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digihindnews · 2 years

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Rapper Enchanting Net Worth: How Did He Achieve Such Great Mastery At a Young Age?

Introducing the one and only Rapper Enchanting, a rising star in the hip-hop world known for her captivating lyrics, powerful stage presence, and infectious beats. Born and raised in the streets of Atlanta, Rapper Enchanting discovered her love for music at a young age. With a natural talent for writing and a passion for hip-hop, she quickly established herself as a force to be reckoned with in the industry. With her unique style and powerful voice, Rapper Enchanting has become a fan favorite, captivating audiences with her catchy beats and relatable lyrics. Her music reflects her own personal experiences and struggles, and she uses her platform to inspire and empower others to chase their dreams and overcome their own obstacles. In just a few short years, Rapper Enchanting has already achieved incredible success, with multiple hit singles and collaborations with some of the biggest names in the industry. Her debut album, "Enchanted Dreams," has taken the world by storm, with fans praising its raw authenticity and powerful message. But despite her rapid rise to fame, Rapper Enchanting remains humble and grounded, staying true to herself and her roots. She is a true inspiration to her fans and an icon in the making. With her incredible talent, unwavering dedication, and infectious energy, Rapper Enchanting is poised to take the hip-hop world by storm. So keep your eyes and ears open, because you never know what she'll enchant you with next.

Net Worth Of Rapper Enchanting

As of the year 2023, it is predicted that Enchanting has amassed a net worth of $600,000. She has accumulated a sizable fortune through the sale of her recorded music and live performances. In addition, her self-titled YouTube channel brings in an annual income of up to $45,000.

Career Of Rapper Enchanting

https://www.instagram.com/p/Cjd1hZoOYOy/?utm_source=ig_web_copy_link She started out as a multi-talented athlete and cheerleader. In addition, she worked as a hair and nail technician for a while. At age 18, Enchanting began a career in music. If You Are Interested In This Post: - Exploring The Impressive Vinland Saga Season 2 Episode 4 Releasing Date - Shockwaves as CBI Busts KCR Daughters Associate in Delhi Excise Policy Scandal After finishing high school she began to take music seriously. Afterward, she made a short mixtape that ended up being a major boost to her career. A mixtape called "Love & Drugs" was released. The mixtape sounded like a baby, but it was enchanting. Nonetheless, the positive feedback she got from her classmates encouraged her to keep making music. Her rap sound was described by Enchanting as "chill with a dash of neo-soul," which incorporated a touch of classic R&B and a pinch of a modern trap. There is only one EP by Enchanting available on Apple Music, and it's called Enchanted. The Texan emcee has revealed that she began rapping after signing with Gucci's label, 1017 Records. During her Fort Worth ebullience, Gucci reached out to her. She accepted the rapper's offer of a recording contract and moved to Atlanta. This house represented her initial purchase of a real estate in the United States. She then proceeded with her musical journey, which was enchanting. She is featured on the tape Gucci Mane Presents So Icy Summer. She credits Gucci Mane with teaching her the value of efficiency and diligence in her work. The enchanting has also made an appearance in the music video for No More Parties by Coi Leray. Do A B-, a song Kali and she collaborated on, also features her. The music videos for Enchanting's songs have also been appearing on her own channel there.

Rapper Enchanting A music video for her song "Addiction" was released online by the Fort Worth rapper on July 6, 2018. A number of her music videos, including Sad dedication to Xxxtentacion, Never Really Mattered w/ Lyrics, Codeine S*x, Buss It Back, Free Hank, and Homeboy On A Shirt were then posted online. Related Post: - Biggie Small Net Worth 2023: How Much Money Did The Notorious B.I.G. Have? - Ben Affleck Net Worth 2023: Everything You Need To Know About Ben Affleck On March 26, 2021/22, Enchanting released the music video for one of her hit singles, Want Sum. Over three million people have watched the music video. A music video for her song "Big Chant," which featured Gucci Mane, was released on July 30, 2021. Over a million people have watched the official music video. The most watched music videos by Enchanting include: Tract & Field featuring Kali, Take It Back, Large Amounts featuring Gucci mane, What I Want featuring Jacquees, Kater To Me, and Issa Photoshoot featuring Gucci mane. On February 10, 2023, via 1017 Records, Enchanting released her newest studio album, titled Luv Scarred/No Luv (Deluxe).

Personal Life Of Rapper Enchanting

Enchanting has been vague about her romantic history. She has not posted anything on her official Instagram about her dating life as of late. Pictures of her being single dominate her Instagram feed. In fact, her official Instagram account, @luvenchanting, has 935k followers as of this writing. Follow us on Twitter to check out our latest updates on our social media pages. Read the full article

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dustedmagazine · 3 years

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Listed: Cloakroom

Photo by Vin Romero

Cloakroom are a trio from Indiana who have been making music somewhere in the regions of shoegaze, stoner rock, metal, and even-post hardcore since 2012. Dissolution Wave, their third LP and second on Relapse Records, is a concept album about a future where space miners have to write songs good enough to keep human civilization going, and it rips. Ian Mathers covered the record for Dusted and praised its “mastery of and dexterity with [the band’s] looming, frazzled sound” and said it was “the trio in all-killer-no-filler mode.” Here, Cloakroom’s impressively bearded bassist Bobby Markos lists ten records with personal connections.

Ten Records Tied to Significant Points in My Life

One of my earliest memories in life is accompanying my father as he went shopping for 45s at a local record store. He had a little handwritten list with song titles he was looking for, many of them B-sides and lesser-known cuts from his youth. Once he had a stack, we took them home and he used our home stereo system to dub the singles to cassette tapes, thus exposing me to the art of mixtapes at an early age. When our family would take long road trips to Florida or West Virginia, those tapes were our soundtracks, and before I knew arithmetic, I was learning the ins and outs of Herb Alpert, the Sandpipers, Spanky & Our Gang and other classics from the 1960s.

As a result of this practice, not only have I always had a taste in music beyond my age, but I learned to associate songs with moments. Music and nostalgia go hand-in-hand for me and listening to certain albums can be a transportive experience, taking me back to previous chapters of my life. The following are ten records that have strong links to my past (in alphabetical order):

The Beatles — Rubber Soul

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Growing up, I heard a lot of Beatles tracks on the radio, as my father only listened to classic rock stations in the car, but for some reason the only physical Beatles recording we had in the house was a CD copy of Rubber Soul. When I was in high school, I started listening to it frequently, and it was here that I figured out that the band transcended the singles you would hear on the radio. And that they were so gifted in a studio setting. Not to mention, the last four tracks (“In My Life,” “Wait,” “If I Needed Someone” and “Run For Your Life”) are an incredible block of songwriting.

Boards of Canada — The Campfire Headphase

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During my senior year of high school, Myspace was roaring and suddenly you could connect with people outside of your immediate city and friend circle. Common practice upon meeting someone new was sharing music, and I credit that time with turning me on to some artists I would have never come across on my own. One of those became my favorite band: Boards of Canada. Someone from Michigan sent me “Dayvan Cowboy”, claiming “this is their only good song.” I listened to that song on repeat for months before I finally dove into the rest of The Campfire Headphase, and the rest is history. Since that first listen, BoC has been my favorite artist and arguably the most influential music I’ve ever heard in my life. For being an instrumental album, it speaks louder than any other record I’ve ever heard, immediately transferring the listener to the 1960s California coast during a sunset drive. I listened to this record going to sleep every remaining night of high school, and much of my early touring years, because it became home.

Broadcast — The Noise Made By People

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A dear friend of mine who was living in the Bay Area at the time sent me Broadcast’s Tender Buttons and I was immediately hooked. I was in undergrad and still living at home, using the family computer to house my digital music library. Something about Broadcast’s nostalgic sound took me back to my childhood. It was familiar but new and exciting all at once. I acquired their entire discography, and The Noise Made By People became my favorite. I love Trish Keenan’s lyrics and delivery; she was magnetic through sound waves. “Unchanging Window,” “Come On Let’s Go” and “Until Then” would be career songs for any artist, but the whole album is magnificent. I’ll always associate it with my early college years.

Earth — The Bees Made Honey in the Lion’s Skull

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Once I had graduated high school and started my old band Native, I was spending more time up in Chicago with friends I’d met through playing shows. I hadn’t listened to much heavy music except my father’s Black Sabbath tapes, so bands like Earth, Sunn, Pelican, etc. were not on my radar. I knew of Dylan Carlson and Earth through his Nirvana connection but hadn’t spent much time with his discography. A friend played The Bees Made Honey in the Lion’s Skulland I had a transformative experience, It was like a chamber in my brain was suddenly unlocked. “Rise to Glory” really stuck with me. There was something in the sound that reminded me of my youth and I became obsessed. I realized that not only could music be slow, but drone music could be beautiful. I also learned the art of ambience. I began really diving into the Southern Lord catalog and found many of my favorite bands because of this. Listening to Earth also helped shape my approach to music thereafter.

José González — In Our Nature

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The same person who turned me on to Boards of Canada also showed me Zero 7, and I began listening to them daily on my drives to college campus my freshman year. I really loved the tracks “Left Behind” and “Today,” and realized that José González was singing and playing guitar. I quickly dove into his solo albums and realized he had just released In Our Nature. He had an upcoming date in Chicago, so I bought tickets and went with a friend. It was the first time in my life that I had driven myself to a show that I wanted to see, and I’ll always remember that night. There was something so romantic about the lighting in the city streets. José was mesmerizing on stage, I felt starstruck just being in the room. His presence as an artist is so humble, but larger than life all at the same time.

My Bloody Valentine — MBV

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I had gotten into Loveless and the rest of My Bloody Valentine’s discography over the years, so when MBV finally was going to see the light of day, I was part of the mass surge that crashed their website, trying to purchase a copy. That was my first experience with waiting in a “digital line”, constantly refreshing to see if my cart had gone through and eagerly punching in my credit card number, in fear that all the copies would be bought before I could secure one. I’ll never forget downloading the mp3s once I had my copy ordered, and that first listen. While it may be a controversial take, this is my favorite My Bloody Valentine record — probably because I have my own personal memories tied to its release.

Nick Drake — Pink Moon

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I watched a lot of MTV and VH1 when I was in grade school, and I remember seeing a special about Nick Drake. My friend Zac and I downloaded the song “Black Eyed Dog” because it was featured on the program, and really because we had never heard anything like it before. It took a few years for Nick Drake’s music to truly click with me, but once it did, it was really eye opening. It taught me that music could be minimal but impactful, and that less is more. Pink Moon is such a beautiful record. And now that I’ve become a huge fan of his as an artist, I understand what this record meant to his life. It’s mind-blowing to think that someone in their early 20s wrote music of this caliber. I wish he was still around today. I would have loved to see what the future held for him.

Nirvana — Nevermind

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If you’ve ever read interviews I’ve done in the past, I often credit Nirvana with inspiring me to pursue music and shaping me into the person I am today. When I finally had my own television in my room, I can remember seeing imagery of Kurt Cobain on MTV and VH1 while flipping through the channels. I eventually figured out he was the front man of Nirvana, and after hearing “Come As You Are” on the radio one day, I convinced my mom to buy me a cassette copy of Nevermind. I was in fourth grade at the time, and soon, they became the only band I listened to until I got into middle school. Nirvana was everything to me, an obsession of my own. I started air-guitaring during this time, and it was really the first time in my life that playing music had occurred to me as a life path. When my friend Zac first put a guitar in my hands a few years later, we were learning Nirvana songs. Nowadays in Cloakroom, when I approach writing bass lines, I still reference Krist Novoselic’s playing on Nevermind.

Q And Not U — Different Damage

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In high school, I was really into punk music and had started a few garage punk bands. But a friend showed me Q And Not U and it really opened my eyes to the underground indie music scene. Soon, I started my first “real” band, and No Kill Beep Beep was a huge influence on our sound. Different Damage ended up being my favorite record from the band though, and I’ll always associate listening to that record with playing my first out-of-town shows. I think this band, and this record especially, was way ahead of its time.

Stephen Malkmus & the Jicks — Sparkle Hard

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Over the years, I’ve attempted to write music on my own, outside of a band setting with little success. But a few years back I began making documentary films with my father and I wrote the scores myself. That exercise turned into a side project called Documa, and I’ve been writing music on my own ever since. During that time, Stephen Malkmus & the Jicks released Sparkle Hard and it really spoke to me. I love his guitar playing and approach to songwriting, and I love that he’s had such longevity as an artist. It really inspired me to work on my own guitar playing and take the music I write at home seriously.

#dusted magazine #listed #cloakroom #bobby markos #the beatles #boards of canada #broadcast #earth #josé gonzález #my bloody valentine #nick drake #nirvana #q and not u #stephen malkmus & the jicks

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enparallel · 2 years

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Book Club Tag Game

Heeyyyyy @goblinmatriarch thanks for the internet high five, I don't know anyone else to tag because I am a fresh baby tumblrator but I love to compare books <3

Last book i bought: Unclear between Antarctica of Love (which I haven't read yet because it was a prerelease and I forgot it was out now!); Thief of Shadows (aka Calm Before the Dickstorm Batduke, which my library rudely did not have); and Harrow the Ninth (gonna reread that soon eee)

Borrowed: Mixtape Potluck Cookbook by Questlove (because the blurb is great and I had to get on the hold list for Questlove's Music Is History because I read nonfiction too slow and didn't get to finish while it was the Big Read at my library)

Was gifted: Cloud Cuckoo Land by Anthony Doerr, from my poet friend at year-end

Gave/lent to someone: Collected Lyrics of Edna St. Vincent Millay, to my poet friend at year-end, midcentury copy with awesome gold leaf

Started: Unthinking Mastery, an intimidating yet amazing-looking academic tome I downloaded to read thanks to the OFMD discourse

Finished: From Hollywood with Love, a history of the rom com genre as featured in AHP's newsletter; I have not seen half these films but the book was super entertaining and smart; my nonfiction reading is getting vastly overrepresented here by sheer coincidence

Gave five stars: Dead Collections by Isaac Fellman, about a lovelorn transmasc vampire archivist, read this in March and really need someone else to read it and talk to me

Didn’t finish: Jade City by Fonda Lee, just way more actiony than I was prepared to be at the time, might try again later

#tags are intimidating tumblr is intimidating anonymity is fun #how the hell do i make itals

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therappundit · 4 years

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***BEST OF 2020: The Best Rap Albums From a Historically Horrible Year***

So much has been said about this year, so on the last day of 2020 I don’t need to dive any further into exploration of what made this year so challenging (both at a personal and global level), but on the bright side I will say that two unrelated forces saved this year for me: 1.) my amazing baby daughter, and 2.) the seemingly never ending cycle of new, interesting music releases.

Before we dive in, just two points on my criteria for this list:

- must be released within this calendar year (1/1 - 12/31/20)

- must consist of at least 7 tracks

- rankings are according to a combination of my own favorite albums, and other impressive pieces of work that might not be directly up my alley, but I still found truly impressive

So for my last post of 2020...here are the Top 100 Rap Albums/Projects of 2020 (and a more than worthy list of albums that belong on that same list, further down the page):

10. HOMME by Kipp Stone

Without a doubt the most under-the-radar project on this list, and technically a mixtape and not an "album"...but that doesn't matter much to me, because this effort contains every bit of passion, every bit of perspective, and every bit of sheer love for rapping as any of the the best rap albums of 2020. It's hard to say whether East Cleveland is headed towards similar territory that Detroit, Buffalo, and Rochester now occupy, but with HOMME Kipp Stone captures the hunger, anxiety and forever shoulder-chipped struggle of having big dreams that seem more like unlikely fantasies. Kipp was buzzing a few years back, but making his grand return with this project is confirmation that he is next level talent and is more than ready to make a big splash in 2021.

9. Reasonable Drought by Stove God Cook$ and Roc Marciano

Quotes, on top of quotes, on top of quotes. Not sure what else to say about Roc Marciano's protege at this point, who came out of nowhere to close out 2020 as one of the most sought after feature-verse assassins in the business today. Yes, his bars are hilarious, but it's the outside-the-box references and unpredictable bar pairings that truly made this project such an impressive debut. Roc provided high quality instrumentals for Reasonable Drought, but it's clear that he was intentionally lurking in the background to allow the Stove God to stand on his own two. While the album is probably not at the level of Jigga's classic Reasonable Doubt debut that this project tips its' cap to, it's not hard to imagine that someday we will look back at Stove God Cook$' debut as the coming out party for one of New York City's finest MCs.

8. Àdá Irin by Navy Blue

I never imagined that one of the biggest challenges at this point would not be whether or not Navy Blue deserves to be recognized as having one of the top rap 10 albums of 2020, but rather which album to choose for the top 10!? From Earl Sweatshirt affiliate and Soundcloud producer to standout solo talent, the west coast born by east coast stationed MC/writer/producer/model/skateboarder (!?) had himself a banner year. Of his many gifts, his strongest is his ability to craft beautiful, soulful soundscapes that blend the best elements of the NYC lofi scene with shades of late 90's L.A. underground. Dealing with themes of love, loss, joy, and depression, Navy seems to possess wisdom well beyond his years, and it enabled him to craft not one, but two of the most inviting and accessible offerings from lofi circles that I have heard, and I mean that in the best way possible.

7. From King To A God (Deluxe) by Conway The Machine

He did it. Griselda's top muscle came through to deliver his most well-rounded, and arguably strongest overall project yet. Everything from the bars, to the varied production, to the bleeding soul of this project exemplifies the difference between an album and a "tape". The Machine was a machine in 2020, blitzing an astronomical number of feature verses, but FKTG was the gem he needed in his crown to solidify himself as a contender for best MC in the game moving forward. While this is not his actual Shady Records label debut (who knows when that will arrive now), this certainly feels like his major league arrival.

6. Alfredo by Freddie Gibbs and The Alchemist

Two hip-hop specialists getting together to drop a project just for fun in the middle of a pandemic...what could go wrong? Well, almost nothing, actually. Freddie arrived dripping with soul and Al slid a nice little package of beats his way, and what we ended up with was a strong partner-project to FETTI (their previous stellar collaboration alongside Curren$y), only packaged with little snippets of personal revelations and free-flowing opinions throughout. Gibbs is one of the masters of hooking you in with his voice and contagious flow, so much so that his skills as a talented writer are often overlooked. While not necessarily the incredible revelation that his collaborations with Madlib have been thus far, there's enough strong chemistry here between MC and producer to lock Alfredo down as easily one of the best rap projects of 2020. And the Grammy's would certainly agree.

5. Descendants of Cain by Ka

One of the genre's true master writers, Ka albums feel like audio literature placed over hard-nosed rap beats. Many rappers view themselves as true artists, but few can say they are capable of weaving the type of rhyme poetry that Ka seems to wield with casual ease. The truth is that it's not easy, we just aren't around to witness the care and editing that goes into Ka's work. Featuring too many stirring quotes to single out (and let us not forget an incredible surprise verse from fellow Metal Clergy-man, Roc Marcinao), Decendants of Cain is yet another impressive addition to Ka's catalogue, doing more to capture the paradoxical surroundings of environments that are equal parts harsh and loving - and often doing so through religious metaphors - than many MCs can do in a year. His lyrical paintings of the world may be bleak, but they are not without hope.

4. As God Intended by Che Noir & Apollo Brown

Apollo Brown has been one of the most revered - albeit not loudly proclaimed - underground hip-hop producers of the past decade. He has joined forces with many talented MCs to drop full partner projects, but perhaps none as under-the-radar as Buffalo's Che Noir. But what Che Noir lacked in household name status heading into 2020, she more than makes up for with conviction, writing ability, and the skills of an elite MC. The result of this collaboration is a beautiful, personal, at times painful, and at times just straight badass album, and one that deserves recognition from top rap circles. In my opinion, this is the greatest production work of Apollo Brown's career thus far, and it's hard to say where it will rank for Che Noir since she seems to be a fresh talent that is very much still on the rise - but as of right now, you have to call her one of the best in the biz today.

3. Pray for Paris by Westside Gunn

Westside Gunn is one of the masters of the volume game. That's not to say he - or anyone in camp Griselda - sacrifice quality over quantity, but it's safe to say that you know what you're gonna get with a Westside Gunn album. Welp, WSG rewrote the script with this one. What began as an art-inspired passion project between album releases ended up being the overall strongest Griselda project of 2020, and one of the year's most fascinating rap albums. Since his highly regarded Supreme Blientele album, Gunn has gradually been pulling his own lyrical content out of the spotlight, opting to play cook and curator, throwing a mixture of in-house producers and rappers in a pot with outside talent, to mirror the ambiance of a dark, gritty rap fashion show. His projects are less statements of content, than they are audio "scenes" that the listener is invited into, as if they’re Basquiat level exhibitions quantum-leaping forward in time to now live amongst a hungry, thriving rap scene in upstate New York. That's not to say that PFP isn't a lyrical feast as well, with everyone from Tyler, The Creator to Joey Bada$$ to Wale to professional dancer Cartier William having their turn in the spotlight. All thanks to Westside Gunn, the rare MC that enjoys being the host of his own party more than being the center of attention at one.

2. A Written Testimony by Jay Electronica (featuring JAY-Z)

While some are waving the Act II flag as Jay Electronica's "real" debut album, I am less interested in a cool collection of mostly-finished old songs, and much more interested in a polished, brilliantly produced project with (again, mostly) new verses from both Electronica and JAY-Z. It's easily the shortest selection on this list, but I feel like the quality of each individual song makes up for the brevity. I couldn't care less whether anyone thinks this is more of a duo-album or a solo piece, because the themes are certainly coming from Electronica's wheel house, and the fact that Hov was able to tweak his content to meet him there, is one of the things that makes AWT so special to me.

1. The Price of Tea in China (Deluxe) by Boldy James and The Alchemist

No, it doesn’t represent a seismic shift in the culture, and no it’s not *the album* that we heard blasting out of everyone’s (or anyone’s) car speakers this year, but when it came to sheer execution, and mastery over the style of music they were aiming to make, there just simply wasn’t one flaw in Boldy James and The Alchemist’s The Price of Tea in China. From the distinctly moody production, to the guest verses, to the steady hand of a wizened veteran of the street life, intent on sharing unfiltered tales of his underworld without any additional bells or whistles, it all clicks so well that I can’t picture taking the project out of my rotation. Uncle Al went deeeeeeep into his bag with this one, and Boldy seems to have returned from the industry grave to reach the highest level of recognition of his career. In a year stuffed with a plethora of high quality examples of every flavor of rap music imaginable, The Price of Tea in China is the ideal pick for album of the year, because it’s prestige is built upon it’s ability to simply be what it wanted to be without turning an ear to trends or reaching for broader recognition. TPOTIC’s broader recognition is made possible due to Boldy & Al’s artistic commitment to just making the type of music that a MC from Detroit and a legendary underground producer from Los Angeles love to make, and for that we should be very grateful.

Top 100 (all belong in the Top 25-50, but…there’s only 100 spots in the Top 100, so here we go):

11. FlySiifu by Fly Anakin & Pink Siifu

12. Song of Sage: Post Panic! by Navy Blue

13. Eastern Medicine, Western Illness by Preservation

14. Too Afraid To Dance EP by Chuck Strangers

15. Noise Kandy 4 by Rome Streetz

16. Mt. Marci by Roc Marciano

17. Burden of Proof by Benny The Butcher & Hit-Boy

18. Battle Scar Decorated by Monday Night & Henny L.O.

19. We Know the Truth (Deluxe) by Drakeo the Ruler

20. The Allegory by Royce Da 5′9″

21. Bag Talk by yungmorpheus & Pink Siifu

22. Innocent Country 2 by Quelle Chris

23. Weight of the World by MIKE

24. Kontraband by Rome Streetz & Farma Beats

25. BRASS by Moor Mother & billy woods

26. Try Again by ovrkast.

27. Shrines by Armand Hammer

28. The Smartest by Tee Grizzley

29. Good Energy by Grafh

30. Substance Abuse by Rigz & Futurewave

31. Cold Water by Medhane

32. King’s Disease by Nas & Hit-Boy

33. Milestones by Skyzoo

34. Young & Turnt 2 by 42 Dugg

35. My Turn by Lil Baby

36. Manger on McNichols by Boldy James and Sterling Toles

37. The OutRunners by Curren$y & Harry Fraud

38. Mach’s Hard Lemonade by Mach-Hommy

39. Sages by Henny L.O. & Ohbliv

40. E.L.E. (Extinction Level Event): The Final World Front by Busta Rhymes

41. Lake Water by SeKwence

42. At the End of the Day. by Fly Anakin

43. Sole Food by Deniro Farrar

44. The Oracle 3 by Grafh

45. The Blue Tape by Tree

46. lo&behold by lojii

47. Who Made The Sunshine by Westside Gunn

48. RTJ4 by Run The Jewels

49. Whitehouse Studio, Pt. 2 by Various Aritsts [Detroit]

50. Carpe Noctem by Big Ghost Ltd

51. Infinite Wisdom by Lord Jah-Monte Ogbon

52. The Throwaways by The Opioid Era

53. Anyways by Young Nudy

54. PTSD (Deluxe) by G Herbo

55. Holly Favored by Monday Night & Foisey

56. THE GOAT by Polo G

57. Dump YOD: Krutoy Edition by Your Old Droog

58. The Face of Jason by ANKHLEJOHN

59. Two4one by Jay Worthy

60. Poetic Substance by RIM & Vinyl Villain

61. ve·loc·i·ty by H31R (Maassai & JWords)

62. UNLOCKED by Denzel Curry & Kenny Beats

63. Slim E and Friends by CHASETHEMONEY

64. Alone Time by YL

65. FLYGOD Is An Awesome God 2 by Westside Gunn

66. OBLIVION by Black Noi$e

67. Sleeper Effect by Sleep Sinatra

68. Savage Mode 2 by 21 Savage & Metro Boomin

69. Thug Tear by Big Kashuna O.G. & Monday Night

70. II - The Next Wave by Quakers

71. Demon & Mufasa by Yhung T.O. & DaBoii

72. Eternal Atake by Lil Uzi Vert

73. Miles by Blu & Exile

74. IMMORTALKOMBAT by Al Divino & Estee Nack

75. The Baltimore Housing Project by Jay Royale

76. I’m Still Perfect by Baby Smoove

77. The Grotesque & Beautiful by Teller Bank$

78. Crime Scenes by Ransom & Nicholas Craven

79. Streams Of Thought, Vol. 3. by Black Thought

80. Ways and Means by Rasheed Chappell & 38 Spesh

89. Sacred Psalms by El Camino & 38 Spesh

90. As Above So Below by ANKHLEJOHN

91. Tomorrow Is Forgotten by Stik Figa & Conductor Williams

92. So Help Me God! by 2 Chainz

93. Sauce Monk Volume 3 by Sauce Heist & Camoflauge Monk

94. A Beautiful Drug by WTM Scoob

95. Don’t Play It Straight by Small Bills (ELUCID & The Lasso)

96. No More Humble Fashion by Flee Lord

97. Pharaoh Chain by Planet Asia & Tha Musalini

98. Numb by Sha Hef

99. Interstate 38 by 38 Spesh

100. Get Money Teach Babies by Heist Life & Spanish Ran

THE REST OF THE BEST (all belong in the Top 100 releases of 2020, blame 2020 for being such a stacked year for music) - in no particular order:

Assata by CV$ a.k.a. Con$piracy & Teller Bank$, Spencer for HIGHER 3 by Vic Spencer & sonnyjim, Big Bad Boldy by Boldy James & Real Bad Man, Da 5th Power by Mooch, Muthaland by BbyMutha, Act II: Patents of Nobility (The Turn) by Jay Electronica, Long Story Short by Heem, Eileen by 14 Trapdoors, Free Drakeo by Drakeo the Ruler, Da Fixtape by Da Cloth, The L.I.B.R.A. by T.I., Sinners & Saints by Rasheed Chappell & Buckwild, Black Schemata by yungmorpheus............... Polly by the Powder Keg by Chuck Chan & Pad Scientist, High Off Life by Future, Memphis Massacre 2 by Duke Deuce, LSD by The Leonard Simpson Duo & Guilty Simpson, Funeral by Lil Wayne............ RAW UNKNOWN by Spectacular Diagnostics, Nezzie’s Star by Eddie Kaine, ShrapKnel (self-titled), The Bluest Note by Skyzoo & Dumbo Station, WUNNA by Gunna, Meet The Woo 2 by Pop Smoke, Fresh Air by UFO Fev & Statik Selektah, Vito by Vince Ash, Avenues by Tony Seltzer & Adrian Lau, Spilligion by Spillage Village, GRIMM & EViL by GRiMM Doza, Closer Than They Appear by Lyric Jones, RUDEBWOY by CJ Fly, Wired Different by Ty Farris & Bozack Morris, Rocket to Nebula by Killah Priest, NO Blade of Grass by V Don, I’m My Brother’s Keeper by Yella Beezy & Trapboy Freddy................. Carhartt Champions by Tree Mason, No Hook 3 by Dunbar, Rowhouse Whispers by Ray West & Zilla Rocca, Magneto Was Right #4 by Raz Fresco, DUMP LIFE by Tha God Fahim, Jay NiCE & Left Lane Didon, FNTG: From Niggaz to Godz by Squeegie O, PANAGNL4E, Vol. 2 by Los and Nutty, Thank You For Using GTL by Drakeo & JoogSzn, Adjust to the Game by Larry June, BETTER by Deante’ Hitchcock, No Cosign Just Cocaine 3 by Ty Farris, Vangarde by Mr. Lif & Stu Bangas, MSYKM by Tsu Surf, Your Birthday’s Cancelled by Iron Wigs.................. LULU by Conway & The Alchemist, No One Mourns The Wicked by Conway & Big Ghost, Talk Soon by Nolan The Ninja, FULL CIRCLE by Medhane, Detroit 2 by Big Sean, Juno by Che Noir & 38 Spesh, Send Them To Coventry by Pa Salieu............... Marlowe 2 by Marlowe (L’Orange & Solemn Brigham), The Versace Tape by Boldy James & Jay Versace, The Balancing Act by Statik Selektah, Capital Gains by Willie The Kid, Deutsche Marks 2 by Willie The Kid & V Don, Keep Going by Larry June & Harry Fraud, The Sharecropper’s Daughter by Sa-Roc, Seven Times Down Eight Times Up by Elzhi & JR Swiftz.................... The Ghost of Fritz by Jamal Gasol, Don’t Feed the Monster by Homeboy Sandman & Quelle Chris, Anime, Trauma and Divorce by Open Mike Eagle, Brentwood by Poloboy Nunu, The Listening Session by Billy Danze & TooBusy, Midnight Sons by Zilla Rocca & Chong Wizard, A Piece of Mine by Bub Rock, The Rock Period by Bub Rock, WINTER by DJ Muggs, Bartier Bounty 2 by Sada Baby, Cincorginals by Tobe Nwigwe, Director’s Cut (Scene Three) by Ransom & Nicholas Craven, Rather Be A Real One by Vic Spencer.............. Exhibit Q by Deniro Farrar, After 12 by Che Noir, Blank Checc by Baby Money, Jesus Is My Homeboy by YL, The People’s Champ by Flee Lord, In The Name of Prodigy by Flee Lord & Havoc, Culture Over Corporate by Uptown X.O., Sell Sole 2 by Dej Loaf, Progress by Struggle Mike, Merry Wickmas by Shawny Binladen, Don’t Ask Me Where I’m From by Donsmith, Serene by VRN Hayes, In My Life by Dat Boi Vic, Ho, Why Is You Here? by Flo Milli, Limbo by Aminé........................................thank you, and cheers to a happier, healthier New Year. 🙏

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deanspatroclvs · 4 years

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For I still was a blind man

I wrote a small Supernatural ficlet because I needed to fix that ending of 15x20. mainly posting it here because I don’t have an Ao3. Enjoy! ~

The road seemed endless, framed by green trees and golden sunlight. There was no noise but wind rustling in the leaves, the smooth whirring of the black shiny car and the music blaring through the windows. Carry on my wayward son. There‘ll be peace when you‘re done.

Dean Winchester watched the road before him, replaying everything in his life inside his head like one of these blockbusters he‘d always wanted to watch in cinema. The leather on Baby‘s wheel felt soft and comforting as he drove on. So, that‘s how it‘s gonna be. He was in heaven, stuck here for eternity, running on empty like a broken record. At least Sammy would live on, perhaps find a wife, have children, die of old age. Dean didn‘t know when he‘d see his little brother again. Time moved differently here, Bobby said. How long is it gonna be? Years? Minutes? Seconds? The car roared as Dean stepped on the gas pedal. He barely noticed the peaceful forest on his side, merging into a blur as the car took on speed. He didn‘t know peace. All he knew was this road, driving on and on in life and death, taking him to a new place as it has always been.

Lay your weary head to rest. Don‘t you cry no more.

Although Dean was in heaven, he wasn‘t happy. Even the car didn‘t feel right. Baby was too new, too smooth. The seats and windows were clean, there was no smell of stale beer, no tapes. It all seemed too perfect. Dean knew he should be content. He got Baby, Bobby, Ellen and Jo, his parents. But something was missing. He was torn out of life before he could even live. Leaving his brother alone, not being able to watch him grow. His hands clenched tighter around the wheel and Dean breathed out. He was shaking, tears burning in his eyes. One thought had entered his mind, the thought he‘d tried to banish and ignore and block out. Cas.

Once I rose above the noise and confusion, Just to get a glimpse beyond this illusion

The sun shone brightly, not too hot, not too cold, but Dean didn‘t care. He tried to focus on the road before him, feeling Baby purr beneath him as if it was her first ride. His mind was whirring as he replayed the last moments of his life – too fast, too quick, too cruel. Everything was taken from him but Sam and then he lost him too. And now that he was in heaven, he was supposed to be happy? There were too many things left unsaid and now Dean will never have the chance.

I was soaring ever higher, but I flew too high

Bobby said, he was here. With Jack. Rebuilding heaven. Dean knew why Cas didn‘t greet him, when he arrived through the pearly gates. He knew.

Though my eyes could see, I still was a blind man

Darkness wrapped over the bright trenchcoat, over the blue eyes, over the last smile. „I love you.“ These three words echoed in Dean‘s mind. The raspy voice who said them. The hunter swallowed as he drove on. In the days after Cas‘ death he tried to act as normal as possible, avoid Sam‘s worried glances. Only late at night he would drink, he would listen to their mixtape for hours, sitting at the table, running his fingers over the carved name. After defeating Chuck, Jack disappeared, taking all hope with him. There was no possibility to save Cas anymore. Dean knew just the two of them wouldn‘t be able to defeat the Empty, so he tried to continue on with his life. He was glad that he could hide his grief so well. The years have taught him the mastery of charade. Even Sam didn‘t notice a thing and seemingly was happy enough to have his big brother besides him. Blissful ignorance kept him in his sleep, while Dean was screaming inside next door.

Though my mind could think, I still was a mad man

Thats why Dean knew. Cas probably lost faith in him. He probably wondered why Dean didn‘t come to save him after all these years. And he was right. Dean was a coward. He had been broken and bruised and battered and only after Cas had died, something in him healed. The words Cas had said in that room had fueled this little voice inside him, whispering and screaming into his ear that maybe Dean wasn‘t Daddy‘s little soldier, a blunt instrument, a cold-blooded killer. He was stronger than this and only Cas made him realize that he deserved to be saved. But now Cas was gone and up with Jack somewhere, fixing things that could be fixed. A shuddering breath escaped Dean‘s throat as he realized that their bond couldn‘t be fixed anymore. Back then, he didn‘t have a moment to think, a chance to say anything when Cas was swallowed by the Empty. The words came after in these restless nights, in an endless stream, voices in his head that could only be quieted when he grabbed a pen and wrote the words down. Of course he hid them beneath his pillow, these pages full of apologies. Sam never knew.

And now Dean was here, in heaven, with Baby on the road. Cas‘ sacrifice had been for nothing. Cas must really hate him.

I hear the voices when I'm dreaming, I can hear them say

Dean swallowed hard as he kept his eyes on the grey road, his mind running in circles. The trees went by in a flash of green and brown. The road seemed endless. The music echoed in his ears and he just drove. How much time had passed? Ten, fifteen minutes? Ten years on earth? His whole body was frozen, tensed, anxiety-filled, as he sat in this too new car, listening to Kansas, all alone. He never realized how big Baby actually was, how much space there was. It felt strange not to have Sam sitting next to him, pouting about Dean‘s choice of music, Cas in the back, squinting at Dean as he didn‘t get the reference. A bitter chuckle escaped Dean‘s throat as he thought of motel rooms, fast food dinners, coffee spilled on the seats, weapons clinking in the backseat. Fuck. He rubbed his eyes, willing the traitorous tears away. A burning pain spread in his chest and filled his lungs. Dean let out a shaky breath, opening his eyes, looking into the rearview mirror. And froze. Cas.

Carry on, my wayward son, there'll be peace when you are done

The car came to a screeching halt and Dean stumbled out of Baby as fast as he could, keeping his eyes on the angel standing on the middle of the road.

Cas didn‘t move, just looking at him with these beautiful blue eyes. He looked just the way he was when he was swallowed by the empty. When he said those wor- No. Dean didn‘t want to think of it right now. Slowly he walked towards the angel, a few feet of distance parting them. What should he say? Why was Cas here? Why did this all happen? „Hello Dean.“, he heard the familiar gruff voice.„I didn‘t expect you so soon.“ Cas‘ face was hard, blank only for the people that didn‘t know him well. But Dean could see how his jawline was set, how his brows were furrowed, his eyes slightly squinted. Panic washed over him. Cas was pissed. Dean swallowed. „Well – um-“, he started, chuckling nervously. „Vampires, I guess? In the end I got staked. Irony, huh?“, he said awkwardly and glanced at the angel before him. For a while Cas didn‘t say anything. Hurt suddenly flashed over his face before it disappeared beneath the cool mask. „It really was for nothing.“, he muttered and turned around. „Enjoy heaven.“,Castiel said quietly and walked away.

Lay your weary head to rest, don't you cry no more

No.

This could not be happening. Dean just saw Cas again and now he was leaving? Fuck if he let that happen. His feet reacted faster than his mind and ran to him. His hand grabbed Cas‘ arm. He is real, Dean thought, he is really alive. He felt the warmth beneath his fingers through the fabric of the all too familiar trenchcoat.

Great, Dean, now say something. „Cas.“, he stammered. „We...- we need to talk.“ Just friggin‘ peachy, best way to start a conversation, the sarcastic voice in his head said.

Castiel turned around, surprise glinting in his blue eyes. „Dean.“, he said calmly, not moving his arm away. Heart racing, Dean slowly removed his hand. „Y‘know. What you said-“, he started but Cas already interrupted him. „You don‘t need to do this.“, he said, a sad and angry look on his face. „No, I need to do this. You need to listen to me, Cas!“, replied Dean. Anger surged through him too. „So don‘t fly away with that feathered ass of yours!“

Cas glared at him and in that moment Dean just wanted to punch him. Is it that hard to just stay here and listen to what he has to say?

„Look, Cas.“, Dean started. „I‘m not good with words, so- um..“ Cas just stood still, waiting for what he had to say. It made him nervous. He felt his heart racing in his chest and tried to grasp the next words in his already scrambled brain. Fuck. He really wasn‘t good at this. A few minutes went by, them just staring awkwardly at each other. Then Cas sighed. „I know, Dean. You don‘t feel the same way. You don‘t need to say this.“, he murmured and took a few steps back, shoving his hands down the pockets of his trenchcoat. Dean just gaped at him in shock. „Do you really believe that?“, he said a little louder than expected and flinched. Cas just stared at him blankly, mask all up. „Yes.“, he just said. Oh why did it have to be so hard? „You‘re wrong, Cas.“, Dean growled, patience growing thin. „Oh yeah? Well, let me know if you‘re really sure about this!“, Cas snapped, eyes squinting in anger. „I gave you everything, Dean! And if this is all you can say, then I don‘t see the need to talk about this!“ Okay. Cas really was pissed.

Dean‘s hands clenched to fists and he walked towards him. „You really think I haven‘t thought about this at all? You really think that you mean that little to me? Fuck, Cas. Didn‘t you see that-“, he interrupted himself, hurt washing all over him. His heart was hammering hard in his chest while the other was still glaring at him. „What?“, growled Cas. Dean swallowed and his eyes met Cas‘. Green met Blue. Careful, he laid a hand on Cas‘ shoulder and took a deep breath „I never had the opportunity to reply, Cas.“, he said fiercely, angrily. „You said I could let go of that anger and grief and when you died I couldn‘t. Because I needed you to stay, I needed you here!“. Dean hoped this was enough. He was proud of himself for at least saying something.

But Cas‘ face fell. Anger mixed with fury and disappointment flashed all through his eyes within the matter of seconds. „Alright, Dean, I got it. You‘re hurt. Get over it.“, he hissed and yanked his shoulder away from Dean‘s hand. „Is there anything else? Because I would like to get back to help Jack. I hope you like your heaven, Dean, since I figured it got all you needed.“. Shit. Did Cas create this? Dean staggered back, words lost in his mouth at the revelation that his former friend not only died for him, bled for him and now even created his heaven for him without even expecting anything in return. How did he ever deserve someone like Cas? The angel in question just glared at him. „Goodbye, Dean.“, he just said and turned around, walking away once more. Why he didn‘t use his wings, Dean couldn‘t comprehend. His mind was racing anyway, full of thoughts, full of things he could possibly say. But should he really say something? He stared blankly at Cas‘ back, slowly moving away, further from him. That hurt. That distance hurt. Knowing, that when he let Cas go now, he would never see him again.

„Cas.“, he finally murmured. „Wait.“ Cas showed no sign he heard him and continued walking. This was enough. Something in Dean snapped and he ran. His feet carried him on the hard road, towards the angel. The angel that was once his and all of his and now none of his. One hand grabbed his arm and yanked him around, the other pulling him closer. There was just a second where Dean saw irritation in his eyes before his lips crashed with Cas. They were dry meeting soft ones. Dean‘s entire mind went blank and all he could hear was his heartbeat. Cas seemed frozen in shock. Suddenly, slowly, Dean felt two hands sneaking around his back, grabbing his shirt. Cas returned the kiss with uncertainty which soon disappeared. His hands went to Cas‘ neck, feeling the short black hair at his fingertips. They kissed for seconds, minutes, what could be years on Earth and Dean didn‘t care. He focused on the feeling of Cas. On the radiating warmth that seemed to erase all the hurt and confusion. It felt as if the bond snapped right into place like a broken bone healed. Softly, slowly he pulled away from Cas and opened his eyes. Blue ones looked at him in confusion and hope and Dean let out a shuddering breath, his heart up in his throat. „Me too.“, he whispered and saw Cas‘ eyes widen in shock. Dean couldn‘t help it. He chuckled quietly. „You know, you need to stop looking like that.“, he muttered, which made Cas frown. „Like what?“, he asked with his raspy voice. „Like that stupid angel who wouldn‘t ever believe that I would let him go away like that!“, Dean replied, smirking. His fingers stroked Cas‘ neck and damn, did it feel good. Well, it did feel a little weird, being so close to Cas, but mostly it felt good. „May I remind you, that you‘re the one who died on a rusty nail?“, Cas replied sarcastically and Dean snorted. „Touche.“ He stepped back, but let his hands rest on Cas‘ shoulders, in case that damn angel would still want to fly away. „We good?“, he asked, worry rising up. Maybe Cas really hated him. Maybe he truly did everything wrong.

But the angel nodded, brows furrowed in deep thought. „I think so.“, he murmured and Dean‘s heart jumped. „That‘s good. It‘s good. Good.“, Dean stammered, barely comprehensating what is just happening. Cas forgave him. He let out a long breath of relief and took one of Cas‘ hands, intertwining his fingers with Cas‘. Baby steps. Hands. Kisses. They are both new with this. It will probably still take a while to admit these three words for him. „As long as you‘re with me, Cas.“, he said, smiling. A small tentative smile spread over Cas‘ face and he nodded. „You know I am, Dean.“

Carry on, my wayward son, There'll be peace when you are done

From the moment the angel of the lord pulled the righteous man out of hell they were found and changed, hunting and hurting each other until they were lost again. For twelve years they fought against the world and themselves. Then came death and darkness on their shadowed wings, separating them once more. That day in heaven when they met again something set into place like a well-oiled machine. Just like the black car in which the angel and the hunter explored the whole world together in eternity.

The car which didn‘t feel empty anymore.

And for the first time in years, Dean felt true happiness.

Lay your weary head to rest, don't you cry, don't you cry no more

#destiel #supernatural #spn #deancas #15x20 #finale #fix it fic #dean #castiel #dean winchester #my stuff

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thelensofyashunews · 6 months

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Jay Critch Pops Off in Paris in Video for Ambezza-Produced "Leaf"

A flexer since birth, Jay Critch knows how to make a scene. Taking over Paris in his latest music video, the Clinton Hill native brings Brooklyn to the Boulevard in "Loaf," his new video. Produced by Ambezza, the multi-Platinum producer known for his work with Drake, "Leaf" employs splashy, filtered synths and gently-knocking percussion to create a smooth and futuristic atmosphere. The rapper who calls himself Hood Fav slices effortlessly through the beat like a hot knife through premium French butter, as he stacks ultra-confident bars about his luxurious playboy lifestyle and insatiable appetite for financial success: "Tell me like what you gon' do for the check?/Imma tell you I'm doing the most/And my pockets is full of the loaves, you play with the bread and you toast," spits Jay Critch. In the video, directed by Suave, the Hood Fav takes over the City of Lights, as he prances through Parisian streets and enjoys a five-star meal.

"Loaf" is a highlight track from HUMBLE GIANT, Jay Critch's new album. A thorough examination of Critch's colossal stature, HUMBLE GIANT displays a more mature attitude from the 25-year-old firebrand, alternating his signature flex-fests with songs that take a more reflective and melodic direction. Still, there are plenty of tracks on the follow-up to his acclaimed 2023 mixtape Jugg Season in which Critch displays plenty of his old self, indicating that the giant might not be truly humble. Spanning 13 tracks, the tape displays Critch's mastery of a variety of New York rap styles, from the slinking and skittering "Too Rare," which harkens back to the '00s days of Fabolous and Noreaga, to the recently-shared "Kick It," a Cash Cobain-produced slice of sample drill with a video set at "Critch Fil-A." With additional production from Tony Seltzer, Laron, B Wolf, and more, HUMBLE GIANT is available everywhere via Talk Money Entertainment / EMPIRE.

Since he burst onto the scene as a teenager with singles like "Ad Libs" and the beloved Hood Favorite mixtape, Jay Critch has been one of New York's favorite sons. His collaborations with Rich The Kid and Famous Dex on the Rich Forever mixtape series remain the stuff of legend, but he hasn't stopped switching up his style or releasing new heat for the streets. Last year, Critch shared the acclaimed Jugg Season, featuring guest spots from Max B, Baby Money, and his Rich Forever associate Rich The Kid, earning Critch a write-up at Pitchfork. Critch recently expanded his CV to include modeling, as he modeled for the Kors x Ellesse campaign alongside Emily Ratajkowski in 2022. Earlier this year, Jay showcased his energetic performance style on a recent edition of On The Radar, featuring two new songs from HUMBLE GIANT.

youtube

Stay tuned for more announcements from Jay Critch, as he continues to elevate in NYC and beyond.

#jay critch #humble giant #loaf #music #spotify #youtube #artist #musician #soundcloud #rapper #culture #rap #art #brooklyn ny #brooklyn artist #brooklyn #brooklyn musician #bk #Youtube

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bubblesandgutz · 5 years

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Every Record I Own - Day 514: Guantanamo Baywatch Darling... It’s Too Late

I wrote the bio / press release for Portland’s campy garage rock / surf trio Guantanamo Baywatch back in 2015 and requested a copy of the LP from the label. I don’t listen to much surf rock, nor am I generally too keen on kitsch in music, but I really enjoyed this LP. The instrumentals felt like something that’d play in the background of an old John Waters movie, while the old school rock n’ roll numbers had a certain irreverent charm to them. The title track in particular is just an all around fantastic song. Keep reading below for my sales pitch.

There’s a sugarcoated history of rock n’ roll’s infancy that glosses over the sleaze and debauchery of those early formative years. Perhaps reruns of Happy Days and other remnants of baby boomer nostalgia perpetuate it. Or maybe it’s just that every new musical generation feels compelled to raise the ante on riling up the young’uns, and consequently we have a tendency to forget how those electric pioneers were actually total badasses. Look folks, we hit a dead end with sonic extremes years ago. Do you really think you can conjure up something more unlistenable than Napalm Death’s Scum? One could argue that musical rebellion in the 21st century isn’t about finding new ways to deconstruct the wheel, but is instead about building upon traditions and perverting them to your own ends.

Take Portland, Oregon’s Guantanamo Baywatch—a band that built their reputation on wrangling up a ribald mishmash of classic surf instrumentation and brash garage rock. On the one hand, you could view this adherence to the rudiments of rock n’ roll as more of an homage than an artistic stride. Yes, the trio owes a hat tip to Dick Dale’s guitar licks and The Sonics’ primitive blown-out strut. But who gives a shit about reference points anyways? Every artist has ‘em. The question is: can you twist your influences into something exciting and new? In the past, Guantanamo Baywatch demonstrated their ability to do so by cranking everything into the red, making those traditional motifs sound far nastier than their forefathers intended. Remember how The Cramps made rockabilly sound dangerous and seedy even after it was several decades old? That’s what Guantanamo Baywatch did with their crosspollination of tremolo-picked leads and basement-band brashness. But with Darling… It’s Too Late the band broke away from their burying-the-needle-on-the-four-track sound and traveled down to Atlanta’s Living Room Recording (Black Lips, The Coathangers, Jacuzzi Boys) to track with Ben Coleman, Justin McKneight, and Ed Rawls.

“Oldies weren’t lo-fi,” says Guantanamo Bay guitarist and vocalist Jason Powell, even though people have a hard time distinguishing the crackle and pop of worn-out vinyl or the low bandwidth of AM radio from the actual production mastery of early rock n’ roll. With Darling… It’s Too Late, Guantanamo Baywatch sought to harness and manipulate the sparkling sounds from yesteryear, all while staying true to the tape hiss and rough takes of analog recording. “We really wanted a mixtape compilation sound to the record,” say Powell, and that approach can be heard in both the songwriting and the production. According to Powell, each individual song was approached with all the amps and the EQs on the recording console zeroed out. That meant that every song was recorded with a new template. The title track and lead single, “It’s Too Late”, perfectly captures this new aesthetic. With Burger Records soul singer Curtis Harding contributing backing vocals and rounding out the classic Motown ballad vibe of the track, “It’s Too Late” is an enormous departure from the trashy Mummies-esque ruckus of their earlier recordings. Of course, the band hasn’t completely abandoned the rowdy surf rock of their previous releases—Powell put the finishing touches on the album back at his Jungle Muscles Studio in Portland to keep that rough-hewn feel intact. But even when he and his bandmates Chevelle Wiseman (bass) and Chris Scott (drums) tread on their familiar territory with songs like “Raunch Stomp” or their cover of Eddie & The Showmen’s “Mr. Rebel”, there’s a newfound clarity, punch, and swagger to their sound. Throughout the course of Darling… It’s Too Late the trio continues to fuck with various subgenres, from the dusty Western twang of “Corey Baum’s Theme” to the straight-outta-Sun Studios rocker “Do What You Want”.

Regardless of what micro-niche of Golden Oldies they tackle, Guantanamo Baywatch serve it up with a signature flair for irreverence and audaciousness that makes their sound wholly their own. It’s a respectful nod to the mavericks of the past, but also a swift kick to the nads of tradition.

#guantanamo baywatch #everyrecordiown

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vinylexams · 5 years

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Tyler, the Creator - IGOR⁠ ⁠ @feliciathegoat #tylerthecreator #oddfuture #ofwgkta #tylerokonma #rap ⁠ ⁠ I'll be honest, I've loved so much of the Odd Future lineup's releases since way back in the day of Frank Ocean's mixtapes with all the uncleared samples, Tyler's early stuff like Bastard and Goblin, pretty much everything Earl Sweatshirt has every committed to tape, and even the offshoots like The Internet who kind of did their own thing with amazing results. The entire collective catalog isn't entirely perfect, naturally, but it's hard not to see how much talent was in the same room, so to speak, as a group of musicians that like to start as much shit as they did write amazing music came to power. Central to that whole world is Tyler, the Creator, the real and perceived leader of the troupe both organizationally and from the production mastery standpoint. We now know that just about everyone in Odd Future can stand on their own just fine, but I like to think that Tyler was the catalyst that got it all off the ground and encouraged them all to work together to get where they are today.⁠ ⁠ Tyler's solo work has been radically unpredictable at times, both in subject matter and in style, but what has always been true is that he is nearly fearless in what he'll say and how he'll say it (and many times it's really missed the mark and alienated people who love him, but I digress). IGOR is certainly not the first time we've heard Tyler be absolutely real to a fault, but it's one of the first times I have felt like we've really seen inside of his heart. It's, from my perspective, a breakup album and not just a breakup album but one about a boy. If that doesn't challenge some deep-seated rap culture assumptions, I don't know what would. Like everything else, he's presented himself and his art as take-it-or-leave-it and frankly, I'll keep taking it as long as he keeps making it.⁠ ⁠ ⁠ #vinylrecords #vinylcollectionpost #vinyls #recordcollector #vinyladdict #vinyljunkie #onmyturntable #nowspinning #vinyligclub #vinyllovers #vinylclub #vinylcollective #vinylexams #vinyl #vinylporn #vinylcollector #recordcollection⁠ https://www.instagram.com/p/B7UwZ1uofzG/?igshid=1w8ecpmqfklr4

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recommendedlisten · 4 years

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There is never going to be a way to catch up with every great album being released these days, especially at the pace that new music comes out. Here is the first volume what will become an ongoing feature o some of the best new listens that Recommended Listen suggests you hear if you haven’t already on top of those formally reviewed.

addy - Eclipse [Topshelf Records]

If you can imagine driving through the sprawling roads and watching the day go by from sunrise to sunset, and finally the moon covering your path traveled with its bright, warm yellow glow, then you can hear the journey of long thought addy’s Eclipse passes through it. Led by Richmond-based songwriter Adam Watkins, the latest offering is afflicted with slowcore-kissed Americana that embosses melancholic daydreams of better days and crystallizes fading memories in place. In each mile covered, time somehow remains still.

Eclipse by addy

Bacchae - Pleasure Vision [Get Better Records]

We perceive so much of the world around us in grossly superficial measures, and that’s not just talking about the basic beauty standards. D.C. punk rockers Bacchae set out to break down these walls with honesty even if its ugly not just in the spaces around them, but within their own selves on their debut album Pleasure Vision. Produced by J. Robbins, the 11 songs on this effort throttle between punchy punk burners and imperfectly popified post-punk that makes the world around and inside frontperson Katie McD feel like a moment of bliss as it falls apart, and she and four-piece piece it back together brick by brick.

Pleasure Vision by Bacchae

Brian Fallon - Local Honey [Lesser Known Records]

Local Honey is Brian Fallon’s third and strongest showing of solo work yet since putting his days as the frontman of Jersey-bred punk rock heroes the Gaslight Anthem behind him. Over the years Fallon has slowly fallen away from needing to fill larger spaces with big riffs and crowd choruses. Instead, Local Honey finds him filling in smaller spaces with stories sung with an ache of specificity in their beauty against the backdrop of an Americana gothic that waltzes between Springsteen’s walks across the Atlantic City boardwalks, the National’s nighttime brood, and his own spin on nostalgia. His punk rock heart still beats heavy, but now it’s to love stories filtered in sepia where the great expectations of romance remain a timeless thrill.

Empty Country - Empty Country [Get Better Records]

Joe D’Agostino has always been one hell of a storyteller who paints words with impressionistic hues even during his time as the frontman of bombastic indie rockers Cymbals Eater Guitars. With Empty Country, the eponymous debut album from his current solo outlet, D’Agostino finds a malleable setting for tales torn from his personal pages of grief and hardship. Entwined in rustic steel and gritty indie rock, Empty Country begins from the ground level but slowly gravitating away from the dirty roads before they become flanked by the cosmos. It’s a universally bound relationship sound between our greater nature and smaller being.

Empty Country by Empty Country

P.E. - Person [Wharf Cat Records]

To say P.E.’s vision of avant post-punk knows no boundaries would be an understatement. On Person, the debut full-length from the, Brooklyn band -- which features the remnants of deactivated punk stalwarts Pill and experimental electricians Eater -- P.E. trajectory through time, space, and personal emotion wriggles in colorful shock waves and glass bead rhythm. There’s as much sax-ual tension building up between these bodies as there is industrial anxiety. It’s like the sonic microcosm of putting the human brain under the stress of digital and physical worlds.

Person by P.E.

snarls - Burst [Take This to Heart Records]

Burst, the debut full-length from Columbus dream-pop rockers snarls, rings true to its title through its wavering sound. Singer Chlo White is at the epicenter of it all as its force of nature alongside Mick Martinez’s blurring electricity with the glitter-coated heartaches of bassist Riley Hall and drummer Max Martinez as the four-piece.navigates the oft-turbulent air of romance in all of its highs and lows. The emotional forecast may be one of unpredictability, but snarls aerodynamic precision makes any sudden shift in direction feel like a swoon.

Burst by snarls

Soccer Mommy - color theory [Loma Vista Recordings]

The followup to Soccer Mommy’s 2018 breakout debut Clean may emotionally be quite a comedown for Sophie Allison, yet it’s a big step in growth both creatively and personally as the 22-year-old contends with her own happiness in a world falling apart around her. Despite her position as a continuously rising indie rock star, life doesn’t come much easier, as color theory finds Allison submerged beneath her own self-doubts, regrets, and depressive episodes that often are the price one pays for living the quote-unquote dream. Sonically, color theory stirs slowly in harsher textures of reverb and empty space. You can envision the melancholy rainbow accordingly.

color theory by Soccer Mommy

U.S. Girls - Heavy Light [4AD]

U.S. Girls’ 2018 effort In a Poem Unlimitedwas arguably the most cohesive vantage point of Meg Remy’s avant-pop project’s socio-political musical constructions. Its followup Heavy Light bares a similar semblance through its collage of reflections bared down by the weight of the American capitalist machine and personal trauma, but in being upheld throug large collaborative effort of other voices and arms in the studio, the album takes on a majestic grandeur that furthers Remy’s vision for the world stage. It would appear that the human experience, when held up to U.S. Girls’ Light, reveals every fracture in its body in a way that aligns like a mirror image with the world around it.

Yaeji- WHAT WE DREW 우리가 그려왔던 [XL Recordings]

Yaeji is the human vessel from which mood and movement move between, and with WHAT WE DREW 우리가 그려왔던, her first full-length release mixtape and XL Recordings debut, the 26-year-old Korean-American producer presents an awe-striking adventure throughout the entire universal plane of dance, pop and electronic soundscapes that map out glassy reflections built around anxious peaks and lonely plateaus. As meditative effects build paths toward hyper-kinetic energy busts and temporal euphoria, WHAT WE DREW 우리가 그려왔던 not only showcases the emotional depths behind Yaeji’s sound, but showcases the her mastery of every particle that helps create the serotonin, endorphins, oxytocin and dopamine running throughout her affirming beats.

WHAT WE DREW 우리가 그려왔던 by Yaeji

Yves Tumor - Heaven to a Tortured Mind [Warp]

With their 2018 breakout Safe In the Hands of Love, Yves Tumor mutated with fascination conviction between ugly-beautiful shapes of electronic and ambient noise. For that reason, that their followup Heaven to a Tortured Mind is oozing with charismatic clarity and magnetic sexual energy presented at the foreground makes the artist’s latest transformation even more awe-striking. On this turn. Yves Tumor recreates the dynamics of rock music by channeling every spark of electricity in its horny funks into his writhing body, and never lets up on the chest-puffing theatrics in their own demonic image. The end result is sure to satiate the senses on both a physical and spiritual level.

#addy #bacchae #empty country #brian fallon #p.e.#snarls #soccer mommy #u.s. girls #yaeji #yves tumor #features #listen to these #new music & videos #new music and videos

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gift-of-orzhova · 5 years

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Top 10 2019

For the past couple of years I’ve been doing a top 10 list for the year in music that I like. This includes an a category for my favorite LP and EP from the year as well as a top 10 songs. I’ve also decided this year that I will be talking about other honorable mentions that are wonderful but did not make the list and some artists that had incredible years.

Let’s start with this years music for me, which was incredible. As many know I actually released a song in November on all streaming platforms. Something I’ve dreamed of doing for a long time and is super surreal to see happen. Makes me so happy to have accomplished that, thanks to everyone who has listened. Here’s a link if you haven’t yet and would like to listen!

It’s no shocker to people that know me that I am dumb passionate about dance music so as expected most of the list is just that. It was also a great year for pop music too though so there’s some pop in here as well. You can find a playlist of the top songs, as well as Lightwave here. I’ve also gone ahead and linked all the songs and albums mentioned below.

LP of the Year

Hi This Is Flume - Flume

Wow this one was wild. Most people kinda expected there to be some new Flume coming, it had been a while since we got any and there had been a ton of rumors. But he really shocked everyone when he announced randomly that he was releasing an entire mixtape the next day. It’s 17 songs and an incredible experience from front to back, with each song flowing into the next one. Not only was there a ton of new music but he also released a large visualizer to go along with it. The visualizer and music together really made it what it is. The visualizer largely consists of Harley, aka Flume, walking through various environments or driving a custom car through the desert. There’s some trippy stuff happening with editing and some really weird visual effects. One of my favorite parts of the video is at the end where he walks up to the ocean and the water cuts vertically, looking like an amazing wall of water. Looks so surreal, which kind of describes the albums sound in a nutshell. The entire album is a journey through sound design and it really challenges the listener to question what is expected in music. Flume’s signature style lends itself very well to such ideas with the choppiness that he so often employs. He mixes a wide variety of styles into the mixtape, from more traditional future bass like Wormhole and Spring and hip hop such as High Beams. A majority of the album is instrumental, letting the production and accompanying visuals do most of the storytelling. However, there are still some vocal features such as JPEGMAFIA and of course Kucka. The album also includes features from two incredible producers, Sophie and Eprom, both of which were very big surprises to me. Every song on the album has a specific place and together the full picture is created, listening to this album front to back is truly inspiring. When I did my first listen through I was blown away and taken to what felt like another world, which is why I’m choosing Hi This Is Flume over any of the other great albums that came out this year.

Some other incredible albums from this year deserve recognition as well:

Good Faith - Madeon

This one was absolutely in 2nd place and the only reason it isn’t in first place is because there’s a song or two I wasn’t particularly fond of. While I don’t think Good Faith is as good as Madeon’s debut album Adventure it certainly has an amazing cohesiveness and style to it that sets it apart. Good Faith has a much more organic sound, utilizing a lot of choir vocals and instruments. Starting with Dream Dream Dream the album cues you into the experience you are about to embark on, instantly setting the mood with almost ethereal vocal sounds that are followed by some truly inspiring lyrics. Hugo (Madeon’s real name) has a true knack for creating heartwarming and bittersweet lyrics, evoking incredible amounts of emotion from the listener. But not all the songs are somber of course, many are celebratory as well, like No Fear No More for instance. My favorite song on this album is Mania but you’ll read more about that one later. If you only want to listen to one of the albums of this list, I’d say go with Good Faith. Even though it didn’t take my top spot I feel that it’s the type of music that absolutely anyone can get into. Hi This Is Flume has many tracks that are more experimental in nature and isn’t for everyone, but Good Faith sets itself apart in a way that anyone can vibe with.

Ascend - Illenium

I wasn’t sure how much I was going to like this one tbh. Some Illenium songs just don’t do anything for me in all honesty, and his last album I didn’t think was very good other than a few singles. This one was way different though. It really took me by surprise, and while there are a few songs I don’t think are good, the vast majority if the album was fantastic. My favorites being That’s Why, Gorgeous, and Lonely. But the songs on this album that aren’t good are very much songs I don’t care to listen to again, which is why I decided against it for LP of the Year. Compared to the cohesive narrative in Hi This Is Flume this album just lacks some substance. There’s a lot of fantastic music throughout Ascend but, with exception of a few songs, it doesn’t feel like each of these songs is necessarily integral to the experience, they just happened to all be put in the same album. It also doesn’t help that there were like 5 singles.

Wild Youth - Dabin

Speaking of albums with too many singles. This album is on the list not because I thought it was good, but actually because this was the most disappointing album of the year. It’s 10 songs total, but there were 4 singles released and 2 of the songs were previously released in an EP in 2018. I’m just gonna come out and say this, if you release a majority of your album before the album comes out, then it isn’t an album it’s a collection of singles. There were some great songs on the album including my favorite Dabin song Lights as well as some other wonderful songs like Another Day and Youth. But again, the issue with this album is not the music itself, it’s the way the songs involve interact with each other. And simply put, they don’t. You can’t release 6 of 10 songs on your album and make something cohesive. I really enjoy listening to several of these songs by themselves but they’re just singles to me.

High Highs to Low Lows - Lolo Zouai

Best pop album of the year for sure, although Kim Petras gives it a very good run for its money. The lyricism by Lolo is amazing in this album. It’s so punny and has fantastic flow. Even the album’s title is a pun, how can you not like it. There’s so many good songs like Caffeine, Moi, and Out the Bottle. Anyone that enjoys pop music and RnB should love this album.

Clarity - Kim Petras

The other pop album this year that blew me away. This is quintessential pop music for 2019, with a lot of clear dance music inspiration from songs like Icy and Got My Number. Also, while you don’t necessarily have to like her music because of this, Kim Petras is trans and I have an incredible amount of respect for her to make it in the industry. I can’t imagine how hard it must have been for her to get to where she is now with the way many higher ups in the music industry are.

Good At Falling - The Japanese House

This album is just really cute. The vocalist has a wonderful voice and the lyrics flow very well. There’s a lot of great songs, including my personal favorite Worms. If you like indie music give this one a listen for sure.

Fubar - Tsuruda

These tracks are insane, best bass music album of the year hands down. Please listen.

III - Banks

When We Fall Asleep, Where Do We Go? - Billie Eilish

Renegades of Light - LSDREAM

We Are Dust - Xilent

EP of the Year

Dawn - SG Lewis

There were also some great EPs this year, with this one at the top in my opinion. Every single song on this EP is absolutely incredible. SG Lewis shows his attention to detail with every piece of production, starting with Blue, which captures the listeners attention from the second the bass comes in. Emotions flow like water throughout the album, morphing from song to song seamlessly. SG has a very unique sound to him, it’s vibey and both uptempo but somber at the same time. But more than just his production make this EP incredible, the vocals are all impeccable. With vocal performances from SG Lewis himself as well as Clairo and Honne, 5 of the 6 songs on this EP have a vocal, and each one stands out just as much as the last. The type of energy within this EP is so unique, the only way I can describe it is infectious.

Dawn had a lot of competition this year including the following stand out EPs:

Tangential Zones - G Jones

It’s not even remotely a secret that I am an enormous G Jones fan. But part of the reason for that is that all of his music is so damn good. This EP consists of a bunch of tracks he’s been playing in his live show for the last year, I’ve had to privilege of hearing some of these live previously and I thought they were good then but the studio versions of those tracks are even more incredible. Gregg is so good at making simple ideas fill an entire song, and he does it with such mastery. He’s truly one of the best producers of our time and he compliments it with incredible vision for everything he does.

Turn Off The Lights - Dog Blood

Skrillex and Boys Noize are back with some more techno inspired bangers. All 4 songs on this EP are insane, and so are the features, from Otira to X&G. To me, the songs Break Law and Kokoe stand out the most, but there isn’t a song on here that I dislike.

Acid 444 - i_o

This year I got into techno really hard. There were some stand out projects of course, Acid 444 being the most recent one to hit the spot. Replicate didn’t make my top 10 list but only by a very small amount. And System Error evokes some great vibes. These songs really inspired me and I actually started working on a Bladerunner styled techno song as a result.

Dead Sea EP - Eliminate

I always think I’m not going to like the stuff Eliminate releases very much and I don’t know why. But every single time I do that he releases something that just destroys me. Not going to be making that mistake again. There’s some interesting musical elements in these songs, such as the dissonance in Stupid. There’s another particular track on this EP that I really like but you’ll read more about that one later.

Night is Short - Otira

It was a huge year for Otira / Raito. Between his 2 projects he released like 6 EPs and had features on tracks by i_o, Dog Blood, and more. But this EP of his stood out to me the most with some great rave and techno tracks. But to me the thing about this EP that stands out to me the most is the album art. It’s very easily my favorite album art for the entire year. It just draws me in so much, I can’t fully describe why but I’m in love with it.

Save Yourself EP - Virtual Riot

The best producer in dubstep is back with 8 more bangers. I never tire of listening to Virtual Riot, he just kills it every time.

Experiments in Acid Research - Glacci

Change & Decay - Blanke

Divide - Shadient

Songs of the Year

And now for my favorite songs of the year

1. Mania - Madeon

This was the song off of Good Faith that grabbed me the most. It mixes his Adventure era electrohouse sound with the Good Faith style in an absolutely incredible way. However this song was initially a little further down the list. Once I saw Good Faith Live I had to move it up, seeing this song live was such an insane experience. Madeon played an extended version of this song with some modified instrumentation and it was easily my favorite part of the show. The experience of seeing Mania live pushed it up my list to the top spot. Hugo did a wonderful job on this track and I’m so happy to be able to listen to it.

2. Dark Artifact - G Jones

Ethereal arpeggiated synth melodies and high energy trap drums with a lot of bass. What’s there not to like?

3. Caffeine - Lolo Zouai

My favorite pop song of the year. The use of foley in this song is insane. All the drums are laced with recorded sounds of soda bottles and cans being opened and I just love it. So unique, and the lyrics are so well crafted. I almost lost it the first time I realized “French Vanilla dripping in your cup” was a pun I almost lost it because there’s so much depth involved in that line it’s wild. In addition to all of these really unique elements the song is also a bop.

4. Everything - Eliminate

My favorite song off of this EP. This song is so catchy, but more than anything its drum and bass!!!!! It makes me so happy that dnb is catching on in the US. The genre is so explosive and there’s a ton of good stuff out there. I really like Eliminates take on the genre with this song, giving it an almost pop-like vibe while still making it a banger.

5. Lazer Vision - Zeke Beats, The Glitch Mob

From a technical standpoint this song is crazy. The mixing in the track stands out a lot to me, especially with the percussion. It’s also just a cool song. I’m really glad that The Glitch Mob is doing collabs with newer up and coming artists and I hope we get more songs of this quality from the project.

6. Icy - Kim Petras

This song is so catchy, it gets stuck in my head all the time. I love how the production is like bass house turned pop music, super cool style I wouldn’t have expected but I really love. And those hi hat trills, damn. She snapped.

7. Dream Fatigue - G Jones

Another G Jones track on this list but this song is just so cool. Sampling the pacman dying sound and making a trap song is such an amazing idea. And who else but Gregg to pull it off so perfectly.

8. Abberate - Shadient

What the fuck is synth design? This song makes me question my entire life because I never imagined that something could just... sound like that. I don’t know how to describe it but listening to this song for the first time had me so lost. The second drop is full of so many unique synths. I still can’t get over it. Shadient is one of the best bass music producers for sure, can’t wait for that album he’s been talking about next year. And he needs to release that song with the silent hills vibe.

9. Night Is Short - Otira

I already talked about this one a little but hard rave music never felt so good. My friend always says “this song is what people who don’t listen to dance music thinks it sounds like” and he couldn’t be more correct. Song is crazy, when the lead synth goes up an octave and the hi-hat comes in, I go crazy every time.

10. Radial - ISOxo, Knock2

RL Grime’s label Sable Valley is on a roll. With songs like Ambush , House of God, and Arcus and more stuff to come it’s just wild. This song in particular is so much fun. I especially live the dnb breakdown in the second drop. Can’t wait for more from both of these producers and from Sable Valley.

Some other great singles from this year in no particular order:

All the Time - Zara Larsson

Ambush - Cozway, Jon Casey

Overdose - SG Lewis

Drowning - Kucka

Midnight Hour - Skrillex, Boys Noize

Mumbai Power - Skrillex

Moi - Lolo Zouai

Rushing Back - Flume, Vera Blue

Me ++ You - Myrne

Let Me Take You - Whethan, Jeremih

Love Me - Felix Cartal, Lights

Ultramarine - Quiet Bison

Get Through - Rameses B

Soundboy Burnin’ - Otira

Death & Desire - Knife Party

#music #dance music #edm #pop #top 10 #flume #sg lewis #madeon #g jones #lolo zouai #eliminate #the glitch mob #zeke beats #kim petras #shadient #otira #isoxo #knock2

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thesinglesjukebox · 5 years

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CHARLI XCX & CHRISTINE AND THE QUEENS - GONE

[7.79]

We do NOT fucking hate these people...

Elisabeth Sanders: I have no idea if this song is good or bad, all I know is that I am a homosexual. [10]

Alfred Soto: She triumphed at Pitchfork Festival against every one of my expectations: a diva who pirouetted, thrusted, and sashayed like a star with no interest in behind-the-scenes song doctoring. She played "Gone" in vivider incarnation; she sung "I fucking hate these people" as a shared joke between her and the festival's largest queer audience. The boom boom clap of the percussion keeps out of the way, but I wish it presented an obstacle over which she could hurdle. [7]

Nellie Gayle: Social anxiety does not exactly read as a the prefect pretense for a banger pop song, but then again, Charli XCX has a certain gift for emotional subterfuge. 'Gone' is a collaboration between Charli and a more subdued pop star friend, Christine & the Queens. The two wrestle between seething anger at fake social niceties and and a deeper issue - the desire to be loved and seen, even if by a group of people you couldn't care less about. It's comforting to know that even a seasoned partygirl like Charli XCX can feel the same debilitating and restrictive sense of social "unbelonging" - a scene she depicts fairly literally in the accompanying music video which features her in bondage. The jump between this wallflower characteristic and the club-ready beat feels like a perfect metaphor for Charli's career and persona itself. As pop music evolves and begins to cater to an even more confessional and vulnerable audience of millennials, it makes sense its most forward thinking vanguards would keep the pace by divulging their deepest longing while also maintaining a danceable beat. [7]

Nortey Dowuona: Sharp, rubbery bass backflips, pirouettes and twists as soapy, seething synths and steel tipped drums shimmy across the shoulders as Christine and Charli spin through as they become intertwined as one. [8]

Wayne Weizhen Zhang: What's that? Charli XCX writing a song about loneliness and social anxiety -- but somehow making it work as a duet? More like Charli doing this again, except this time instead of ruminating about the cosmos, commiserating about lost love, or contemplating redemption, she and Chris are plotting their escape. They spend the entire track pouring gasoline on their worries and stresses, until 3:04, when they finally erupt into flames. And then they're literally gone, leaving behind only the glitched screaming ghosts of their pop consciousness, any chance at salvation vanishing with them. [8]

Jacob Sujin Kuppermann: Charli XCX's trajectory since the release of Pop 2 has been confusing. Over the past year and a half, she's released 15-or-so singles/features, running the gamut from remixes of experimental rappers to big shiny club collabs with Diplo, Lizzo, and Troye Sivan. It's largely been good material (save for that Diplo Spice Girls remix), but the songs have kind of felt like diversions from the goals set out by Pop 2's post-PC MUSIC synthesis of pop artifice into sincere emotion. This is entirely her right-- if Charli just remade Pop 2 until she retired, it wouldn't have the same deconstructive power it had when it first came out. Yet even the best of her singles from last year (songs like "5 in the Morning" and her remix of Tommy Genesis' "100 Bad") felt somewhat unambitious-- playgrounds in the wreckage of pop, rather than attempts to build a new level upon it. "Gone," then, is that new level. It's the best of all possible worlds: the shiny synths and hard-hitting rhythms of "Nuclear Seasons"-era Charli, the glitchy breakdowns of her PC Music collabs, and the open, collaborative feeling of her wilderness year. "Gone" encapsulates Charli's appeal in a compact 4 minute salvo, taking a conventional core lyrical concept-- dancing the social anxiety away-- and twisting it to her will. Chris makes for perhaps the best partner Charli's had on her pop mission: her voice is clearer and more sincere, the perfect tool to clear out any suggestion of irony. But Charli herself is the key to why "Gone" works. She's the glue that holds together the disjointed impulses of the track, like she always is, but here she's also constantly moving it forward. Her vocals here are perhaps the best they've ever sounded, aloof and emotive all at once, and the fragmented lyrical picture that she and Chris paint is vivid. It took her a while, but "Gone" reveals a revitalized Charli XCX, capable of pop mastery once again. [10]

Oliver Maier: "Gone"'s release feels timed to ensure that Pop 2 fans don't abandon hope for Charli's album after the disappointing "Blame It On Your Love", with metallic globs of bass and sparkling synth arpeggios hearkening back to the palette of the 2017 mixtape. However, it's actually Christine and the Queens who gives the stronger performance here; Charli excels in emotional extremes and bratty earworms, but the purgatorial feeling of anxiety that "Gone" reckons with -- as well as the song's cavernous arrangement and less immediate hook -- are better suited to Chris' subtler wheelhouse. The breakdown in the last minute is a little superfluous, more a signifier of a willingness to experiment than a successful experiment in and of itself, but "Gone" still provides a brighter forecast for Charli than we had a few weeks ago. [6]

Joshua Copperman: So I did the dumb remix thing again. The Katy Perry one was a reorder of different parts, but this one adds more instrumentation and a four-on-the-floor kick that takes Charli back to 2009 instead of 1999. Despite my favorite performance I've heard Christine give ("do they wish to run through mee," the plainspoken way she says "baby" just before the breakdown), and the clear vocal chemistry between her and Charli, this song has so much empty space when a melody like that requires bombast. That breakdown feels like someone trying to recreate NSYNC's "Pop" using "Call Your Girlfriend" samples on a broken MPC. Couple that with the ugly flanging on Charli and Christine's voices, and any momentum and goodwill feels squandered. "Gone" is so strong until that point that it's still extremely listenable, but extremely listenable feels disappointing when it's this close to being great. [7]

Kayla Beardslee: I can't think of a more appropriate artist to enter the "crying on the dance floor" pantheon than Charli XCX: pop's resident party girl saying that she "fucking hates" the people at this party is not an artistic confession to be taken lightly. Although the marketing for this track has been informed by the tired "most personal album yet" cliche, Charli has thankfully pulled off the introspective turn by maintaining her PC Music inspirations, metallic synths bouncing off the edges of the song and giving the message of grappling with anxiety some much-needed bite. The presence of a feature is another XCX signature, and Christine and the Queens is a welcome addition: for once, a Charli track clearly shows the collaborator's influence, in this case with its clipped melodies and off-kilter yet evocative lyrics. [8]

Will Rivitz: "Backseat," off 2017's Pop 2, cascaded into perfection on the strength of its final minute ripping the preceding three into shreds. "Gone," in doing exactly that again, but even more transcendentally sublimely this time (and with a transcendentally sublime beginning three-quarters to match, something its predecessor missed by a hair), is by extension better by about one degree. And I gave "Backseat" a [9], so... [10]

Joshua Lu: In light of the multitudinous takes on social anxiety pop stars have churned out in recent years, "Gone" feels surprisingly honest. Anxiety is seen as illogical (Charli's cry of "they don't care" seemingly comes out of nowhere, which is where these feelings often come from), shameful (the song opens with an apology), and maddening (the entirety of the prechorus and Christine's verse is filled with an untempered rage), and the song's unapologetic portrayal of these aspects acts as an effective catharsis. It hits harder when casted over the stutter-step instrumental, filled with uncomfortable white space and coarse industrial noises that put the listener on edge. [7]

Joshua Minsoo Kim: A song about being impossibly and destructively tired, so much so that one can't help but be vulnerable as a last ditch effort to maintain sanity. The production captures it perfectly: steely and anthemic and spacious, it encourages one to sing along in a sort of therapeutic karaoke session. The outro is a cute release--a moment to decompress by way of A.G. Cook's love for Scritti Politti. [7]

Michael Hong: Like the best Charli XCX tracks, "Gone" deals with solitude in crowded spaces, no matter the number of collaborators involved in the track. The industrial soundscape threatens to cave in at any moment -- something that fueled by the pair's anxieties does inevitably occur, and yet remains this moment of euphoric bliss. While Charli and Chris pose several questions across the track, none are really answered. Instead, the two end with a shared statement, "don't search me in here, I'm already gone, baby," and by tossing aside the anxiety of the party, the two find peace outside of the crowd. In a crowded field of tracks about wanting to leave the party, "Gone" is one of the most captivating because of Charli's introspection and ability to bring her dystopian future into the present. [7]

Kylo Nocom: This song is a fever dream of DJ Mustard stabs warped into freestyle-esque basslines, Jimmy Jam & Terry Lewis communicated through modernized rhythms. "Gone" shines in stark contrast to the notable collaboration Charli's done with a certain other '80s fanatic back in late 2017, substituting emotional atmospherics for feverish danceability. Charli's unstoppable pop glee is bared down to the essentials, stripped of the dumbness that felt defining of her singles the past two years; Christine's dense songwriting and anxious percussive affinities are polished up and displayed proudly here, with no signs of the occasionally campy production cheapness that defined her 2018 album's weaker missteps. "Gone" pays empathetic attention to the overstimulation some feel at huge parties, and the bouncing, metallic chorus shivers with a knowing sensory discomfort that eventually culminates in a gloriously alien glitch breakdown. [8]

Alex Clifton: A contender for Song of the Summer that isn't "Old Town Road" (which I love dearly but does not work on its own as a party playlist). Charli and Chris are always Interesting Artists, never boring and always looking forward, and this is a perfect marriage of their strengths and sounds. It has the electro production Charli favours but never gets too overwhelming; it has a good dose of Chris's quirk and gravitas but retains a lighter touch. Moreover it's just a fun song--I can only imagine what it was like to record this in the studio, and that enthusiasm spills over to the listener. Like Jane Austen's prose, "Gone" is complex and layered but performed with ease. It's one of the hardest tricks in the book, but Charli and Chris have absolutely nailed it. [8]

Iris Xie: "Gone" listens like the measured dissertation of an almost ideal pop song in a post-PC Music world that is more open about mental health, attachment trauma, and how it damages relationships. Out of the two, Letissier is the one who delivers the vocals with the exact emotion required to hit catharsis, due to her visceral and forceful cadence that is in tune with the chorus's frankness: "I feel so unstable, fucking hate these people / How they're making me feel lately." The post-chorus is beautiful though, with one of my favorite pop-R&B vocal tropes where they both catch on the fourth word of each line, "Why do we love--" before Charli and Letissier exhale with a sharp glide before jumping back into step with the stuttering beat, with "--if we're so mistaken?" Another treat is served with the sudden drop-off into "Why do we keep when the water runs? / Ne me cherche pas, je ne suis plus là, baby," a dreamy and sad breakdown that then breaks down into more jagged edges and clipped and chewed up repetitions. This song could only be written by people who love pop music so, so deeply that they have command of masterful hooks and turns of phrase and expectations. Unfortunately, I also don't like it as much as I should, because for all of what it does right, it still lacks dynamism and range to make it stick in a way that really makes me overjoyed for it, because I feel both of their solo work was a lot sharper and more evocative, and I find the sound more muddled here, even amongst all of their loving approaches. [7]

Katherine St Asaph: One of my favorite songs is The Tycho Brahe's "Steel Wheels," a song about defeat and cutting ties to pursue other defeat. "Gone" is a lot like that song, attached to a lesser song: yet another false, poppily marketed take on social anxiety. When I'm socially phobic, which is almost all the time, it's never "those people" I hate -- I don't hate anyone without a good reason, and doing so would just add guilt and make me feel worse -- but myself. It seems too simple to posit that one song is Chris's contribution and the other's Charli's, but more to the point, I actually can't tell which is whose. Neither artist seems fully themselves, vocally or stylistically. Chris's strengths are staccato lyrics and precise bits of introspection: needles to the exact point that hurts. Charli's strength is sweepingly cathartic songs, emotions hemorrhaging out of the music and the skin. "Gone" is the midpoint of those strengths, playing to neither. [6]

William John: A favourite moment of mine in the Christine and the Queens catalogue is early single "Nuit 17 à 52", which, in its English adaptation, features a speaker in a "lace-like" state of being, waiting "for the rain to come through". It's an image of defencelessness that's so brusque it requires gentle piano chords to soften the mood. Water provides no solace to the song's protagonist; the fifty-second, pivotal night of melodrama fails to leave her mind. This is an image Christine and the Queens returns to for her contribution to Charli XCX's new single - interviews have made it clear that she penned the chorus, but it's obvious to anyone familiar with the charming peculiarities of her brand of franglais. This time the punishment of water is accompanied by inquisition - the metaphor is not used as a mere acknowledgement of self-flagellating tendencies, but and a need to know why they might arise is attached. The contention is that in the quest to know more about oneself, water can be framed not as a suffocating force, but as one of cleansing and catharsis; that in daring to be vulnerable, we open ourselves up to freedom and greatness. Enlisting a partner-in-crime to assist with such a quest doesn't hurt, and there's been few moments in pop this year as thrilling as the way these two jointly bellow "loathe" before the song gives way to its chirpy coda, as together they will themselves toward liberation. [9]

Jackie Powell: The production on "Gone" matches the exact emotional plot of the song itself. The bass synths and percussive claps are accurately abrasive and in your face. The vocal performances that both XCX and Christine give are impassioned. While the chorus might be a bit muffled and not as enunciated as I would have liked, they achieve a goal that all artists should strive for⁠--the ability to transfer their emotions through their lyrics and sounds into the soul of the listener. The mixing from their chest into their head voices that both singers do on this track brings out some sort of euphoria in me. Charli's previous singles "1999" and "Blame it on Your Love" have been catchy, but maybe not as substantive as Charli stans have wanted. I understand her strategy. It reminds me of Carly Rae Jepsen's approach to how she released "Dedicated." Both artists released advance singles that were a bit lighter in content and sound. And then of course, we heard "No Drug Like Me". The third single put out to the world was the sucker punch, the sly off-speed pitch that hits right in zone after two high fastballs that don't quite elicit a flinch. The 52-second outro in "Gone" was confusing when I first heard it, and maybe it should be a tad shorter, but I finally understand the reason it exists to begin with. If you listen closely, Charli and Christine's voices sound as though they are gargling water or are putting their faces into the water that they are claiming is still running. They make their point though, we've got to question why the water is running and it's up to us to stop it. It's uncomfortable, but we have the power to stop it. [8]

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#Charli XCX #Christine and the Queens #music #music review #writing #pop

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