) --3weeks-

Perpetual Motion --Phantoms -96 --2weeks--

The Afterhours --Kyle Watson --76 (#9) --19weeks-->>>

***Water --Floorplan -(new) ---1week--

Wherever You Are --Martin Garrix, DubVision, Shaun Farrugia -100 --3weeks--

***Summer's Back --ALOK, Jess Glynne _(new) --1week--

***Brad Pitt --COIN -(new) --1week--

***Rescue Me --Syn Cole, Parson James -(new) --1week--

***Under The Sun --Ella Henderson, Switch Disco, ALOK -(new) --1week-

***Endless Night --Matea -(new) --1week--

***Close Your Eyes --Matt Sassari, Dillon Francis, James Carter -(new) --1week--

***Without You --KYGO f/HAYLA -(new) --1week--

***Look At That Woman --Role Model -(new) --1week--

***Pretty Low --Dillon Francis, Galantis, Arden James -(new) 1week--

***A Bar Song (Tipsy) --Shaboozey, David Guetta -(new) --1week--

***Spiral --Sofi Tukker -(new) --1week--

Loose Ends --Lucas Estrada, Syn Cole -80 (#45) --12weeks-->>>

Make Me Your Mrs --Mae Stephens -78 (#3) --17weeks-->>>

Good As It Gets --Blanco Brown -97 (#77) --8weeks-->>>

Feel This Way --Victoria Nadine, R3HAB, -79 (#16) --16weeks-->>>

Reckless Child --Milky Chance --83 (#5) --22weeks-->>>

Low Again --BAKERMAT -81 (#12) --19weeks-- >>>

14 new on the Chart this week 6.30.2024 # 21 Music Is Better #64 Stumblin' In #83 Water #85 Summer's Back #86 Brad Pitt #87 Rescue Me #88 Under The Sun #89 Endless Night #90 Close Your Eyes #91 Without You -Kygo #92 Look At That Woman #93 Pretty Low #94 A Bar Song (Tipsy) #95 Spiral

[lazorcrab]

Since the beginning of the year, I've been making DJ mixes! Every month, I mix the new songs I've discovered and the old favorites I've re-discovered into a mix called Finally Friday. If you like dance and electronic music and hip-hop, I'd love for you to listen! Check out the SoundCloud links, and the tracklist for the most recent mix, below!

Tracklist for June 2024 mix:

Depeche Mode - Enjoy The Silence (Sgt. Slick ReCut) Chaka Khan - Ain't Nobody (Kronan Remix) Aluna & Paul Woolford - Heatstroke Becky Hill - Swim Eminem - Houdini (Dunisco Remix) Skrillex, Hamdi, & TAICHU - Push (Honey & Badger Remix) Taylor Swift - Fortnight (feat. Post Malone) (BLOND:ISH Remix) Disclosure - She's Gone, Dance On Central Cee - BAND4BAND (feat. Lil Baby) (GESES Techno Remix) Missy Elliott vs. Dillinja & Skibadee - Get Ur Freak On vs. Twist Em Out (DJ Hero Mashup) Missy Elliott - Get Ur Freak On (Fuzz & Ale Rossi Remix) Fred Again.., Anderson .Paak, & CHIKA - places to be

[maximuswolf]

What are songs made worse or better by the remix?

What are songs made worse or better by the remix? When I mean remix, I mean like, other artists, not edm, being featured on peoples songs, when they were not originally. For example, Megan thee stalion’s savage with the Beyoncé remix. Or Justin Bieber on Bad Guy. Which sounds cursed and I don’t want to hear it. EDM remixes could deserve something of their own, because they are their own beast in their entirety. I remember hearing an Eminem remix of the hills by The Weeknd on the radio, which was a first for me, especially when I drive to other places, I always turn on mix 99.1, sometimes I get weird remixes. There was an EDM remix of Counting Stars by Onerepublic, Ryan Tedder’s band, and it was weird. Submitted June 07, 2024 at 04:17PM by Carso11 https://ift.tt/xU1eBEl via /r/Music

[flirtingw1thsuicide]

Eminem kills this shit

[werewolf-cuddles]

Remade my SCM Player again

Amerika by Rammstein

Bones by Imagine Dragons

Burning by Yeah Yeah Yeahs

Can You Feel My Heart by Bring Me The Horizon

Coffee & TV by blur

Die, All Right! by The Hives

Dirty Work by Steely Dan

Do Ya Wanna Taste It by Wig Wam

Don't Call by Dabu (ft. Brigitte Naggar)

Drown by Bring Me The Horizon

God's Gonna Cut You Down by Johnny Cash

Hate To Say I Told You So by The Hives

Here I Am by The Explosion

Hero by Skillet

I Don't Wanna Be In Love (Dance Floor Anthem) by Good Charlotte

I Really Want To Stay At Your House by Rosa Walton

I Was Made For Lovin' You by KISS

I'm Gettin' Money by 2pac

Idol by YOASOBI

Immortal Flame by Panda Eyes & Teminite (ft. Anna Yvette)

Industry Baby by Lil Nas X (ft. Jack Harlow)

Industry Idol (English Slander Mix) by Triple-Q

Insane in the Brain by Cypress Hill

Kick Back by Kenshi Yonezu

LED Spirals by Le Castle Vania

Let You Down by Dawid Podsiadlo

Little Dark Age by MGMT

London Calling by The Clash

Monster by Reckless Love

Na Na Na (Na Na Na Na Na Na Na Na Na) by My Chemical Romance

Nazi Punks Fuck Off by Dead Kennedys

Neat Neat Neat by The Damned

Never Fade Away by SAMURAI

Oath Sign by LiSA

Oh No!!! by grandson

Our Truth by Lacuna Coil

Please Insert Coin (Remix) by SayMaxWell (ft. MiatriSs)

Power of the Triforce by Dragonforce

Pumped Up Kicks by John Murphy (ft. Ralph Saez)

Reunion by Dabu (ft. Brigitte Naggar)

Rise Up by Cypress Hill (ft. Tom Morello)

Running Up That Hill by Little V Mills

Say It Proud from Fortnite

Shame On A Nigga by Wu-Tang Clan

Space Oddity by David Bowie

Stan by Eminem (ft. Dido)

Survival by Eminem

The Touch by Stan Bush

Won't Stand Down by Muse

X Gon' Give It To Ya by DMX

[dwtspotify]

ᯤ •၊၊||၊|။||||။‌‌‌‌‌၊|• Dreamaf

Bando Kid — Trippie Redd (2:28 am EST)

GIRLS — The Kid LAROI (2:32 am EST)

Tornado Warnings — Sabrina Carpenter (2:35 am EST)

Mink — Quavo (2:37 am EST)

DEVIL IS A LIE — Tommy Richman (2:40 am EST)

Slow Rider — Sherwyn (2:43 am EST)

Double Life " From Despicable Me 4" — Pharrell Williams (2:45 am EST)

Mine For The Night — Major Lazer Djz (2:50 am EST)

if you think i’m pretty — Artemas (2:52 am EST)

Please Please Please — Sabrina Carpenter (2:55 am EST)

Deja Vu ft DJ Drama — Logic(2:57 am EST)

Espresso- Mark Ronson x FNZ Working Later Remix — Sabrina Carpenter (3:04 EST)

Houdini — Eminem (3:08 am EST)

Thank You For Leaving — Sports (3:11am EST)

True Colours — Becky Hill (3:14 am EST)

Slow It Down — Benson Boone (3:19 am EST)

Saturn — SZA (3:21 am EST)

Austin (Boots Stop Workin ') — Dasha (3:25 am EST)

MILLION DOLLAR BABY — Tommy Richman (3:28 am EST)

[deadcactuswalking]

REVIEWING THE CHARTS: 08/06/2024 (Eminem's "Houdini", Fred again../Anderson .Paak/CHIKA, Chappell Roan)

It’s been over two decades for Eminem and his new lead single is still debuting at #1 on the UK Singles Chart, becoming his 11th overall. It’s stupid as all Hell, but it might be worth to have some lightening up in the rap world after, well, you know. As for whatever else is charting… well, welcome back to REVIEWING THE CHARTS!

content warning: language, death, gay sex, uncomfortable age gaps, The Real Slim Shady, transphobia, cancel culture, 70s Italian cinema, RuPaul

Rundown

As always, we start with our notable dropouts - songs exiting the UK Top 75, which is what I cover, after five weeks in the region or a peak in the top 40. This week, we bid adieu to some rap as “Malicious Intentions” by Poser drops out - a shame it couldn’t last or reach the top 40 since I do really like that as a follow-up - as well as Future and Metro Boomin’s work naturally dampening off with “Type Shit” featuring Travis Scott and Playboi Carti, and “Like That” featuring Kendrick Lamar. Our three other notable dropouts, unless I’m missing anything, are older pop hits: “Teenage Dreams” by Katy Perry, “Tears Dry on Their Own” by the late Amy Winehouse and finally, “Everywhere” by Fleetwood Mac. Again.

As for our notable gains and returns, we see the resurgence of “Without Me” by Eminem, as his newest single actually landed his biggest first-week sales since that track hit #1 back in 2002, according to the Official Charts Company’s article about “Houdini”… and looking at the top 10 it spent one week on top of, yeah, I’m happy Em took that one. That is a rough week, imagine if I was doing this show in 2002. The new song of course makes reference to and interpolates “Without Me”, yet another one of his goofy lead singles that tend to be really fun highlights of any of his albums, but the original is back at #38. Notably, it spent some time at the very bottom of the chart in 2004 and 2022. Oh, and Becky Hill’s #3 album gave “Outside of Love” the chance to re-enter at #73 though none of the deep cuts ended up debuting, which is a bit of a shame.

Then of course, there are some more predictable boosts for songs already on the chart like “on one tonight” and “one of wun” by Gunna at #57 and #30 respectively, “Thank You (Not So Bad)” by people who should know better at #55, “Addicted” by Zerb, The Chainsmokers and Ink at #54, “360” by Charli XCX at #41 - wonder if the Yung Lean and Robyn remix has anything to do with it - “The Door” by Teddy Swims at #28 and finally, “Pink Skies” by Zach Bryan at #25. Most of these are ones I cannot really complain about, good stuff.

As for our top five, we start with pretty much seeing Billie Eilish’s single choice switch in realtime as “BIRDS OF A FEATHER” remains at #5 whilst “LUNCH” falls right below, then we have “A Bar Song (Tipsy)” by Shaboozey at #4 - shame the album didn’t seem to have much of an impact - followed by “BAND4BAND” by Central Cee and Lil Baby at a new peak of #3, “Espresso” by Sabrina Carpenter dropping off to #2 and of course, with over 100,000 sales, which is a pretty big deal for the UK, Slim Shady at #1 with “Houdini” which we’ll get back to after these messages.

New Entries

#69 - “Carry You Home” - Alex Warren

Produced by Adam Yaron

Okay, I’ll bite: who’s Alex Warren? Well, he’s a young singer-songwriter from California who struggled in childhood due to his parents’ troubles and having to leave home as a teenager, dealing with homelessness for a while, but has channelled that into both a music career and as an Internet personality and YouTube vlogger, which has given him some viral circulation but nothing enough to chart until this year, where after two other tracks bubbling under, he has his breakout new song, “Carry Me Home”, which sticks with me for an interesting reason.

Whilst given that it’s mentioned on his Genius, his Wikipedia and Spotify biographies, and articles by Distractify and Forbes, that his come-up, probably regarded by the more cynical as a “sob story”, is in some way integral to the public image he wishes to portray, it’s clear that it’s embedded in these lyrics as well. One could take them as generic loving platitudes, but the emphasis on a long, going-the-distance relationship that is as passionate in the future as it is in the present, feels very immersed in a guy trying to improve on the example of relationship his parents left him, or really lack thereof given his mother’s addiction and father’s untimely death due to cancer. He mentions not having a place to sleep in the second verse and the song is mostly about marriage, mentioning his mind being on his mother when he says “I do”, bringing that joy of a “traditional” relationship and wedding to a family he never really got the “perfect” version of. Lyrically, I really like these notions, yet I don’t find much to be inspired by in musical execution. The reverb-drenched vocals in the pre-chorus are distracting and he doesn’t have the most unique voice in the world, and the sequencing overall is a bit wonky: there’s very little effective build-up into the stomp-clap frolick of the sing-a-long chorus. Additionally, it just feels a bit rote in its choice of vocal melodies and musical elements, like a factorial way of constructing this kind of song, which sucks considering how personal the lyrics are to him. I’m sure this means more to long-time fans of him, but on a sonic level, I’m not really feeling it at all. Sorry.

#68 - “Red Wine Supernova” - Chappell Roan

Produced by Dan Nigro, Noah Conrad and Lixa

Whilst “Good Luck, Babe!” was the breakout hit for Chappell Roan, it was a new release that took advantage of existing hype solidied from existing releases, particularly on her album The Rise and Fall of a Midwest Princess which is an album revolving around an overexaggerated pop persona whilst also heavily including narratives surrounding her own identity as a queer woman. More LGBT-related concept albums about famous people are coming on this chart week and it’s just funny that I can say that over-specific thing happens not once but twice in these debuts... and I’m not sure she’d like the comparison. Regardless, her two songs that have been bubbling under for a long time are now in the top 75, acting as some of the strongest singles from that album - commercially, at least, I have yet to listen to it in full - that helped prep the fanbase and now general audience for the sleeper smash that was to come.

I was excited when I heard the jangly guitars mixed with Roan’s almost cabaret voice on the intro to “Red Wine Supernova”, before the synth bloops came in almost immediately and whilst the buzzing clash of the two elements later in the track is compelling, it does really disappoint me when a song crashes into synthpop pastiche like that. This is a song about particularly passionate and envigorating lesbian sex, so the dissonance of the somewhat static, distorted electro-rock groove with the point of blissful, organic euphoria in the chorus shouldn’t be that difficult of a metaphor to figure out. The cute back-and-forths in the verses are pretty funny, the pre-chorus is maddeningly catchy… but I still don’t vibe with the main momentum of the song, it feels predictable past its main trick and once you’ve heard that first chorus, her pre-empting the drums coming in during that moment with a goofy ad-lib just feels extraneous the second time, and I really don’t like how the drums mesh with it anyway, it feels too… obvious, I guess. And much like “Good Luck, Babe!”, there’s a disruptive bridge but this one isn’t narratively disrupting, going for a bit of a disco-rap pivot that is equally reminiscent of the “Shake it Off” cringe as it is the natural fall into faster and sassier vocal deliveries you can hear in a surprising amount of queercore and riot grrl punk. One of my favourite examples is the back-and-forth between the vocalists on Team Dresch’s “Yes I Am Too, But Who Am I Really?”, where the two topics of expressing yourself amidst discrimination and being submissive in the bedroom intertwine chaotically and playfully but really make you think about sex’s place in queer identity, whilst also just having a fascinating relationship between the song’s groove and where the words are placed. Chappell Roan’s bridge goes for a similar idea and is just as effective, it’s just that the surrounding sonics aren’t as dynamic or really just to my taste. I can tell the passion is there, as well as crucially, the honesty, but it might not be reflected within the flashy pop production, which is a shame because unlike “Good Luck, Babe!”, the pieces are here for me to love this.

#61 - “She’s Gone, Dance On” - Disclosure

Produced by Guy Lawrence and Howard Lawrence

There are quite a few dance tracks to get through this week, and from many familiar faces, some less familiar than others, some less frequent chart fixtures, some more respected figures, but still a good deal of EDM debuted this week, probably due to it being slower in general and we start with wonky house duo Disclosure, who I generally like. This track has a somewhat peculiar choice of sample: “Dance On” by Italian composer Ennio Morricone, from the 1978 film Così come sei, or Stay as You Are in English. A European erotic romance drama with “ravishing” performances and songs like “Dance On” as the soundtrack, which is a killer slice of slightly dissonant-feeling disco, having a falsetto chant sharing space with synth freakouts but in a call-and-response format that is both fascinating and renders the track tense and almost instrumental, this seems like the kind of film I would consider a guilty pleasure. The lead actress, Natassja Kinski, who was… 17 at the time? Doing nude scenes with a guy in his mid-50s? And she now regrets this film entirely, disapproving of her scenes and saying she wouldn’t let her daughter do it? Okay, well, firstly, I shouldn’t have expected anything less from 70s continental Europe art films, but also, abort, abort, mission abort, let’s not think about the sample’s origins any longer.

Regardless of what sketchy film it tracks its way from, it’s a song that seems built for a French house flip, especially due to its extended instrumental breaks, and Disclosure do just that, with some glading tropical guitars, a steady if predictable house groove and an emphasis on bringing some bliss and transcendency out of a vintage, maybe dated-sounding sample, which is something Disclosure have always done when working with similar samples - “Love Can be So Hard” is a brilliant example of this. The added shuffling percussiion makes the moments of synth magic even more relieving, and the level of detail in sound design is expectedly immaculate and crafted to ridiculous degrees: the little moment in the pre-drop where the synth briefly wanks out in a zig-zag style before the beat comes back in fully is such a nice, goofy touch - there’s a lot of goofiness this week - and that bridge / outro with the glitched, screechier synth that gets shut off into a murmur is great. It’s almost weird to talk about a song like this on here - it feels like one of the many future funk songs I’d find randomly on Spotify and jam to them in my own time, never really thinking about how to review them. But I’m not upset it’s here - whilst I understand that my enjoyment of this pries on very specific genre preferences, it’s outstanding in its field, this is excellent stuff.

#59 - “Set My Heart on Fire” (“I’m Alive” x “And the Beat Goes On”) - Majestic, The Jammin Kid and Céline Dion

Produced by Majestic and Lee Tyler

Wow, been a while since we had a mouthful like this on the chart because dear God, what on earth is this? Let’s start with the artists, as that should be easier. Majestic is an English DJ known mostly for his hit remix of Boney M.’s “Rasputin” that I reviewed back in 2021 and thought was just okay, whilst The Jammin Kid is new to the chart, and seemingly new to streaming services entirely as he has no other work on even SoundCloud than just this track and its remix. What he does have, however, is a TikTok following so I think his social media presence may have led to a credit on this track, especially since I tracked down the mashup idea to a TikTok of his with a couple hundred thousand likes wherein he does the typical “pretend to do anything on a mixing board” as he dances around to an obviously pre-programmed mashup of the two tracks in this medley, which is probably not enough for a track on its own so took a cosign from Majestic to get on Spotify, who also probably helped with his connections to get the sample cleared.

The original mashup, available on The Jammin Kid’s SoundCloud, is a pretty straightforward mashup with a few additional production touches but no outright reworking, pairing Canadian legend Céline Dion’s 2002 hit “I’m Alive” with the soul group The Whispers’ 1979 classic “And the Beat Goes On”, their only #1 on the US dance and R&B charts, and one of their biggest hits in general, as it peaked at #2 in the UK in 1980, behind Kenny Rogers’ “Coward of the Country”, and is an iconic, undeniable funk track. If you think you don’t recognise it, listen to those first few measures and have all the memories coming back. Once again, it makes perfect sense for a French house remix. That’s not what The Jammin Kid did though, he placed the vocals of a Céline Dion song from beyond her biggest era and one that didn’t even chart on the US Hot 100. A big worldwide hit, of course, because it’s still Céline Dion, but at least from my experience, not one nearly as remembered as the instrumental he’s being paired with. I also don’t really like the song, frankly, it’s some adult contemporary schmaltz that wastes Dion’s iconic voice. It did peak at #17 in the UK however, whilst Blazin’ Squad’s cover of the Bone Thugs classic “Crossroads” was #1. Similarly to the Whispers, it is built for sampling and actually has a history of being made more upbeat and disco-influenced. A popular remix of the time places the vocal against a soundalike of Blondie's "Heart of Glass".

The mashup itself is fine if kind of lacking in much more of an idea than just “this song works on this song”, which is sometimes all you need, but I definitely prefer the more intricate house remix from Majestic, which phases out its isolated instrumental elements from “And the Beat Goes On” is a very wispy way that absorbs the smoother elements of the original mashup rather than fully reimagining it in sped-up house form, which does help it go down a bit easier considering all the glitz and saccharine nature of mixing two very famous and shimmery songs together. Interestingly, The Jammin Kid is replaced as a producer by industry co-producer and writer, Lee Tyler, which goes to show just how little idea or involvement he had in developing the track any further - it’s not unrecognisable in this form, far from it, but it has such a clearer sole identity from Majestic and Tyler’s reworking. There’s a lot of swell to the gospel choir, disco strings and trickling synth cascade as well as typical French house guitar riffs but it does feel a bit like, well, exactly what it is. TikTok backing music for a guy dancing around in his living room pretending to produce. I do like that a song with this interesting of a story and rabbit hole is charting, as well as it being notable that TikTok mashups if given the right push and clearance, can be successful risks for all companies involved, from the original labels to opportunist scene-familiar DJs, and make hits in themselves. I just don’t think this thesis of a flip is particularly inspiring.

#53 - “HOT TO GO!” - Chappell Roan

Produced by Dan Nigro

I was worried when I started looking into the lyrics of this track and their meaning, because it seems to be all about high school - the chorus is a cheerleader chant, and “HOT TO GO!”’s main conceit is about her school experience, wherein her appearance was dismissed as “pretty”, but not “hot”, with the Chappell persona absorbing the overt sexuality she was never granted during those times. Now, I was worried because of the perhaps bratty nature of the song which definitely is there and I can’t personally relate to much of the teenage melodrama anymore, but this might actually be my favourite of hers so far, mostly because I love this. The blooping new rave synth bop is still less interestingly textured than it should be but its taunting sing-songy loop reflects the almost condescending nature of her treatment as an adolescent, and the twinkling shakers in the chorus bring it to an incessant, mechanical level that I find a fascinating choice. The post-chorus, which should be the moment that feels like a release given its blast of guitars, is still stiff and constricted by its limitations, with the most catharsis coming from Chappell’s vocal outbursts within the verses, which are often just comically honest. She actually got a laugh out of me when she expressed her clear ulterior motives in the second pre-chorus that she made this song so that this girl would sleep with her, connecting the otherwise perhaps disparate themes of this song, which is mostly a dance track, albeit one that ropes in the potential tedium of those genres as a plot device, with that outro being a great way to end off the track; its awkwardness and lack of mutual response from the second party is the kind of skit you see in a 90s or 2000s teen comedy. Perhaps surprisingly, this one ended up being my favourite from the three, but still, I’m not fully convinced on whether that album would be to my taste, I suppose we’ll see if we get more debuting from it or her later works in the future.

#50 - “6 in the Morning” - Flex (UK) featuring Nate Dogg

Produced by Flex (UK) and Doc Funk

Yes, (UK) is in their official Spotify name, and I say “they” because this doesn’t feel like a chart placement for this specific song but more of a phenomenon because oh, boy, there’s a rabbit hole to go on with this one. I don’t actually know where our story starts, but an obscure loosie from the late rapper Nate Dogg was circulating at least as early as 2009, where a popular, unauthorised upload still remains on YouTube. There is artwork on Discogs of this being a physical, non-label, perhaps unauthorised release, but it’s not explicitly dated as far as I can find, so this being described as “new music” in June 2009 is as far as I’m getting. It’s a catchy, twinkly R&B-rap fusion with some uncredited female vocals and a lot of richly-voiced hooks from Nate, who was just the master of those, though the song doesn’t sound fully finished considering the sheer amount of chorus, a bit of an unmoving beat and vocal mixing not as layered as it could be until its meandering outro, but also sounding slightly unfinished was kind of the norm for cheap 2000s pop rap. In 2009, Nate Dogg was suffering from having experienced two strokes the years prior and was largely retired from music as a result, with this record not seeing an official release until long after his death.

After passing in 2011, Nate Dogg naturally fell victim of the pop music indutsry’s exploitation of its deceased, but not nearly as heavily as one would expect from a death that could be placed firmly in the dying moments of rap’s bling era, as hip hop tends to treat posthumous features even less gracefully than other genres. Hell, the only reason “Gangsta Walk” probably didn’t get an immediate posthumous re-release is that it had been on the Internet for a few many years and sadly, Nate Dogg had fallen into irrelevance… until 2016, wherein a remix of his song with 50 Cent, “21 Questions”, went viral on SoundCloud. As Mixmag reports, California producer SNBRN was granted access to an unreleased acapella from Nate Dogg’s estate for him to place a warm, vaguely tropical house beat under, speeding up the track to fit the tempo and placing some nice, yet very typical and now quite dated pianos and horns that fit how this genre really sounded for quite a while there. Whilst not charting, it was a viral enough success that this became retrospectively recognised as the original song, particularly due to reporting that, in my opinion, was misleading and did not do its due diligence in explaining the leak circuit around the track that had existing for nearly a decade at this point. Nonetheless, Genius does not have a page for Nate Dogg’s original and attributes samples of that vocal to the SNBRN track “featuring” Nate Dogg.

There aren’t countless examples but are now plenty of dance tracks using that Nate Dogg vocal, and now that 2010s nostalgia is in the midst, it makes all too much sense that yet another viral hit would be made out of flipping the sample on a house beat, so here comes Flex to do just that with a pretty boring house beat that does sound like a throwback to older garage tracks due to its bass and use of an acapella that’s kind of crusty at this point, ends up having to be drowned in reverb, but that and the wonky synth paired with the vocal make this feel less like a throwback and more just a cheap, dull and frankly lazy attempt at taking what was already a successful flip and throwing it into this producer’s style. Well, as far as I know that it’s his style because he has no other Spotify presence, but I understand that streaming doesn’t reflect club mixes, and this definitely feels like the kind of remix that gets thrown into one of those and promptly forgotten the morning after. The story behind this track’s success is so much more interesting than the song itself that it’s honestly humorous.

#35 - “places to be” - Fred again.., Anderson. Paak and CHIKA

Produced by Fred again.., Skrillex and Boo

A collaboration between Fred again.., Skrillex and Anderson .Paak is like a dream to me. I’m not surprised that it exists given how collaborative all these guys here, but I’m absolutely glad it does and yes, it lives up to all expectations, this is excellent in all the ways you’d expect and then some. Bringing the breezy blue skies of “ten” to the frenetic drum and bass of “leavemealone”, this is such an organic meshing of the styles that feels second nature to Fred again.. at this point, and the overall vibe is a transcendent rush of feelings, borrowing tiny snippets from Alabama rapper CHIKA’s commandeering, kind of sexy poetry and fusing them melodically to create hooks that feel way too obvious to have been reconstructed through samples of spoken word and not just be inherently there in the sample. I don’t know which one of the three it was to form a hook out of a 2017 poetry recording from an underground rapper, probably Fred’s given he’s done it before, but it’s just as cute and catchy as it is thematically fitting to the lifting of worries that this song embodies. The clipped percussion amidst a myriad of pitched-down vocal glitches and a loveable wave of vintage synths, delightfully slightly distorted to push this into a similar vapor feeling as a lot of the other EDM tracks debuting this week, allows this song to feel homegrown despite the big names involved and the disparate sample selections. It’s impressive to have a drum and bass song with this much immediate punch and drive still feel like such an airlift, and the first time I heard it, knowing that it would be special, I was still pretty awestruck by just how beautiful I found this track.

I could swear I’ve heard the pitch-shifted “down” / “I” hook from somewhere, maybe even sampled in another EDM track, but given WhoSampled haven’t found it yet, my immediate thought is just that it’s co-writer BEAM delivering ad-libs that were then implemented as one of the song’s many hooks, alongside the main conceit of the track that CHIKA’s got places to be, and they’re next to her partner for some intimate time. It’s adorable and loving, so when .Paak comes in with his familiar pre-verse child-like shouts of “yeah!”, I knew a special verse was coming. I understand that most chart fans will be familiar with his smooth jams alongside Bruno Mars as part of Silk Sonic, or even his funk and soul solo albums, but he has a pretty storied history of rapping over wonky electronic tracks by acts like KAYTRANADA so he’s not a surprise here and he’s also just a perfect fit. Going for a faster flow than usual, embedding inklings of promising melodies within otherwise rapid bars about just having fun with this girl, .Paak oozes an effortless and carefree charisma, and is fully at home with this subject matter - if you know, you know, the guy just loves women. Same. Anyway, even the lyrical details amidst the quicker, less noticeable parts of his rhyme scheme here, add to the otherworldly atmosphere created, referencing NASA and the fact that, hey, if they put a man on the Moon, the least he can do is make that ass shake, right?

In further choruses, CHIKA’s sampled vocals are warped and flubbered in a way that .Paak’s fuller vocal mix that fill in for, both in harmony and separately, making a song that could narratively feel quite distant due to an original verse being in combination with several samples, fall brilliantly into place. The level of care put into not just the sound design but the thematic, narrative elements of the songwriting that can be involved in what may sound like rote sequencing decisions, may not be unique to Fred again.. and Skrillex but they are masters at this, and .Paak is down to let those visions into reality as he hypes up the CHIKA sample with his ad-libs as if they were recording in a studio together. They literally complete each other’s sentences, it’s gorgeous. So where does it go from that perfect second chorus? It goes through the motions, but hardly in a negative way as it continues to soar further into the skies on the cover art, with a vocal chop from someone who is definitely BEAM panning from left to right and whilst being explicitly stuttered nonsense, somehow makes complete sense when .Paak or CHIKA pre-empt it with “You got that…”. Like, yes, sometimes that loving feeling is completely indescribable, and human relationships can only be expressed in a garbled emotive response, that eventually has to slow down into a rest as the night is over and you both need some sleep. CHIKA’s lines about adjusting her speed slow down and warp into a glitch but it doesn’t feel inhuman, it just feels like the inevitable winding down, and you can tell from the lyric chosen that there’s still a great deal of mutual comfort in that.

I have gone into way too much detail about this, probably, and the next review will be just as frustratingly long, but the care put into tiny little details like a stray chipmunk soul vocal used to transition between parts, a funny YouTube clip from 2020 they picked out and placed in the bridge, it’s all just so endearing and immersive. It’s everything I love about what can be done in this genre when taken to a pop format, and even without, and effortlessly intertwines the story and character of the artists involved to its sonic design. I know it’s only been a week since release but I can confidently say that if it isn’t my favourite song of the year so far, it’s close, and I understand that this is in large part because, well, of course a song like this would be to my taste, but I hope I’ve given more than enough valid reasons for that love not to be misplaced.

#1 - “Houdini” - Eminem

Produced by Luis Resto and Eminem

I am far from the biggest Eminem fan in the world, as is probably well-documented on this blog, but I’m well-informed enough and definitely nostalgic for some of his older material when he took himself less seriously. I knew that eventually he was going to come around fully to the goofy Slim Shady persona - his last album, Music to be Murdered By, was just teeming with dad jokes and “horrorcore” lyrics - but the sheer amount of self-referential humour and surprisingly smooth integration of the character into the modern day seems like both an ambitious project to take on and a cheap take on the nostalgia circuit. Nonetheless, there seems to be a higher concept to this all being the final nail in the coffin for that persona, with this lead single featuring Slim Shady returning by travelling to interact with the modern Eminem and make his typical irreverent comments about pop culture that he would back in the day. Lyrically, whilst it’s not exactly laugh-out-loud funny, he’s really bumped up the surrealism to some of the commentary as to ensure we know that this character should probably die: just full of pointless hatred and cheap dad jokes, but still comes back to pester the game.

The magician conceit doesn’t go very far outside of the cover art or that incessant chorus borrowed from the very prominently sampled “Abracadabra” by San Francisco group the Steve Miller Band, which fits in both the pop climate and Em’s discography as he’s sometimes been one to sample, at his leisure, cheesy choruses in incredibly obvious and corny ways. “Abracadabra” itself peaked at #2 for two weeks here behind Captain Sensible’s equally ridiculous “Happy Talk” and Irene Cara’s “Fame”, with their bigger hit, and only UK #1 being “The Joker”, an actually good song. Whilst I’ve never liked “Abracadabra”, its inclusion here is playful and almost mocking, I feel like Em doesn’t even like the song either, so there’s a snarky nodding of the head to the audience with how gratuitous its use is. As for Em’s flow and lyrics themselves, he has not sounded this smooth in a while and whilst still occasionally choppy, I think that comes from an intention to always be exactly on-beat outside of the funny, sing-songy melodic flow switches, as if you care to look back at Em’s plethora of goofy tracks, whilst a lot of them are just as choppy, he tends to take a more conversational and devil-may-care attitude towards its cadences, and that is somewhat present here but less so than when he was making tracks about shitting, pissing and cumming. I guess you could say that over time, he’s gotten less fluid.

The track even starts with a classic Paul Rosenberg skit where he finally gives up on trying to reel Em in, before he ends up taking shots at Megan Thee Stallion (no pun intended), modern technology, RuPaul, “wokeness” and even Rosenberg himself, and whilst I’m sure some people will take this at face value, not only are these kinds of anti-PC lyrics wherein you’re supposed to know he’s in the wrong Shady’s bread and butter, but they’re 1.) more clever than half of the edgelord memes you see on X nowadays and 2.) very obviously just as dedicated to dissing himself as those he mentions, and some of those people like R. Kelly might deserve the mockery. The Megan Thee Stallion joke is cheap, but part of the joke is that Eminem doesn’t have a chance of a collaboration - a “shot at a/her feat/feet” - in the first place, and when he calls Paul a male cross-dresser, he knows full well that you can look up the “My Band” video and a myriad of others and see Em doing the same. He even dedicates a lot of this song to criticising his previous drug addictions and whilst you may find that even harmless jokes about trans people would still be rough coming from a guy on Em’s level, that argument relies on the idea that anyone is taking the line “My transgender cat’s Siamese, identifies as Black but acts Chinese” as anything more than a throwaway non-sequitur poking fun at the idea that anyone can “act” like a certain race. If this is taken by any commentator from any end of the political spectrum as an attack on wokeness, they’re missing both that Eminem himself is very woke and that the song takes elements of wacky right-wing commentators, bringing them into the Slim Shady persona which would be very in-character for a character who slings around the F-slur, and by connecting them with such degeneracy as Slim, he’s absolutely parodying them. Is this line that far from how Alex Jones thinks the government is turning frogs gay using chemicals in the ocean? And plus, if we can hump dead animals and antelopes, then is there a reason that a man and another man can’t elope?

This is a certifiable entry into the now prolific standard of goofy, nonsensical Slim Shady tracks, and to nerd out a bit, this is exactly the kind of style I want from Eminem. My favourite album from his is the inexplicable and fascinating Encore and some of my favourite tracks from him like “Rain Man” or “Campaign Speech” are absolutely off the rails. A concept album about this character is really exciting to me and whilst some of the references to his catalogue are more surface-level, even in that first verse, he references deep cuts like “Evil Deeds”, implements one of the catchiest flows from “My 1st Single” - as soon as I heard that concentrated verse, I knew that he was finally back in that bizarro space I love and calculating it in a much clearer and funnier way. I’m weary to say it, but this is a hilarious, promising single and I’m genuinely really curious to where this album goes. Also, he shouted me out on the third verse. Always love a cactus bar.

Conclusion

It should be pretty evident, right? A good week, with a lot of insane rabbit holes, detailed, intricate productions and a whole lot of sampling upon sampling, just a lot to talk about overall, but if you read any of this, you’ll be able to tell that the Best of the Week goes to Fred again.., Anderson .Paak and CHIKA for “places to be”, whilst the Worst of the Week handedly falls in Flex (UK)’s hands for just a boring remix of a promising track from the late Nate Dogg in “6 in the Morning”. There’s nothing worthy of a Dishonourable Mention here so I’ll tie the Honourable Mention between Eminem’s “Houdini” and Disclosure’s “She’s Gone, Dance On” - sorry, Chappell Roan, “HOT TO GO!” was close, but it’s a lot of competition. As for what to expect from the next episode, RAYE’s on the horizon, as are Halsey, Sabrina Carpenter aiming to avenge the #1, Jung Kook of BTS and most importantly, Charli XCX has a new album. But for now, thank you for reading, long live Cola Boyy and I’ll see you next week!

[the-silver-chronicles]

FC5 OC: Deputy!Silva Omar song list

Just putting this here for the funsies.

Songs:

Last One Standing - Skylar Grey ft. Polo G, Mozzy, & Eminem

Now you see me standin' in the lights But you never saw my sacrifice Or all the nights I had to struggle to survive Had to lose it all to win the fight I had to fall so many times (oh-oh-oh) Now I'm the last one standin'

Dream - Bishop Briggs

I wanna lay here, lost and bitter So long, I feel like I could die I wanna tell you what my truth is But it's buried down inside

Shining light, show and tell Don't be scared, truth is hell Down we go, wish me well No one knows where we fell

Black Out Days (Future Islands Remix) - Phantogram

Dig a hole Fireworks exploding in my hands If I could paint the sky Would all the stars then shine a bloody red?

Stay Hey hey hey ah Away hey ah Away hey ah And stay Hey hey hey ah Away hey ah Away hey ah

And stay Hey hey hey ah (I'm hearing voices all the time and they're not mine) Away hey ah Away hey ah (I'm hearing voices all the time and they're haunting my mind) And stay Hey hey hey ah (I'm hearing voices all the time and they're not mine) Away hey ah Away hey ah (I'm hearing voices all the time and they're haunting my mind)

Black out days I don't recognise you anymore

Running Up That Hill (A Deal With God) - Kate Bush

And if I only could I'd make a deal with God And I'd get Him to swap our places I'd be runnin' up that road Be runnin' up that hill Be runnin' up that building Say if I only could, oh

...

And if I only could I'd make a deal with God And I'd get Him to swap our places I'd be runnin' up that road Be runnin' up that hill With no problems

East of Eden - Zella Day

Show your face and finish what you started The record spins down the alley, late night Be my friend, surround me like a satellite

Tiger on the prowl East of Eden Coming for you now

Keep me from the cages under the control Running in the dark to find East of Eden Keep me from the cages under the control Running in the dark to find East of Eden

Find East of Eden (Ah-ah-ah-ah-ah-oh) To find East of Eden (Ah-ah-ah-ah-ah-oh) To find East of Eden (Ah-ah-ah-ah-ah-oh) To find East of Eden (Ah-ah-ah-ah-ah-oh)

Instrumental Music:

Further - Brian Tyler (feat. Serena McKinney)

Tessa - Steve Jablonsky

Might update later. Anyway, hope you all like it.