#anyway i didnt want to break th flow at the end but i was very much considering putting the

[trainingdummyrabbit]

✨ please tell me all of your thoughts on kaigaku talk like you will never have the chance to talk about him again

oh hell yeah i can do that. o7

first as a quick baseline though, ive actually spoken about him before a. fair amount. in this post [here]! which is to say im gonna try not t make the same points i did in that one! which! is going t be a lil hard actually. so instead of focusing mostly canon-textual angle with him (or about as much of it as you Can get for him..) we'll go hypothetical, aka: the inherent tragedy of being an antagonist with like two chapters of screentime.

like yeah, hes a self-centered piece of shit that exists just to kind of be a bastard for like two characters if you Squint, and thats definitely all well and good! characters can just be Awful because its Fun! but like... for a series like kny, i just cant help but wonder-- how accurate really is that? its the same series that said that Theres Only One True Demon-- The Rest Are Victims. so... really. is that all there is to him? play with me in this space a moment.

//

i do say it a lot, but i really do mean it when i consider him a tragic character. not just in regards to him and his dynamic with zenitsu, but just on the matter of... being Him. but the way that he carries himself is just. so painfully human, in a weird way. im not quite sure if i could explain it if i tried-- hes just an awful tangle of bad luck and bad decisions and even worse coping mechanisms that just makes a complete mess of who he is.

he does not have a character. which is to say, he is not a person. not narratively, at least. he's reactions to things around him, reactions to people around him-- everything about him is just completely detached from... Him. (walking tragedy, becoming a Role.) and, sure, a lot of it is that we just dont get the chance to see him due to the tight timing of those latter arcs, but it really does make you wonder... was he ever a person? did he ever get the chance? did he ever Live?

has he ever once really, truly smiled?

and. well. that's a complicated question, because the answer is. Maybe?

surprise! we have exactly One panel of him smiling as a kid! from one of the panels in gyomei's flashback. (hysterically, he only seems to have one bead on his necklace here, implying he got more somewhere, somehow, somewhen.) the question is just how genuine is this? how accurate? we just don't know. the mortifying ordeal of looking for character beats in. [ruffles pages around.] One panel of him smiling in the corner. sighs.

all that to say!! after all that, it really does feel like he just... hasn't been living. surviving, sure, but Living? everything we ever get to know of him is just, again, in response to something in an attempt to stay alive. and yeah, thats a good enough reason to live as any, but it really makes you wonder... what's he living for? what's he aiming for?

climbing the ranks to gain respect-- human and demon alike. but what then? is his reach for greater heights also just a response to protect himself? (nobody can take advantage of you if you take advantage of them first.) is this really what he wants? does he even know?

did he ever do anything other than try to get stronger? what is he like? does he have any hobbies? favorite places to be? friends? (ha.) who is he? has he ever once truly smiled? who is he?

maybe its that casting off of any of that that really marked his narrative descent into being a Demon.

and like. all that really does make me wonder: could it have been different? was this all inevitable from the start? was it just a series of bad decisions that lead to this? was he really as alone as he thought he was-- as alone as he tried to tell himself he was? did anyone notice? could anyone have noticed? a lot of people sure didn't-- in and out of canon.

he's a horrible person. there's really no way to think twice about it. the question is, could he have changed? (theres something to be said about him and inevitability.)

which isnt to say "maybe if someone was nice to him he would be nice back <:)"

it's to say "someone needs to shove him down several flights of stairs repeatedly until he gets the fucking hint."

the problem is that he's utterly incapable of taking accountability for his actions-- and responds to that by pinning the blame on others and completely alienating himself further in the process. he just refuses to acknowledge others as People-- they're either below him and not worth his time, or a threat he needs to one-up in any way possible. (Everything is some sort of conflict. he's always been alone, in his mind.)

what happens if something forces him to acknowledge others as People? breaks that view of the way things should be that he clings onto? that the people he's seen as "worthless" never really were? that those "threats" were often people just trying their best to make it-- and often trying to help Others make it as well? or in other cases... that they were often fearful people taking it out on others as an excuse to feel in control?

what happens if he understands what he's missing-- and where he's going?

would he be able to recognize that in himself? would he have it in him to overcome everything he is to turn away from the familiarity of how he thought the world worked and look to the unknown? does he think he deserves it? does he care? and crucially...

he's always been someone who had nothing to lose. what happens if, suddenly, he does?

[osamuniichann]

Map of the Soul: 7

After a ~315 day drought without new music and a comeback from the legends, we are finally back with MOTS: 7! It been a hot minute since ive done a album review (solely for myself LMAO) so lets get back into it bc this album is a home run

Interlude: Shadow. Here we have the extended version of the interlude. can i just say that the lyrics to this masterpiece are so real and true. its not suga speaking nor is it agust d, this is min yoongi speaking of his internal conflict with the celebrity life, which is heartbreaking. on another note, the visuals of the mv are stunning and the ending--dont u just wanna go apeshit??? truly a great addition to the album!

Black Swan. sister black swan has been with us for a month-ish now? it still bumps. HARD. i blasted this to and from my drive to work to the point where i was scared if id get sick of the song but that didnt happen. the way how its hard to pinpoint when and where a member would sing/rap because they INTENTIONALLY wanted the voices to blend as if they were one body. this is the group’s narrative on how no matter how passionate one is on a certain craft, when they lose that drive, its like a death. and it is up to themselves to spark that love and interest once again. a very relatable story across various media, talents, skills, etc.

Filter. When I first heard that this was a jimin solo showcasing the many sides of Jimin, i thought that it was going to be a sad ballad to kind of follow the theme mots: 7 seemed to give off; thought that it would talk about how he has to force personas onto himself to appeal to the masses, but it is the complete opposite. Jimin is all the faces he puts on, he can be cute, sweet, and caring Jimin but he is also a sexy, flirty young man that can attract any living being. how he switches from falsettos to a lower register voice is beyond me, what a versatile one he is! <3

My Time. Moving onto jungkook’s solo, I knew the lyrics were going to be sad especially when it seems to compare himself to others his age. How he speaks about how fast time runs for him, how his childhood and current life is not of the average 22 year old (LIKE UM HERE I AM, SAME AGE AS JUNGKOOK AND IM NORMAL AF while he’s out here breaking records?? WOW). but the life of jungoo can be a bit overwhelming, completely understandable. I just want our boi JK to know that he can be himself and live freely despite such different circumstances. On another note, the groove of this track is so GOOD. it reminds me of Ari and ugh i LIVE for this jam

Louder Than Bombs. When the track started, I could totally tell Troye Sivan helped produce it, it has such a unique sound that only Troye would use. It sounds like this song would totally be on a movie soundtrack IDK WHY. like, i can picture it during an apocalypse movie sldkjg im not completely sure what the meaning is to the song (bc im big stupid) but i feel like its a track saying that no matter the struggles, they will continue to sing confidently, strongly, and wholly to us endlessly. beautiful, just beautiful.

ON. Moving on to the title track of MOTS: 7! I’m very picky about strong anthem-type songs but ON is actually p addicting HAHA There’s a background sound that repeats in the back that sounds like Sans from Undertale, aint that wild LMAO but anyways, the Manifesto Film was crazy good. The drums, the band, the breakdown of it all? UNBELIEVABLE. Also, JK’s vocals during the bridge? H O W. That breakdown tho...oof, that was amazing. They still dance with the thirst that rookie bts would and i think thats why ppl are so drawn to them no matter how many years pass. Fun fact: the choreographer of ON as well as Dionysus actually is from my city in Hawaii and we went to the same high school THATS WILD. the talent she holds!

UGH! Rap line ATE this shit, are we KIDDING. An ode to all the hate comments that we receive, u can see how fed up they are. They made POINTS and we all agree, its the damn law. The way how they opened up with a gunshot, we knew it was coming. Everyone joked about how we bout to hear some gunshots on this album, well they threw ALL of it on this track. Can i just say that Hobi’s verse tho? it hits different, it really do. When they went “ahem, ahem. ahem, ahem-ahem, YOUR AHEM. AHEM-AHEM--” OOOOOUGH i felt that shit!! god, imagine this in concert...the building aint ready!

0:00 (Zero O’ clock). Now we have the vocal line track, we knew they were bout to present some vocals. Great sound, slow and reflecting. Not the first track I’d listen to but it is a great listen. The lyrics tho get to me. The way how they comfort us and say that life can be rough but you can be happy. no matter what happens, with the turning of the clock to 0:00, its a brand new day and we can make the day better. what a powerful message that all of us need to hear once in a while. we will be happy guys, we deserve to be.

Inner Child. Tae’s solo which is a message to his young self. I expected a slow ballad filled with his warm vocals reminiscent of Winter Bear, 4 o’ clock, and Scenery but boi was I wrong. He has this sunset glow voice that wraps u so warmly and the sound is just so happy, pure, and innocent. Its a hopeful message to his younger self on how we will change and be the amazing person we want to or will be. I was sobbing at this song, I tell u. It was 2:00 am in the morning and I was sobbing into my pillow. Imagine comforting your past self that everything will be okay and to take ur hand, it will be all worth it in the end. When he sang “ur my boy, my boy, my boy, my boy!” Ugh...the tears!

Friends. When I heard this was a vmin duet expressing their friendship with each other, I knew it was going to be so emotional! I didn’t expect such a fun, poppy sound tho. They truly are soulmates, the love they have for each other is so wholesome and real, it truly exhibits the love I have for my friends--they’ve been with me through thick and thin, during happy and sad times; the amounts of serotonin they give me is just HHHH. The way how Tae and Jimin have been friends since high school until now is just ugh...we love it. Towards the end when they started singing “you are my soulmate!” towards each other, i started sobbing so hard because WOW. the shivers i felt, this song made me so happy and full! 

Moon. Next we have Jin’s solo which is an ode to us army’s. And on another perspective, this is a song from the moon (jin) to the Earth (army)--i have tears in my eyes. The lyrics especially got me in a chokehold and made me sob, the way how he says that he will always be by our side no matter what, the same way how we are there for him...god. The chorus really gets to me, it feels so happy and thankful and I just want to tell Jin that I will forever follow him and the boys. They’ve been with me for years now and I will continue to support, love, and listen to them. Ily to the moon and back, our moon.

Respect. I didn’t expect a Namgi duet but HERE WE ARE. Goddd when i heard that i was SO EXCITE. They’ve known each other for +10 years now and they never miss the chance to tell everyone that they’ve been friends for that long. Not @ how they disliked each other at first but grew to be so mf close, to the point where their family. Ughhh, im so uwu rn. Im so happy, so so happy that Nams started it with AYO SUGA; i SCREAMED. Also, i heard that they recorded it in one take and i could see how much fun they had--especially considering that their rap styles are completely different. Even tho in the song they joke about not knowing what the word Respect means, we know...we just KNOW the high amounts of respect they have for each other. As they mentioned before, Yoon’s respects towards Nams’ leadership and care towards everyone and Nams’ respect towards Yoon’s love and passion for music and producing. Peak comedy is Yoongs overloading on autotune during his parts to the point where its intentional. Bless Namgi.

We are Bulletproof: The Eternal. I felt like a CLOWN when this track started. Like everyone, i thought we were going to have a third installment similar to that of the strong, hip-hop, gunshot-filled part 1 and 2 of we are bulletproof, but we were met with soft vocals and rap. The lyrics tho get to me. This truly was a song about their entire journey and i felt like I experienced all years with them. They’ve been through so much and the way how they sang “we are we are together/forever bulletproof!” They are proud of where they came from and it has stuck with them till now. They are such real people...i cry. ALSO the “We were only seven, but we have you all now.” Whenever i see pictures of their debut fanmeets/concerts vs now its just crazy. imagine singing as an entire being during concerts when they start “OOOOH OH OHH” im so immensely proud of the feats they’ve reached and im excited on what they do next! <3

Outro: Ego. The way how he started it with the fitness gram pacer test just like in previous albums, ugh what a throwback! this song is such a Hobi track, its fun, dance-inducing and its just so FEEL GOOD. the way how he switches flows and is capable of doing so is *chef’s kiss* the way how he speaks about the path he takes is difficult but he doesnt regret it...SOBS also the mv??? UGH SO CUTE. the flashbacks too;; i cry

ON (feat. Sia). With this track, there’s not much extra I can say, all my opinions still stand with the original track wit ot7. I jokingly told my friend that if Sia is gonna be on the track “hey nanana’ing” the same why Halsey was only “oh my my my’ing” i will ctfu. and...welp, that was what happened. I do love Sia tho so props to her!

Overall: I initially thought that MOTS: 7 was going to be a dark, ballad-filled album but it was anything but. It had so much fun songs, the lyrics are again, so deep and meaningful--it pulls at your heartstrings. It felt so raw, personal, emotional, and i love it in all its being. The boys will continue to amaze me no matter what they put out and i forever and endlessly will support and love them the same way they do for us. MOTS: 7 is a masterpiece and im in love

[deadcactuswalking]

REVIEWING THE CHARTS: 17th February 2019

We have a new #1, and a very busy week before the BRITs. Let’s get on with it.

Top 10

As I said, there’s a new #1 hit today on the UK Singles Chart – for its first week on both the #1 spot and the chart overall (Yup, it is a debut), it’s “break up with your girlfriend, i’m bored” by Ariana Grande, becoming her 18th Top 40 hit and fifth #1 (Second to debut at the spot this year). This is because of her incredibly successful thank u, next album, which was the most-streamed album of all time for a female artist, and is currently occupying all top three spots on the Billboard Hot 100 in America. Now that’s impressive, although it did sell a bit less than I thought at more than 300k+... also the album sucked, it was a strong four at best. I’ll talk more about it later.

This means that Ariana Grande has blocked herself at #1, in fact has pushed herself off, as “7 rings” is down a spot to number-two.

Surprisingly, Lewis Capaldi enters the top three with “Someone You Loved”, up six spots to number-three. The album’s out soon so expect this to hit the top.

Sam Smith and Normani’s “Dancing with a Stranger” is down one space to number-four.

At number-five is where Mabel stays since last week, with “Don’t Call Me Up”.

Calvin Harris and Rag’n’Bone Man’s “Giant” is down two spaces to number-six.

Also down one space to number-seven is “Wow.” by Post Malone.

Now we have our second top 10 debut by Ariana Grande, “needy”, also from the album thank u, next. It’s at number-eight, and is Grande’s 19th Top 40 hit and 12th Top 10 hit. We’ll talk more about it later.

Unfortunately due to Grande and Capaldi, two good songs are barely hanging on at the end of the top 10. Mark Ronson and Miley Cyrus’ “Nothing Breaks Like a Heart” is down one space to number-nine.

Billie Eilish’s “bury a friend” is also down three spaces to #10, rounding off our top 10.

Climbers

Well, there’s more than I expected to be on this week specifically, but there’s not all too many. “Going Bad” by Meek Mill and Drake is up five spots to #13, probably because of the video, while possibly due to awards season, Lady Gaga and Bradley Cooper’s “Shallow” is also up five spots to #21, “Grace” by Lewis Capaldi is up 14 spaces to #26. Then we have recent debuts like “Swervin” by A Boogie wit da Hoodie featuring 6ix9ine up seven spots to #27, “a lot” by 21 Savage featuring J. Cole up seven spots to #29 and “i’m so tired...” by LAUV and Troye Sivan up six spaces to #33, all of which I’m rooting for.

Fallers

I expected a LOT of these due to the sheer amount of new arrivals (There’s seven), and I mean, eh, we got some, mostly due to streaming cuts though. After a couple weeks, the UK Singles Chart makes the importance of streaming in a song’s chart placement lessen, if that makes sense, and this has happened to “Sweet but Psycho” by Ava Max down nine spaces to #11, Post Malone and Swae Lee’s Spider-Man: Into the Spider-Verse cut “Sunflower” down 13 spaces to #23, and potentially “Without Me” by Halsey down 11 spots to #28, this week. Otherwise, well, we have the fortunate five-space fall for “Undecided” by Chris Brown to #25, and falls for The Weeknd and Gesaffelstein with “Lost in the Fire” down 11 spaces to #35, as well as Kehlani and Ty Dolla $ign’s “Nights Like This” down eight spots to #38. I’m almost sad that song didn’t drop 15 spaces so I could make one of those awful quips about Ty Dolla $ign serving 15 years in prison for cocaine possession.

Dropouts

Streaming cuts also hurt “Close to Me” by Ellie Goulding, Diplo and Swae Lee, out from #27 (Peaking at #17), while “One Kiss” by Calvin Harris and Dua Lipa is out from #38 (Peaking at #1) – about time. Oh, I might as well say that whilst “thank u, next” by Ariana Grande did drop out from #28 (Peaking at #1), it’s not because it’s less popular now, it’s because that there are at least three more popular songs from the thank u, next album, and that’s all the UK Singles Chart allows at once. This is a good rule because it prevents album bombs, but it means the chart is less accurate in actually showing what people are listening to. I bet that song comes back next week anyway. Oh, and there’s more drop-outs: We have “Leave Me Alone” by Flipp Dinero out from #38 (Peaking at #30), “Saturday Nights” by Khalid out from #35 (Peaking at #31) and “18HUNNA” by Headie One and Dave out from #32 (Peaking at #6). These are all premature, so expect these come back, or at least one of them. Fredo’s “All I Ever Wanted” featuring Dave is out from #15 (Peaking at #15) after the album’s hype died down, whilst streaming cuts have pushed both “Hold My Girl” by George Ezra out from #23 (Peaking at #8) and “ZEZE” by Kodak Black featuring Offset and Travis Scott out from #21 (Peaking at #7) off the chart.

Returning Entries

The only returning entry this week is due to the tragic death of rapper Cadet at 25, whose passing has caused his song with Deno Driz, “Advice”, to return at #36. Rest in peace. Now, on a lighter note, here are our returning entries:

NEW ARRIVALS

#40 – “Thotiana” – Blueface

Hell yeah, Blueface, baby. Okay, so you know Blueface, don’t even say you don’t – you’re a filthy liar if so, because he has been all over the Internet due to viral videos of him rapping, because he doesn’t tend to rap conventionally, and he often has funny one-liners. There are purposeful off-beat moments throughout his songs, especially “Deadlocs”, but it’s mostly just inspiration from people like E-40 who would rap in a different way when they came across a beat that fit their unorthodox flow. Anyways, despite his most on-beat song to date, “Bleed It”, being an obvious contender for breakout hit, it seems like “Thotiana” has got the most traction, and hence, here it is. It’s been in the top 40 in the US for a couple weeks, and has got remixes from Desiigner, YG and even Cardi B (Who, by the way, absolutely kills it with an outrageous and hilarious verse, which I unfortunately can’t repeat any lines from because Tumblr might flag me with an adult content restriction – yeah, they’re that nasty). Despite that, it seems to be that the original version is the one that landed in the top 40. It’s obviously his first hit, and, to be honest, I love it to death. It’s barely two minutes and only consists of gliding pianos and smooth keys under a West Coast beat (With some banging percussion), as well as a slightly shrill synth, yet it feels so full, probably because of Blueface and all his ad-libs, including the iconic “Yeah, aight”. The hook is insanely catchy and beyond the meme, Blueface’s flow is great, somewhat complex at points and borders on spoken word in his verse, with so many references of what he says being “on the gang” that you’d think he has a verbal tic. This probably isn’t his funniest or most memorable song but it is a damn great one. Oh, but there’s also this:

Ain’t no runnin’, Thotiana, you gon’ take these damn strokes

Uh, yeah, well, um... Yikes, okay, I’m just going to leave it there. Great song, check it out. Check out the Cardi B remix though, it’s even better.

#37 – “Breathe” – CamelPhat and Cristoph featuring Jem Cooke

Damn, CamelPhat, I love these guys. Every song they’ve released that hit the charts has been some of the best EDM I’ve heard come out of the UK electronic scene in years, and they know how to make a fun, catchy dance song feel cinematic and in the case of songs like “Cola” with Elderbrook, almost avant-garde.  A lot of UK dance by more obscure names has hit the charts last year, and impressed me as well, especially Loud Luxury, so I’m excited to see what CamelPhat have got up their sleeves this time for their third top 40 hit, and the first for Cristoph and Jem Cooke.

Yeah, so, this feels oddly 90s at the start, with those nice warm synths, then the indie-pop singer of the week comes in with her raspy voice covered in reverb, with pretty much no build-up before we get to a deep bassline and finger-snaps come in, almost like a sped-up Chicago house beat. The beat increases in intensity with a higher pitched bass as the chorus comes in but there’s not really a drop, just a continuation of the instrumental, because it still feels restrained and isolated, despite the theatricality of the whole ordeal, and that really fits the title because it’s an anxious song, and it takes a damn long while for that tension release to come in. Unlike “breathin” by Ariana Grande from last year, that was also about anxiety and self-help, this isn’t repetitive to a fault, rather while Jem Cooke yells at herself that she needs her to breathe again, the beat is almost like a train pushing down the tracks and the finale climax when her vocals echo, “Again, again, again, again”, is the train hitting her and killing her. Grande’s song was a pump-up anthem but this is just a pure burst of self-frustration hurled at the listener, and while it’s nowhere near as good as “Panic Room” in expressing panic, isolation and anxiety (Yeah, it is kind of a retread), this is still pretty great.

#34 – “Who Do You Love” – The Chainsmokers featuring 5 Seconds of Summer

Oh, these seven guys again. Look, I like enough of both of these artists’ songs to give them a pass, but a collaborative single between the two is just a mediocrity sandwich. It’s not going to be anything interesting or new or even worthwhile, it’s just going to be a two-dude EDM duo producing for one dude called Luke or something with four other dudes (Who supposedly play instruments on any of their singles – yeah, right). This is the Chainsmokers’ ninth top 40 single in the UK and 5 Seconds of Summer’s ninth as well, and it kind of sucks. What a surprise. We start off promising with distorted piano, a deep 808 bass and what sounds like a high-pitched, siren-like guitar, with Luke crooning, until... it has an acoustic breakdown in which Luke has too many vocal effects put onto him for it to work, and he sounds too fast, like a lot of these EDM guys make people sound like... until, that weak drop with an unfitting build-up. It just sounds like all five seconds saying “Blam-blam, hoopty-doopty, doo-doo” in unison over some cloudy synths and an ugly bass wobble. I know that’s the point, but this song is supposed to be taken seriously, and I don’t think any of the seven dudes involved noticed that at any point. Chainsmokers, guys, you’ll never top “Everybody Hates Me” (Note that their best song isn’t supposed to be taken seriously... or at least I hope not). Blech, I hope this goes away, this really is not worth any staying power.

#30 – “Just You and I” – Tom Walker

Both this and his other song, “Leave a Light On”, were featured in advertisements, boosting their place on the charts. This one has an album attached to it. That should tell you all you need to know about boring singer-songwriter, Tom Walker, trying to get on that “Genuine white guitarist man” money that Rag’n’Bone Man and Ed Sheeran currently store in the safe, although unlike those two, he’s more electronic and more plastic. He’s a rip-off? Yeah. Is he an industry plant? I mean, I don’t like that term, but it sure seems like it. If not, he’s just marketed perfectly. Anyway, this song is his second top 40 hit and some fake acoustic guitar and fake handclaps complement Tom Walker’s slightly nasal and... mildly urban-Irish (???) voice and the piano... and yeah, no, it doesn’t exist. I hear this song and nothing witty is produced, there’s nothing of interest in my brain, I feel like my ears have just had a long string of nothing twisted through them. The “Drop” is just a chorus, this time, although it still feels like a drop because Walker isn’t saying anything of interest. Oh, yeah, and the two parts of the chorus feel really jankily attached, it’s like two halves of a chorus put together. Next.

#16 – “Talk” – Khalid and Disclosure

Oh, hey, a great song by two amazing artists, that’s good to see. So, this is R&B singer Khalid’s tenth UK Top 40 hit and Disclosure’s sixth, and it’s funky, smooth and fun as hell. It starts with a synth that is ripped straight from the 80s, then some keys come in and a clap, until Khalid starts singing with that sultry voice, although it’s in a higher-pitched and more emotive falsetto this time, with a slightly off-kilter bass when partnered with the synths, almost reminding me of future bass. Khalid sounds absolutely fantastic over this beautiful instrumental, with all the extra touches like the drum pattern finishing off with a repeated snare, kick and bass hit at the end of the chorus as a climax, the extra synth melodies added throughout the chorus that give the song so much more “Oomph” and groove to it. The song is joyful, danceable and I don’t care about what the lyrics say at all, but since I clearly don’t have all that much to say about the song other than “This is gorgeous and amazing and brilliant”, I might as well say that the subject matter may be unfitting, because it’s about having a talk about where the relationship is going, which isn’t necessarily as smooth, cute and glamorous as the song could paint it out to be, but there definitely is that off-kilter and quirky vibe to it that does add that sense of panic, despite how mostly chilled it is. That works well, actually. Yeah, check this out because this is the best song either of these guys have put out. If this has longevity in the US, it’s a contender for the top of my best list, because I doubt anything better will come along. Perhaps “bury a friend” and “a lot” could end up there? Who knows? It’s shaping up to be a pretty good year, though, so we’ll see.

#8 – “needy” – Ariana Grande

Ariana Grande finally finds her sound after years and four albums of having the inability to be cohesive or unique, years and years of having a wasted voice due to cluttered, messy and generic instrumentals provided to her by producers who don’t know what they’re doing, and... her albums still suck. Well, her fifth album is a disappointment, yes, and it’s also incredibly mediocre. It lacks a lot of substance, is inconsistent (It either has too much polish or not enough), has a few irritating instrumentals like “bloodline”, as well as once again, it has Grande’s great voice being put to the side due to light-weight trap beats like “7 rings”, for which Grande is forced to lose all of her natural charisma in order to fit on. There, that’s what I think of the album. Now, “needy” is not one of the worst on the album, but it is bad, and you can tell that right off the jump with its over-simplistic, toy-box melody that starts it off, and gets irritating quick, with not enough drowning it out. I like the pre-chorus, it’s pretty cool, but the finger-snaps are fake and pointless, with the borderline doo-wop vocals in the background adding nothing but volume. Someone tell Ariana Grande that her “Yuh” ad-libs should never be used again, please. They worked in “God is a woman”, but that’s the only time they worked, and will ever work. The subject matter is decent here, but I don’t think the beat fits it – because it doesn’t have a beat, really, there’s barely any percussion, and then it has an abrupt, pointless orchestral outro. Yeah, you can tell this album was finished in two weeks. It has a lot of moments like that.

#1 – “break up with your girlfriend, i’m bored” – Ariana Grande

Fitting title. Okay, so what’s the need for build-up, am I right? When it works, over-whelming the listener with the beat immediately crashing in is great. That’s when it has build-up, it never works when it’s just the song starting with bass and percussion immediately, without much reason. No, it doesn’t make sense in the context of the album either, because the song before it fades out. Anyway, so over a weak, discount Playboi Carti type beat with the flute (???) mixed so low that it essentially doesn’t exist, Grande raps with a rather concerning accent considering the blackfishing controversy, biting freaking Quadeca’s flow (I know - Out of all people?), with again, those cringeworthy ad-libs placed in empty spaces. Then it cuts to 16-bit chiptune pianos that aren’t used throughout the song, just in this section, for the pre-chorus, it just feels kind of worthless to have this here, it’s like it’s part of another song they spliced in (A better song, may I add). Oh, and that chorus is sickeningly annoying. I don’t care about the lyricism here as much as I should (Because it is pretty douchey, at least on the surface), but she sounds nasal with that elongated syllable melody that makes me just coil. I don’t like the backing vocals or echoes, either, sorry for the nitpicking but they feel like quick edits just to fill in empty space, especially that male “Hey” (or “Care”, or “Yeah”, I can’t tell), it’s added abruptly and cuts the beat out for no reason. The bridge wouldn’t be bad without that incessant and constant percussion pounding through it. I shouldn’t be this negative, Grande’s performance is okay, I guess, but, damn, this is awful. It doesn’t develop or even end properly, it feels like a bonus track on the standard version – because, yes, somehow this is what they chose as a fitting climax to the record. What a waste of studio time, and what a bad #1. Listen, UK, I didn’t like “7 rings” either, but at least it wasn’t this.

Conclusion

Man, I feel bad for doing so but Ariana Grande gets Worst of the Week for “break up with your girlfriend, i’m bored”, and screw it, Dishonourable Mention for “needy”. Nothing else is all that bad, so the Chainsmokers get away scot-free here, with Honourable Mention being tied and going to both Blueface for “Thotiana” and CamelPhat, Cristoph and Jem Cooke for “Breathe”. Best of the Week should be pretty obvious, but yeah, it’s going to Khalid and Disclosure for “Talk”. See you next week.