#beautiful and special and humbling that line was. so I’m being a hater

[communistkenobi]

sorry I know this is old news by now but god that fucking line from the nyt poetry editor about her quitting her job is still under my skin like “if my resignation leaves a hole in the news the size of poetry, then that is the true shape of the present” what a self-centred and ridiculous thing to say. there is a deep wealth of Palestinian art and poetry about their culture and their struggle, including poetry being written right now currently today. there is no vacuum of art being left because an editor quit their job from the single most evil newspaper to ever exist in history, and certainly not about Palestine

[onestowatch]

OTW Staff Picks: Our Favorite Songs of 2018 (So Far)

Throughout all of 2018’s faults, one thing remained true. Good music prevailed through all the murk and dejection of the year. After all, what is music’s purpose beyond providing a moment of escape, a respite from the world around us? It’s for this reason that we here at Ones To Watch wanted to share with you the songs that have affected us the most this year (so far). And in doing so we hope that you can find a moment of musical respite, as well as a new musical discovery. Here is to all the amazing music that 2018 has brought with it so far. 

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Still Woozy & ODIE – “Lucy”

When I think of 2018 in music, the emergence of “anti-pop” and continued growth of the urban sphere are two trends that immediately come to mind. This song not only combines the two, with Still Woozy’s groovy cuts and ODIE’s worldly rhymes, but it also does so in the most sonically pleasant, feel-good manner. It’s simply impossible not to bob your head and sing along to “Lucy” – highly recommended keeping this one high on the summer road trips, barbeques, and beach party playlists.  

-Yasmin Damoui (Content Editor, Ones To Watch)

Turnstile - "Moon"

Since I'm not quite sure I could pick my "favorite" song of 2018, because there are about 30 different songs I could pick here, I went ahead and chose a song I have probably listened to the most. Turnstile's "Moon" is perfect in so many ways. It's fast but not too fast. Heavy but not too over the top. It's catchy and, well, that might be it. The song is so damn infectious it just crawls into your head until you're singing ''Now there's nothing I can dooooo, Man up on the moooooon" for hours on end. Plus the video is pretty rad too!  

-Jimmy Smith (Content Editor, The Noise)

BROCKHAMPTON – “Tonya”

Following the recent removal of Ameer Vann after sexual misconduct allegations, a delayed album, and a canceled tour, the future of BROCKHAMPTON was looking uncertain, to say the least. The internet’s first boy band made a grand return with their late-night television debut on The Tonight Show Starring Jimmy Fallon, where they debuted “Tonya.” The somber track and captivating performance, featuring guest performances by serpentwithfeet, Ryan Beaty, and Jazmine Sullivan, signaled more than just an announcement of their forthcoming album, the best days of our lives. “Tonya” was a reaffirmation that through it all, BROCKHAMPTON remains one of the world’s most inventive and brilliant boy bands.

-Maxamillion Polo (Lead Writer, Ones To Watch)

Jorja Smith – “Lost & Found”

I’m old enough to call someone a generational talent and Jorja is just that, a throwback chanteuse with all the coaxing credentials of her predecessors. “Lost & Found” would hold up against any love-gone-delinquent song since the summer of ’79, and it’s an appropriate midyear benchmark for a year deep in songwriting excellence.

-David O’Connor (VP Artist Development, Live Nation)

Omar Apollo – “Erase”

Omar Apollo is getting ready to hit the spotlight. He’s a young multi-instrumentalist with a natural knack for soul and melody. In addition to his relatable lyrics on songs like “Erase", he’s going to be on everyone’s radar in a couple of months.

-Malcolm Gray (Social Media Manager, Live Nation; Writer, Ones To Watch)

Jay Prince – “In The Morning”

I want to start off by saying that I initially chose “Big Bank” by YG but figured that it wasn’t very Ones to Watch of me, so I’m going to go with Jay Prince’s “In The Morning.” The East London MC really lets his versatility shine on this groovy summer track, and I can’t help but sway my shoulders side to side and activate my trap arms whenever the beat kicks in. Everything just blends perfectly with Prince’s rapping and infectiously catchy hook over the afrobeat-inspired production. Ah, I can picture the beaches and pool parties. I can already taste the Modelo! OOOH WHEE!

-Green Lee (Social Media Coordinator, Ones To Watch)

Cloves – “Wasted Time”

Old habits die hard–and putting down the proverbial bottle is easier said than done, whatever that bottle is for each of us. “Wasted Time” is a poignant look at the pain of going back to a bad habit again and again. The rawness of her voice and stripped-down production mirror the sheer honesty of the song and her simple, unaffected lyrics. Feels.

-Alexa Schoenfeld (Junior Booker, Live Nation)

Mallrat – “Groceries”

There is an innate and profound simplicity in Mallrat’s “Groceries.” The melody, which sways between a delicate sense of ease and full-out dance-inducing jam, embodies the overarching feeling of effortless joy the song gives off. As the Brisbane artist sings about such seemingly modest things as grabbing groceries, spending time together, being in love, ensuing heartbreak, it’s hard not feel a sense of universality to it all. It’s a humbling and beautiful track, perfect for the summer.

-Jenna Singer (Artist Development Coordinator, Live Nation)

Rainbow Kitten Surprise – “Painkillers”

How To: Friend, Love, Freefall, the third and most recent album from indie rock outfit Rainbow Kitten Surprise, is occupied with an undeniable spirit and boldness, largely thanks to its impressive lyricism and genre-defying approach. While singles “Fever Pitch” and “Holy War” are terrific displays of that declaration, the true highlight comes in the form of the track, “Painkillers.” While melancholy and disheartenment resonate within this mellow tempo driven effort, it’s not merely a straightforward downer by any means. Frontman Sam Melo coos with an inviting and favorable gentleness throughout the course of the song. Moreover, the stunning sonic configuration and poignant yet browbeaten lyrics really stir the soul, no matter what state one may be in.

-Sean Kayden (Writer, Ones To Watch)

FRENSHIP – “Mi Amore”

Eighties pop meets seventies funk in FRENSHIP’s “MI Amore,” a bitingly honest homage to pursuing a dream in a cutthroat industry. A deliciously groovy bass line underscores the electronic fuzz and vibrant synth as the electropop duo sing, “Don’t come between mi amore,” for a sound that is altogether irresistible. The positively sizzling chorus is preceded by a flash of bitterness with the lyrics, “There’s a high price to pay for fame / Put the shame on you for your hollow ways.” This unyielding emotional honesty paired with refreshing sonic creativity is exactly what FRENSHIP does best, and why “MI Amore” deserves a spot on your summer playlist.

-Dana Jacobs (Writer, Ones To Watch)

The Night Game - “American Nights” 

My favorite song of the year so far is "American Nights" by The Night Game. I have a major soft spot for things that sound like ‘80s classic rock and The Eagles, plus Martin Johnson's song structures could not be more perfect. I can't wait for his forthcoming album, which comes out in September. "American Nights" is super reminiscent of "Born in the USA." It sounds magical, but the lyrics are a contrast to the actual struggles of American life, which makes it super relevant lyrically.

-Angie Piccirillo (Writer, Ones To Watch)

Chloe x Halle - “Everywhere”

Chloe x Halle are goddesses with their new album The Kids Are Alright. "Everywhere," a clear standout on the album, shows what the duo is capable of when they’re completely unrestrained. It is an anthem for boss ass bitches who work hard and do not let the haters get them down. The track is an excellent showcase of Chloe’s knack for production and demonstrates their versatility for a wide range of musical styles. Chloe X Halle proves that they’re more just their impressively gorgeous vocal harmonies."

-Jordan Grace (Writer, Ones To Watch)

What So Not – “Be Ok Again”

My favorite song from this year so far is probably What So Not’s “Be Ok Again.” Being one of my favorite producers, it’s really hard for me to choose a favorite song, but I loved the entire album that this song came from–Not All The Beautiful Things. I had seen him shortly before this album came out and had the chance to see a lot of the new music live, including this song. After hearing it live, it will always have a special place in my heart.

-Eden Kraus (Writer, Ones To Watch)

Joy Oladokun – “Sober”

My favorite song of the year, thus far, would have to be Joy Oladokun’s “Sober.” Ever since its release, I have not been able to get this brilliant gospel-soul infused tune out of my head. This track has everything I look for in a song–an infectious melody, relatable lyrics, and a unique lead vocalist. “Sober” marks the first release for Oladokun since 2016, and it is well worth the wait. The song is a soulful anthem for anyone who has gone through an addiction-fueled, unhealthy relationship and came out the other end with a clearer head. The repeated line, “Now that I'm sober my temperature's a little colder / I see it clearly now, I only fell for you ‘cause I was young, dumb and broken” is overwhelmingly real, and perfectly expresses the overall sentiment of the song. The lyrics and music are both sanguine in nature, reflecting the hope and revelations that come with time and personal growth. The musical elements of the song in combination with Oldaokun’s enticing sound makes “Sober” an instant add to any 2018 playlist.

-Jessica Thomas (Writer, Ones To Watch)

[wopcalmetacritic]

Rolling Stone Review: The Bronx Project by Cardi B

56/100

Cardi B is one of the main girls changing the rap scene in the last few months, and now she released her first album, "The Bronx Project". Filled with - allegedly - personal tracks, the singer wanted to reach her fanbase by making them feel closer than they were beforem after hitting the top of the charts with the bouncing "Bodak Yellow". But did she?

The album opens up with a trap urban song, "Bronx Season", a short (less than 3 min) song, but with countless words and rhymes that gives it a really nice flow. The composition talks about her journey, her reputation, her independence and stardom - which is really nice, but kind of weird when it's about a newbie artist that just hit success with one song.

"Spent A Little Doe", the second song, brings up an incredible 90's vibe, reminding us some classic Lauryn Hill, Missy Elliott and even Salt-N-Pepa. Completely dated, but in some kind of good way, the song has incredible and uncredited vocals to legendary Mary J. Blige - give her the goddamn credits, Cardi.

The same 90's feeling comes up with "That Thing", featuring Beyoncé (yes, she got her credits). A extremely catchy song with woops and turns and a jamming groovy feeling, that gets tiring after three times singing it in your head. Beyoncé did great but Cardi verses are the best on the song ("Money taking and heart breaking, now you wonder why women hate men / The sneaky, silent men / The punk, domestic violence men / Quick to shoot the semen, stop acting like boys and be men").

"Whatta Man" is another dated song, straight outta 90's, but not in a good way this time. Even though Ariana really tried to save this, it's a bubblegum flash rap song that loses its fun at after 1 min and a half - it gets boring and tacky.

And we thought we'd might get some freshing new song, Cardi serves us "Queen Bitch", another song to praise her independence, her journey, her independence and fame... At another 90's dated song. The verses are great, her flow is fantastic, but the lyrical content doesn't goes far much than caressing her own ego. We got it, Cardi, you like to talk about fame while being a new girl in the stardom - who are we to judge? We'll just have to wait for the future Cardi to feel embarrassed for speaking with no property.

"Bodak Yellow", her #1 single, is the sixth single. Gangster style, in a looping hyponitc instrumental that makes you feeling yourself; it's impossible not to enjoy this, even if you're not into rap: the beat is incredible, the chorus' melody gets stuck in your head and makes you want to be just a little bit swagger like Cardi. The best song off the album so far, although it's lyrics doesn't goes that far as the subjects she talked in the previous songs.

The seventh track, "Red Barz", finally brings up the modern fresh style we've been waiting. After the smashing hit, "Bodak Yellow", we wonder why Cardi haven't released this yet - an upbeat catchy song with mid-east influences at its instrumental, and a terrific flow as Cardi speaks and curses, but, again, in a too short song - 2 minutes and 7 seconds, really? This could be a highlight but when you're getting into the song, it's over.

"Pop Off", featuring Casanova, is the eighth track, bringing up a messy instrumental as Cardi raps along with it in a fast rhyming game, in a song a bit different from the others, but still talking about how fierce she is, how big she is and that she won't take no offense home, "b****". Casanova verses lights up the song, even though the song gets annoyingly unhearable after 50% of it, due to it's extremely messy and noisy instrumental. Sounds unfinished and amateur, with a great potential lost.

Time to get some Pharrell production with "Icy Girl", the ninth track off the album. Serving Snoop Dogg realness, the song could be a pair to his classic "Beautiful" or Missy Elliott's bastard daughter. It's a great jamming song that goes along with an easy listening (and mimicking) and a nice flow - "Cash money mama that be dining in Bahamas / Eating Fettucini pasta with the scallops and the lobsters" is what you're going to get from the 1 minute song. For real, not even 2 minutes. Oh, and a classic line: "Huh, I don’t got no time for these hoes". Absolutely non-Cardi. But in the opposite way.

"Pull Up" takes the number 10 track place, in a similar song to "Bodak Yellow", but in a mediocre production and a composition that should've stayed at the demo drawers. "So much people think they know my pussy / But no one can say they fucked" is one of the verses. Just to mention. One more? "You try to play me, that's confirmation / But it's all good 'cause when you see my face / Shit don't come out like it's constipation". Let's pretend this never happened.

Pharrell is back at "The Jump Off", along with Timbaland (yes, he's alive!), in a boucing song that makes us remember from classic Missy Elliott - "Work It" - which is great, and it lifts us up after a great stumble from the previous track. A trap hip-hop track that samples "Jeeps, Lex Coups, Bimaz & Benz", uncredited as well, that doesn't gets tiring, doesn't lose it's groove and makes you entertained in a catchy chorus and a smooth verse flow. Along with "Bodak Yellow" and "That Thing", the song is one of the best off the album, no doubt about it.

Spending her pennies in a electro-influenced song, Cardi sounds unrecognizable at the chorus of "Rolling", the twelfth song from the tracklist. Unpretentious as in 90% of the songs so far, the track doesn't change much of what we've heard so far when it's about its melody and composition; it starts as a great jamming song, smooth, but it turns into flat quickly, and gets boring after the second chorus. T-Pain would be proud of this song, specially at it's vocoder-ed vocals, we must observe.

The standard version of the album closes with "Never Give Up", a duet with Josh X, a Bronx fellow to Cardi; it sounds like something Rihanna would release in 2009, probably featuring Ne-Yo or someone like it, but hey, this isn't a bad thing. Its lyrics are inspirational, almost cliché "Never give up / We're almost at the top of the hill now", and it might not the best song, not even fantastic, but it can be memorable. It's a great song to close the album, it gives you the feeling of wanting more - 'cause after all, we didn't get much highlights from this tracklist so far.

The first from the three tracks from deluxe version & Apple Music exclusive, "Hectic", is the perfect definition of a filler bonus track. Life could've go on without it, but it's not that bad; not a fan favorite, but it can be the track that a few like and enjoy when she sings it, by surprise, at a conert. The bass beat reminds us from a few previous songs of the album, keeping up the coesion of the songlist, and that's good. A point to Cardi for that!

"Leave That Bitch Alone", the second bonus track, is a apparent powerful song at first, but we get it why it wasn't picked for the standard selection of tracks when you keep listening to it: it starts like an extremely good song, but it loses its power before it reaches the chorus after the first verse. No surprises on it, it's enjoyable and probably will be a fan favorite due to its "i'm the right girl for you" vibe, which we've seen before on the album.

The last track off the record, the last bonus, "Focus", should be at the tracklist, being a hightlight on the tracklist. It plays with an insane bass beat that could easily be played out loud in cars and parties. The fierce composition makes it even better and it might serve as an empowerment song, specially to girls - "Any n**** play or disrespect me, he regret me, wish he kept me / People question how they lost me, make it hard, they can't forget me", and obviously: "Can't no n**** disrespect you, keep these h*** up in they place", to keep the Cardi style.

In an overview, Cardi B might have released a fierce strong album to show off how she won't take no trash and no negative talking, and even though she might be a new in the music game, she's not a newbie in life. And life's hard. Growing up as a black girl, in the Bronx, takes guts to fill the cup. Confidence at its best, in a ego that sounds bigger than her humility, it doesn't take much to notice that Cardi B is here to play the fame game: if you know how to spell the words fast, and make yourself as the best on it, you're gonna be praised - but what is she saying though? As the songs have a few parts about her lifestory, they lose its power by mixing up to superficial self-praising lines. Some have a really nice rhythm and you get the flow wishing you could be good at rap like her - we can't deny her amazing skills on rap and at a few writing - but the content of the songs, in its total, are most all the same: the "i'm the motherf***** fiercest b**** and you're all h***, haters" type of thing that we're tired and that should've kept with Nicki Minaj way back in 2013. She's been through "Love & Hip Hop", she got herself in a gang, she made her ways to escape poverty and violence, and we admire her for that, but if Cardi wants to show that you want to get close to the people and mostly your fans, you have to disarm yourself - i guess you wouldn't want to hurt the ones that love you, right? You don't have that much haters, Cardi, trust us when we say that. Maybe getting off the narcissism and the armed position ready for the attack would match the humble personality hardly noticed in the show-off Bronx girl songs that fought hard to be where she is now.