#listening to aj's songs on loop... she's such a good singer and i love her accent sm awwawwwawaaaa đ
i'm so in love rn đ
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REVIEWING THE CHARTS: 17/04/2021 (Polo G, Dave, Doja Cat & SZA, Taylor Swift)
Okay, so, UK Singles Chart time â all hell broke loose. I knew Taylor Swift and Dave would make an impact but I was also not expecting all of the chaos to come with it. With that said, Lil Nas X is still at #1 for a third week with âMONTERO (Call Me by Your Name)â and letâs just get through with this. This is REVIEWING THE CHARTS.
Rundown
In this starting rundown segment, Iâve got a lot to cover so Iâll make it quick, no nonsense. First of all, I cover the UK Top 75. Why the top 75? Iâm difficult â even though itâs actually more convenient. Secondly, the notable drop-outs â songs that peaked in the top 40 or spent more than five weeks on the chart that are gone from the top 75 this week thanks to this avalanche of 14 or so new arrivals. This week, we say goodbye to a bunch of our debuts from last week as well as âtelepatĂaâ by Kali Uchis, âBringing it Backâ by Digga D and AJ Tracey, âYouâre Mines Stillâ by Yung Bleu and remixed by Drake, âMidnight Skyâ by Miley Cyrus, âWatermelon Sugarâ by Harry Styles, âMr. Brightsideâ by the Killers and several #1 hits, including âDreamsâ by Fleetwood Mac, âSweet Melodyâ by Little Mix, âMoodâ by 24kGoldn featuring iann dior, âDance Monkeyâ by Tones and I and finally, âSomeone You Lovedâ by Lewis Capaldi, after spending a whopping 113 weeks in this region... despite being terrible. I mean, itâll be back next week but celebrate the little victories, like our returns, for example. âX Gonâ Give it to Yaâ by the late DMX is back at #72 after the passing of the hip-hop icon last week. This legendary song was actually one of his later hits â not even a hit in the States â and originally peaked at #6 in the UK back in 2003. We sadly donât see anything else from DMX returning but we do also see Taylor Swiftâs re-recorded version of âLove Storyâ revisiting the charts at #45 off the album boost.
Now for the songs that fell or rose this week, starting with the notable losses, being songs that dropped five spots or more. First, we have âYour Love (9PM)â by ATB, Topic and A7S at #13, followed by âDonât Playâ by Anne-Marie, KSI and Digital Farm Animals at #17, âHold Onâ by Justin Bieber at #20, âSave Your Tearsâ by the Weeknd at #22, âUpâ by Cardi B at #23, âCommitment Issuesâ by Central Cee at #25, âLatest Trendsâ by AI x JI plummeting at #28, âPatienceâ by KSI featuring YUNGBLUD and Polo G at #29, âdrivers licenseâ by Olivia Rodrigo at #34, âWeâre Goodâ by Dua Lipa at #35, âAnyoneâ by Justin Bieber at #40, âBlack Holeâ by Griff at #41, âAll You Ever Wantedâ by RagânâBone Man at #43, âWITHOUT YOUâ by the Kid LAROI at #44, âBinding Lightsâ by the Weeknd at #46, âGoosebumpsâ by HVME and Travis Scott at #47, â6 for 6â by Central Cee at #48, âMedicineâ by James Arthur at #49, âHead & Heartâ by Joel Corry and MNEK at #50, âMet Him Last Nightâ by Demi Lovato featuring Ariana Grande at #54 off of the debut, âParadiseâ by MEDUZA and Dermot Kennedy at #58, Doja Catâs âStreetsâ at #60 and âBest Friendâ with Saweetie at #61, âTonightâ by Ghost Killer Track featuring D-Block Europe at #62, âGet Out My Headâ by Shane Codd at #63, âBeautiful Mistakesâ by Maroon 5 featuring Megan Thee Stallion at #66, âTrack Starâ by Mooski at #67, âHeadshotâ by Lil Tjay, Fivio Foreign and Polo G at #73, âWhat Other People Sayâ by Sam Fischer and Demi Lovato at #74 and finally, whateverâs left of Drake as âWhatâs Nextâ is at #68 and âLemon Pepper Freestyleâ with Rick Ross is at #70.
Our gains are arguably more interesting, as itâs impressive to climb five spots or higher or reach the top 40 for the first time in the midst of all this nonsense. Therefore, we do have just a few gains, those being âRunawayâ by AURORA at #51 off of the debut, âNice to Meet Yaâ by Wes Nelson featuring Yxng Bane making a surprise attack at the top 40 going to #39 off of the debut, âGood Withoutâ by Mimi Webb at #18 and âFerrari Horsesâ by D-Block Europe and RAYE continuing its gains up to #16. Thatâs pretty much it â still took a while â so letâs get through those 14 new arrivals, huh? God help me.
NEW ARRIVALS
#75 â âMarea (Weâve Lost Dancing)â â Fred again.. and The Blessed Madonna
Produced by Boston Bun and Fred again..
This is one of the songs that really padded out our new arrivals list â to explain, a lot of the time, these songs were released weeks ago and only now gain enough traction to debut within the top 75 and hence be discussed by me. This one just happens to have popped up in a week where everything is going on already so it kind of gets lost in incoherency but regardless, this is a song from Ed Sheeranâs producer Fred Gibson, who I refuse to call by his stage name, from his most recent project featuring vocals from The Blessed Madonna, most commonly known right now as the producer and DJ behind the club mix edition of Dua Lipaâs Future Nostalgia and hence the âLevitatingâ remix with Missy Elliott and, well, actual Madonna. The song itself is one Iâm surprised is about anything but has these mostly spoken word vocals about how we as a world have âlost dancingâ to the COVID-19 pandemic, as well as hugs, and, well, thatâs all she decides to elaborate about. She also guarantees that once everything is over, âwhat comes next will be marvellousâ. Whilst I appreciate the sentiment, I think itâs almost a dangerous promise, given that weâll be in this pandemic for longer than anyone expected and itâs pretty evident that weâll still be keeping to social distancing as the vaccine roll-out continues all throughout this year. At this point, weâre still in lockdown and international travel will still be stunted for years after the fact. This song feels like The Blessed Madonna getting on her pedestal about the arts and their impact on people without going into any detail that warrants the soapbox, bizarrely over some synth-heavy deep house beat that decides to do little more than flutter through the entirety of the five-minute runtime. Yeah, this is pretty insufferable. Next.
#71 â âSlumber Partyâ â Ashnikko featuring Princess Nokia
Produced by CallMeTheKidd
Okay, so TikTok picks this one up and the label then decides to push this over âDeal with Itâ, a brilliant pop song that was right there and already had the high-budget video to boot? Regardless, this is taken from Ashnikkoâs debut mixtape of sorts, Demidevil, and whilst as a whole the project does little more than act as harmless fun guising as anything more, a couple of the singles are genuinely pretty great, including this one, which seems to be a break-out hit for rapper Princess Nokia. This song relies on the jerkiness of its almost DJ Mustard-esque club beat and that warped might-be-a-flute loop to support Ashnikkoâs similarly sloppy delivery, which decides to be as in character in possible â of which I mean that it is obnoxious and frankly ridiculously stupid. This isnât a âslumber partyâ at all, and whilst the childish implications are if anything kind of unnerving, there is a lot of fun to be had here if you get past the âkawaii hentai boobiesâ in the chorus. Nokiaâs verse continues the albumâs general early 2000s aesthetic with her referencing many hits and singers from that time period in a pretty slick albeit one-and-done verse that should really be extended further than it is. I mean, I would have preferred that to Ashnikkoâs second verse comparing her girlfriend to the little girl from The Addams Family, before mentioning how her eyes go black when she orgasms and that her spit tastes like Juicy Fruit gum. Okay, so when it comes to filthy lesbian rap I think I prefer acts like BASSIDE but for what itâs worth, this is surreal and fun enough for me to like. I hope it does well, but know she has better songs even on that same tape.
#69 â âVersusâ â SL and M1llionz
Produced by Lucas Dante and Yng Cld
Oh, hey, another drill track by two guys produced by two guys for two guys to rap about how cool it is to be the two guys they are. I guess the gimmick here is that the single actually has an instrumental version as well for whatever reason; I guess they want people to remix the track. That would make sense, as this beat is immediately recognisable from that chipmunk squeak of a glitched vocal sample they use. In fact, I think I prefer the instrumental version because when those booming 808s come in, it hits really hard especially with the scattering drill percussion. SL and M1llionz are trading bars here in what is basically one verse and itâs not like theyâre saying nothing of interest here as there is a viable enough amount of detail here in these bars about exactly what youâd expect. But thatâs exactly what it is: exactly what youâd expect. By the first verse, youâve already heard SL talk about watching The Boondocks and thatâs about as interesting as it gets. Sure, the interplay between the two guys in this case is pretty smooth, but it goes on for about a minute too long and M1llionz has a lot more charisma than SL so it does feel like half the song is wasted away. The producers know that too, as they decide to fade the song out very quickly after M1llionz stops rapping his final bars. This is fine â on some days, Iâd probably call it really good â but itâs nothing I havenât seen before.
#64 â âStarstruckâ â Years & Years
Produced by Mark Ralph and Nathaniel Ledwidge
Weâre not even out of that bottom third of the chart and weâve still got a lot ahead of us before we get above that point. Here, we have âStarstruckâ, sadly not the Lady Gaga or 3OH!3 song but instead the first officially solo song by Years & Years, which is now just frontman Olly Alexander after his bandmatesâ departure, similar to Panic! at the Disco except the members seem to be on good terms, or Ritt Momney, except no one here is a Mormon missionary... yet. Whilst you could see this from a mile away if you had listened to that last album, it would be deceiving to say itâs only Olly this time around as heâs enlisted several outside producers and writers to craft a pretty straightforward love song. Well, is it any good? Iâm not entirely sold on it, mostly because it seems to reject all of the lyrical intrigue there was in those past two albums â at least intermittently â for a pretty generic if not pure and lovely content, with the most interesting of lyrics being about sipping his partner up like cosmic juice, which Iâll admit got a laugh out of me. It is fitting for how this janky dance-pop song sounds as sonically itâs kind of a quirky mess with a lot of bassy grooves in the verses only to be replaced by a shiny synth blend that completely shrouds the chorus in video game sound effects and French house-esque filter effects. This sound is very much a late-2000s early-2010s throwback in some ways and throwing it back even further in others, which creates an interesting sound but not enough to not let this become easily stale after just the second chorus, especially if itâs going to purposefully fumble its climax for an awkward build-up that involves basically revealing the drop measures before it should have. Yeah, I want to like this but it just seems kind of confused as it is. Iâm still going to listen to that third album whenever it comes, but Iâm somewhat disappointed with this lead single thus far.
#57 â âLingoâ â Deno featuring J.I. the Prince of NY and Chunkz
Produced by Da Beatfreakz
Alright, so British rapper Deno has enlisted New York rapper J.I. â who I refuse to call by his full stage name â and Chunkz, who Iâm pretty sure is some YouTuber, to hop on a beat from DaBeatfreakz, specifically this watery R&B beat with vocal loops drowned out by bass and some awkward mixing. Deno isnât much of a presence in the verse or chorus, J.I. talks about some girl not chewing him right and Chunkz, who sounds awful on any beat with the whiny Auto-Tuned mumble, somehow doesnât say anything of interest despite being the semi-professional comedian of these three guys, or at least not before Deno takes over his verse and they all give up for the last couple measures. Yes, that was one sentence â this song doesnât deserve much more.
#56 â âShy Awayâ â twenty one pilots
Produced by Tyler Joseph
Iâve never been that big a fan of twenty one pilots, but I was actually pretty fond of her most recent album, Trench. What fascinates me about them is how they seemed to have done really well for themselves that one time in the Blurryface era and have coasted off the success of that to fund some of their more out-there and experimental musical aspirations. I donât think theyâre looking for big hits anymore â which is good because this wonât be one â but people will always be looking out for what they do next, and theyâve just announced a new album coming soon with this as the lead single. Thankfully, itâs not that COVID-19 pandemic pandering from last year which got on my nerves a lot more than it should. âShy Awayâ, instead, goes for... 1980s dance-punk, because, of course. I do love that jerky synth lead and how well itâs backed by that chugging bass and percussion, which weâll always know is organic coming from Josh Dun. The song itself is a somewhat vague motivational track but not for no reason, as these lyrics actually originated from when Tyler Joseph was giving advice to his brother, a budding musician, trying to get him to see himself in a new light and find his unique purpose in music and not to âshy awayâ from continuing with his dreams. I can get behind that, especially if itâs going to have squealing guitar segues, an infectious power-pop chorus that will probably not leave my head for a long time and the excellent swell of guitars in that third verse before the brief breakdown in the post-chorus with all those squibbling synth effects. Itâs just a wonderfully constructed song on all accounts, even if it sacrifices some of that unique personality we usually get from Tyler for the sake of making a tighter pop-rock song.
#52 â âYou Belong with Meâ (Taylorâs Version) â Taylor Swift
Produced by Taylor Swift and Christopher Rowe
I guess the best place to start with these re-recordings is the original song, which Iâve never liked. Iâve never seen a reason to enjoy Taylorâs entitled adolescent whining over some pretty garbage production making what may as well be organic country instrumentation sound like MIDI tracks. She doesnât deliver a particularly good vocal performance, or at least one good enough to excuse âShe wear short skirts, I wear T-shirts, sheâs cheer captain and Iâm on the bleachersâ. There isnât enough detail to make this seem like a toxic relationship so she ends up just sounding bratty. This new version, from a matured Taylor Swift a decade later, has decided not to change any of these lyrics and it just sounds worse coming from a Taylor who clearly knows a lot better and is in a happy relationship. Okay, the instrumentation sounds a lot more organic and has more of a groove than it used to, with some more intricate production moments that are cool, but thatâs really the only change that improves on an already mediocre song. Taylorâs voice has improved a lot since that original recording but so has she, and her selling these lyrics with as much conviction while in her 30s just ends up sounding sad. It only makes sense to âreclaimâ these songs if youâre going to try and make them your own again, and not representative of someone I donât think Taylor is anymore. Alas, itâs listenable, but this could have been one of the more interesting re-recordings and nothing was done with it past the better mixing and a pretty epic guitar solo, even if it does feel unwarranted by the content.
#42 â âWay Too Longâ â Nathan Dawe, Anne-Marie and MoStack
Produced by Scribz Riley, Tré Jean-Marie, Nathan Dawe and GRADES
For someone who is solely a producer and DJ, I say thatâs two or three too many credited producers, but regardless, before we get to more Taylor Swift, which we will eventually, weâve got some leftover house track with B-list stars that starts with the words, âHey, yo, yo, itâs Stack Rackâ. With that said, I actually kind of like this song with its strings swelling more than the usual track and its bass-heavy club groove in the verses being more complex in its percussion, especially when the sound design is that interesting in the second half of the verse as all of these effects and different synth patterns occur in the back of the mix, which kind of lets me forgive how anti-climactic the drop is. Itâs not really an EDM song as much as itâs a light-hearted pop track and Anne-Marie isnât taking it as seriously as she could, especially on that vocoder-drop chorus, which makes the song a lot more fun that it should be. MoStack is who really shines on this track though, as his verse is â probably unintentionally â very funny, as he twists the meaning of the song to a phallic joke, happily engages in monogamy, particularly with every British pop-star he can think of and says âforget quality, I want quantityâ. He just lists famous singers by the end of this verse that he finds attractive and is completely gone off the deep-end by the time heâs ignored by Anne-Marieâs swell of a chorus. Itâs not a great song and definitely falls into the traps that most EDM does but as it is, itâs a fun track with a surprisingly hilarious and sloppy guest verse from MoStack that I was not expecting, as well as just being inoffensive across the board.
#33 â âMercuryâ â Dave featuring Kamal.
Produced by Manny Manhattan and Kyle Evans
Dave released a double A-side single â or at least whatever the equivalent for that is in the streaming age â and this was the less popular track, âMercuryâ, with singer Kamal. If you donât know Dave is, heâs one of the biggest and most celebrated rappers in the UK and this is his first solo release since 2019. Iâve usually been pretty happy with Daveâs releases â hell, Psychodrama was one of my favourite albums of 2019 â but Iâm not entirely sure I can endorse this lazy trap beat relying on some gentle but overbearing pianos and groovier bass knocks. Really, the beat is pretty minimal so we can focus on what Daveâs saying, right? Well, we could, but why would we want to? Sure, thereâs some good wordplay weaved into here and I donât dislike his stories about gang violence and paranoia, even if theyâre delivered in the most checked-out almost condescending way possible, but I canât get behind the misogyny that seems to run a lot deeper than it does in typical rap. Sure, he makes the same googly-eyed observations about attractive women, describes some parts of the sex but interestingly not any part he plays, and also describes her as a âwork of artâ, but this is all after he dismisses women in general for not âforgiving him for his sinsâ, in some thinly-veiled Ariana Grande reference that leaves me more pissed off than he is, especially since Daveâs not as self-aware as he thinks he is, particularly because he himself can barely forgive himself for his wrongs in that second verse. Instead, he shrouds it in hedonism like any other rapper â what have the women got to do other than make good decisions for themselves about who they sleep with? He doesnât go into disgusting detail like Digga D on âToxicâ but it rubs me the wrong way, especially if heâs going to then complain about the myth that is cancel culture. If this comes from a genuine place where he was genuinely attacked for something he didnât deserve the abuse for, Iâd understand, but why even complain about the supposed mob of Twitter users when the only tie you have to it is something reported on your brother by the right-wing press that everyone ignored? Other than missing the point terribly, itâs not like this song is catchy or notable. Even he acknowledges that this five-minute bore wouldnât make the album, and itâs for good reason.
#32 â âAnywhere Away from Hereâ â RagânâBone Man and P!nk
Produced by RagânâBone Man, Mike Elizondo and Ben Jackson-Cook
So this is RagânâBone Manâs second single from that upcoming album, or at least the second to chart, and after the surprisingly great post-punk rocker that was âAll You Ever Wantedâ, Iâm excited to hear what a duet with P!nk could sound like. After all, theyâre both rougher voices in the pop sphere, even if P!nkâs been doing it for much longer. Sadly, itâs a ballad... not to say they canât do ballads well but this is a pretty minimal piano-lead track with some really badly mixed vocals from RagânâBone Man as he channels an unintelligible Dave Grohl thatâs way too loud in the mix, especially when the strings come in and cloud the mix. I do like the content once again with RagânâBone Man as he continues to discuss the careless days of his youth, but this is more about growing older and eventually growing discontent with that lifestyle and each other, just wanting to be somewhere else. P!nk delivers this in a way thatâs a lot more flattering to her voice and the instrumental, but when the borderline choir vocals come in with those terribly-mixed harmonies between the two and that pointless bridge, I give up on this song. It just refuses to go anywhere, Iâm sorry, and it had a lot of potential but these voices donât particularly mesh together especially over some basic piano and strings. This could have been great and as is, is less than mediocre.
#30 â âMr. Perfectly Fineâ (Taylorâs Version) (From the Vault) â Taylor Swift
Produced by Taylor Swift and Jack Antonoff
I didnât listen to the re-recorded version of Fearless; instead I just listened to the six or so bonus âfrom the vaultâ tracks because thatâs the only new content and Iâm not big on any of it. It sounds exactly as youâd expect a 31-year-old woman reciting lyrics she wrote and shelved when she was a teenager, not even thinking they were good enough to release then, decades after the fact, and most of the songs just arenât interesting at all. I think âBye Bye Babyâ is a great pop song but besides that thereâs nothing much to enjoy in these tracks, at least from me. I know that Taylorâs biggest fans will love how she re-recorded leaked and rumoured songs that had been circulating but as someone detached from that, it does nothing for me. This song in particular is about Joe Jonas, because, of course, it was, and itâs a petty, sarcastic break-up song Taylor should be able to deliver confidently but ends up falling flat based on almost that awful verse melody alone, which is just janky, unpleasant and stretched out to the point of annoyance, especially if itâs going to be produced this well. She dug up this track seemingly only to get Antonoff on the record, and, sure, the chorus is catchy and has that one great moment with those crashing guitars, but it enjoys killing its momentum as soon as it gets going... for five minutes. Yeah, Iâm sorry but Iâm not interested in what was left on the cutting room floor a decade separated from the release of this re-recording, especially if this fully-fleshed instrumentation does little more than distract from how dreadfully boring this song is. Wake me up when she re-records Speak Now or especially reputation, because that will truly be fascinating.
#10 â âKiss Me Moreâ â Doja Cat featuring SZA
Produced by tizhimself, Carter Lang, Rogét Chahayed and Yeti Beats
Iâve forgotten to mention that three of those 14 new arrivals actually debuted in the top 10 this week, meaning, yes, whilst weâre nearly done, weâve still got a lot to cover and we start with what seems to be the lead single from Doja Catâs upcoming album, as she enlists SZA to assist her on this classily unclassy disco-pop song. Those main guitars do sound great, especially with Dojaâs signature cooing over them, and thatâs before we get to that slick pink disco groove not dissimilar to âSay Soâ but with a tighter, fun bassline and how quickly Doja strips off the subtlety. I could do without that mess of a post-chorus that is just a blend of too many, not very great vocal takes, but I do love how it leads into Dojaâs unsubtle sex bars that actually go into some interesting detail, but not as much SZA being kind of filthy but also delivering a pretty great vocal performance, even if she starts with asking her partner for that âgushy stuffâ. I do find it odd that it decides to censor âdickâ of all words, but this production is great and I actually particularly like that final chorus and post-chorus once SZA starts harmonising on it. As is, itâs a pretty tight and likeable disco jam from two charismatic performers... co-written by Dr. Luke. Goddamn it, Doja, I donât know what contract heâs got you in but Jesus, someone do something about that.
#9 â âTitaniumâ â Dave
Produced by Kyle Evans and P2J
This is our second Dave song and obviously the more successful of the two, at about three minutes shorter â thankfully â debuting in the top 10. Itâs much better than âMercuryâ, even if the song literally starts with him bragging about not needing vibrators to make his girlfriend orgasm. That said, the lyrics here are actually a lot slicker, flowing much like he did on âStreathamâ as he lists so many precious metals youâd think heâs Bender. I do like the intricacies in these lyrics, even if he doesnât really adapt it into any wordplay. He mentions how awkward that it is that his neighbours are going to vote Conservative as he brags in an almost freestyle-like structure in the single verse he spits, which has a couple flow switches and a lot more empty space than it should for a beat this awkwardly mixed, as whilst I like the trap percussion here, it really does not sound that great over borderline MIDI pianos. The little string inflections and drum fills here are cool though, and those intricacies are what makes Daveâs verse so interesting, as he foreshadows his bar about Tyson Fury with an ad-lib that Fury used himself as a build-up for his boxing matches. His JAY-Z references are also on point and pretty clever, itâs just that thereâs still not much to this past that and Iâm left pretty underwhelmed with these releases from Dave, even if theyâre not from that next album, whenever thatâs coming.
#3 â âRAPSTARâ â Polo G
Produced by Einer Bankz and Synco
Well, Lil Tjay debuted at #2 a couple weeks ago so I guess itâs only fair for his fellow âPop Outâ rapper, and the one I personally immensely prefer, Polo G to have his surprise, kind-of-out-of-nowhere top 5 debut. Much like âMONTEROâ, this track was being teased for nearly a year, having first been shown as an acoustic collaboration with professional ukulele player â yes, seriously â Einer Bankz, whoâs also credited with production here, in May of 2020. Just shy of a year afterwards, we get âRAPSTARâ, in the same vein of other all-caps trap songs about musical success like âROCKSTARâ or âPOPSTARâ. Maybe next weâll get âNEOCLASSICAL DARK WAVESTARâ. Regardless, this song is basically just about being epic and Polo G can effectively sell that even in his more basic flexing because of that intermittent detail like when he says the only woman he talks to is Siri, which isnât even a brag or a flex, more a sad admission of his crippling loneliness which I donât think was intended. He also does more than empty flexing, discussing his past drug addictions and how he coped with that alongside all of the struggles he had to overcome at the same time. That second verse may start with him saying heâs 2Pac reborn but it goes a lot deeper into his anxieties than I expected. All of this is over a melancholy guitar-based beat with some great bass and better mixing than is expected of these pop-trap singles, even if itâs still far from perfect. Those eerie vocal loops in the background add a lot to this song and I think that chorus has a pretty great build-up, even if the percussion may seem a bit too basic and uncomplicated as an effective drop. I canât really complain about this at all, though, as it is really good for what it is and Iâm glad itâs this high.
Conclusion
And with that, Iâm finally, FINALLY finished with scouring through these new arrivals and Iâll admit that it was less of a mixed bag and more of a generally positive week, at least for me, as I found more I liked than anything I disliked, particularly with Best of the Week as that goes to twenty one pilots for âShy Awayâ, with the Honourable Mention going to Ashnikkoâs âSlumber Partyâ featuring Princess Nokia, although thereâs a lot to praise on the charts this week. In terms of Worst of the Week, itâs probably going to go to Fred again.. and The Blessed Madonna for âMarea (Weâve Lost Dancing)â, with a Dishonourable Mention for, sadly, Daveâs âMercuryâ featuring Kamal. I would like to note that Taylor Swift was awfully closer than she should be to getting that this week. Hereâs this weekâs top 10:
What to expect from this week? Gosh, I donât know. AJ Tracey? Young Thug? Either way, weâll see whatever happens to all this â whether it gets flooded out or they all end up sticking around â next week, so Iâll see you then. Thanks for reading.
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Top 50 Singles of 2017
Hello and welcome to the third annual edition of my top singles list (2016, 2015)
I really like writing these lists and 2017 is all about doing more of the things you like and less of the things you donât.Â
Hair Down by Mollie King would have been my top song of the year, except that ultimately it just wasnât any good.Â
This year, because Iâm feeling extra festive, I have made the list into an apple music playlist.Â
50
Allie X â Casanova
And weâre off. This chorus has one of the best hooks of the year.Â
49
Jax Jones - Breathe ft. Ina Wroldsen
Ina Wroldsen has one of my favourite voices in music. You can hear her singing backing on a lot of early songs by The Saturdays, given that she wrote most of them. First of two Jax Jones entries on the list.Â
48
Yaeji - Raingurl
Yaeji is cooler than me, you, anyone you have ever met, and anyone you will ever meet.Â
47
Lost Kings - Quit You ft. Tinashe
In which Tinashe controversially claims she is addicted to a Coldplay song.
46
Katy Perry - Bon Appétit ft. Migos
In 2013, Katy Perry was the biggest popstar on the planet, and I couldnât understand why. In 2017, she releases a string of actual bops and her career is in nosedive. Iâm ready to stan.Â
45
Josefine Myrberg - Head over Heels
Josefine Myrberg came third in Swedish Idol back in 2014. Nobody seems to be listening to her music much these days, but Head Over Heels (7.5k views at time of writing) is a genuinely beautiful song worthy of a lot more recognition.Â
44
Kehlani - Already Won
The first time I heard this I was like âyaaasâ all the way through. Kehlaniâs autobiographical ode to her own successes is a reminder to all of us to recognise that sometimes, we have already won.
43
Sigrid Bernson - This Summer
A pop song by a Swedish woman about enjoying summer. There is nothing better.Â
42
Sage the Gemini - Now & Later
Released in 2016, but reached its chart peak in 2017 so itâs allowed. Now & Later was almost my most played song of Q1 so thereâs that.Â
41
Gabrielle Aplin - Waking Up Slow
Iâve just discovered that a PIANO version of this song has 3x as many views on YouTube. That is criminal. This song is full of synths and it bops because of it.Â
40
Stockholm Noir - Hopeless Dreams
The âTake me to the south of France, Iâll feel poor againâ bit is excellent. Â
39
Anitta - Paradinha
A very good friend of mine who happens to be multi-lingual informed me that this song doesnât make any sense in about 3 different languages. Which is as ridiculous as it is iconic.Â
38
Dagny - Wearing Nothing
I love the choreography in this video. Dagny is a brilliant popstar.Â
37
Shania Twain - Poor Me
I wasnât mad about the other singles Shania released as part of her comeback this year, but this hit me for real. Shania voice has changed in tone so much, and now it suits the melancholic Poor Me perfectly.Â
36
Danny L Harle - 1UL
What a song. I wish the singer was credited so I could look into her other work because I think she has a very listenable voice.Â
35
SOFI TUKKER - Best Friend feat. NERVO, The Knocks & Alisa Ueno
That bassline. Features galore. Nonsense lyrics. A kitchen sink bop.Â
34
Dinah Nah - One More Night
Dinah Nah is an international treasure, making banger after banger for anyone who will listen. As part of the excellent Spotify for Artists year-end thing, she proudly shared that she has 894k fans in 60 countries, which is quite remarkable and warms my heart.Â
33
Shakira - Coconut Tree
I liked Malibu by Miley Cyrus but I preferred Coconut Tree by Shakira. This song is truly meditative, and takes me straight to the beach.Â
32
Tove Styrke - Say My Name
Ironic because I still canât pronounce Toveâs surname.Â
31
The Chainsmokers - Paris
I know itâs the Chainsmokers, but I think this song is actually very good. That final instrumental goes off.Â
30
PVRIS - Winter
From Paris to PVRIS, this song has one of the biggest choruses of the year. I also love that they have called the video a âvisualetteâ - so extra.Â
29
Wiktoria - As I Lay Me DownÂ
Wiktoria puts in a solid effort here, pretty much yelling her way through the entire song without taking a breath and it is incredible. Bonus points for a liberal use of âHEYâ noises throughout.Â
28
Niall Horan - Too Much To Ask
Donât @ me. I am the last person who would have expected to see Niall Horan anywhere near my top thousand songs of the year, but here we are. The only thing constant in life is change.Â
27
Lorde - Green Light
The final chorus of Green Light was one of my defining moments of Glastonbury 2017 - genuinely euphoric. I read somewhere that Lorde uses significantly more nouns than other songwriters and thatâs what makes her songs so memorable. That could be true. I havenât counted the nouns in Green Light though but it feels like thereâs a fair few.
26
Charli XCX - Out Of My Head ft. Tove Lo and ALMA
Charli XCXâs POP 2 is an absolute triumph and my album of the year. Every song has about 12 different hooks and sounds so fresh. Tove Lo and ALMA are a dream collaboration on Out Of My Head.
25
KStewart - Sex 4 Breakfast
KStewart is my favourite new artist this year, and this is the first of two singles on this list. Somebody played a âprankâ on me at Brighton Pride this summer, and told me KStewart was playing on the mainstage at 4pm. I was so excited and squeezed my way to the front. However, at 4pm KStewart was nowhere to be seen and, to my surprise, out walks Louisa Johnson. Good stuff.Â
24
Tinashe - Flame
The nicest thing I have ever done for myself is to buy myself VIP tickets to meet Tinashe and see her perform at Koko in Camden. Here I am like a competition winner:
It feels now like sheâs never going to break through into the top tier of popstars which is a shame, because I really think she has it all.Â
23
IMRI â I Feel Alive
The best pop song Eurovision has had in years. Unfortunately slightly strangled by the 3 minute rule, I would take another 1 or 2 choruses at the end for good measure. Imri seems like heâs having the time of his life and thatâs great to see.Â
22
Loreen - Body
It took a couple of listens, but now I am completely addicted to Body, and it is pretty much on repeat whenever I am commuting. Perfect for drowning out the real world.Â
21
Loop - As if
I follow Loop on Instagram and she seems great. This year she has released a bunch of breezy, refreshing electro-pop including As If. Iâm hoping that 2018 is her year.Â
20
Poppy - My Style (feat. Charlotte)
My Style would be right at home on Robynâs Body Talk, which is one of the greatest albums ever. As Robyn appears to be taking some time out, I am thrilled that Poppy has stepped in with her own brand of robo-pop.Â
19
Liv Lovelle - Wonât Say Too Much
For the first minute of this song Iâm always like âwhere is this goingâ, and then that drop happens and it all makes sense.Â
18
CNCO, Little Mix - ReggaetĂłn Lento (Remix)
17
Kim Petras - I Don't Want It At All
More like Kim Petr-SASS đ I Donât Want it At All is the ultimate ode to materialism and an absolute stomper.
16
Nicki Minaj - Regret In Your Tears
I feel like Nicki Minaj is too often overlooked as a popstar who sings. Regret In Your Tears is an understated jam, and she sounds great. Â
15
Astrid S - Breathe
Exactly what a pop song should sound like. I had a flatmate this year and we had nothing at all in common, apart from the we both listened to Astrid S. The power of pop music to build bridges.
14
Kelela - LMK
Kelela was one artist who made me genuinely excited about music this year. Her album Take Me Apart is exquisite, sounding both fresh and nostalgic at the same time. LMK is one of the best.
13
KStewart - Hands feat. Yungen
If there were any justice, this would have been huge for KStewart. But there isnât and here it sits with less than 50k(!) views on YouTube. Hands is completely radio-ready, and could be lifted off any Ariana album.
12
Rita Ora - Anywhere
Rita Ora has had an incredible year. I love that she hosted Americaâs Next Top Model, then sacked it in and had 3 huge top 10s, which is probably more than your fave. Anywhere was instant for me, and her best by a long way. The nonsense post-chorus is reminiscent of those early 00s garage classics. Rita herself has said that it has no meaning, and I hope that in 2018 we are able to enjoy more songs with no meaning whatsoever.Â
11
Dua Lipa - New Rules
Well this one took off didnât it. Duaâs meteoric rise has been so exciting to watch, and it was New Rules that really took it there. She just seems like a great person too, and Iâm sure 2018 will belong to Dua. Another lesson in the power of a good music video to rocket launch a songâs success.Â
10
Aly & AJ - I Know
This song is just so perfect. The return of Aly & AJ has been the most welcome surprise. I Know is cool, lazy, atmospheric, synth-pop and a major shift from their 2007 Disney days.
9
Tove Lo - Disco Tits
I said this when I wrote about Cool Girl last year, but itâs worth repeating that Tove Lo makes it seem so effortless. Disco Tits is amazing and I wouldnât be surprised if she wrote it in her sleep.Â
8
Little Mix - Power ft. Stormzy
Little Mix are just unstoppable. Every year I think they have reached their zenith and then they take it to another level. Power is single number four from their fourth album and itâs this good. By now, Jesy Nelson (the best one) knows her way around an iconic second verse, so I think itâs neat that this time her verse starts with âmy turnâ. Also - what a video. Well done everyone.Â
7
Jax Jones - Instruction ft. Demi Lovato, Stefflon Don
"All my ladiesâ was THE call to action this summer. What a song.Â
6
Carly Rae Jepsen - Cut To The Feeling
Carly Rae Jepsen has mastered the ability to make happy sounding music which suddenly hits you as heartbreaking once you get stuck into the lyrics. Cut To The Feeling was released about a week after the Manchester attacks, and for me, the line âI want to play where you play with the angels, I want to wake up with you in tanglesâ stuck out as truly devastating among the euphoric, soaring synths.Â
5
Blessed - See Through All The ColoursÂ
Iâm obsessed with Blessed. See Through All The Colours is so huge and I really thought would have been their breakthrough. Unfortunately it wasnât to be, but I think watch this space. Very excited to see what they bring in 2018.Â
4
Nadine Coyle - Go To Work
One of the best things about 2017 has been seeing the true joy that Nadine Coyle, gets from being a popstar, and equally, the true joy she took from the really quite lukewarm reception of Go To Work. Earlier in the year, Nadine made a surprise appearance at a popular London club night to sing a couple of choruses of Go To Work (she didnât even stay long enough to take her coat off). I was living in those few minutes.Â
3
Mirela - Contigo
This song was the runner up in the Spanish pre-selection show for Eurovision, and won the televote by a landslide, but was struck down by some bizarre jury voting rules. Itâs basically incredible. Itâs ridiculous, itâs trashy, itâs fun. Bai-la-la-la-UH.Â
2
Katy Perry - Swish Swish ft. Nicki Minaj
I know. A basic bop if ever there was one, but no song this year has bopped as hard as Swish Swish. I spent my entire time at Glastobury telling anyone who would listen that I only came to watch Katy Perry do Swish Swish. Everyone thought I was joking. Iâm still undecided on that music video, and that dance, but the song is brilliant.
1
Steps - Scared Of The Dark
Letâs be honest, Steps in 2017 could have been shit but instead they were amazing. The moment when this sat at number 1 on iTunes ahead of chart villain Ed Sheeran was a sweet piece of pop justice. Scared of the Dark is a banger, incredibly good pop music, and my top single of the year.Â
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REVIEWING THE CHARTS: 20/03/2021 (Central Cee, KSI/YUNGBLUD/Polo G)
On the tenth week that a song appears on the UK Singles Chart, it becomes likely that it has a cut to its streaming numbers by the Official Charts Company, particularly if itâs still in the top 10 and especially if itâs #1. So, the streaming and sales do not change, but the Official Charts Company just weighs them differently. This means that itâs often that songs reliant on streaming â read: most of the chart given that the UK doesnât factor in radio â drop intensely on that particular week. Therefore, we switched out our PokĂ©mon and âdrivers licenseâ by Olivia Rodrigo has been replaced at #1 after nine weeks by âWellermanâ, an 1800s sea shanty from New Zealand covered by Nathan Evans and remixed as a pop-house song by 220 KID and Billen Ted. Of course. I donât know all of the complexities behind this rule but I do know it shakes up the chart at the cost of it being ridiculously inaccurate â I do think âdrivers licenseâ is probably still the biggest song in the country. âdrivers licenseâ is at #18 now, by the way. Yikes. Welcome back to REVIEWING THE CHARTS.
Rundown
We have a pretty interesting week, to say the least, but before all that, we can get through this brief rundown as always as we cover the UK Top 75 and all of whatâs happening over there, since thatâs what I cover. First of all, we do have some big drop-outs, like #1 hits âRosesâ by SAINt JHN and remixed by Imanbek that seemingly had its second wind pummelled this week, and âpositionsâ by Ariana Grande leaving somewhat prematurely. We also have âMr. Brightsideâ by the Killers retreating to the other 25 slots I donât cover because, well, of course, as well as âMidnight Skyâ by Miley Cyrus and sadly, âBe the Oneâ by Rudimental featuring MORGAN, TIKE and Digga D, but thatâs all for the notable drops out of the chart. Still falling within the chart other than the aforementioned âdrivers licenseâ are... basically all of the Drake songs from last week falling behind the top 10 and even the top 20, and two of them being behind âLeave the Door Openâ now â thankfully. âWhatâs Nextâ is at #20, âLemon Pepper Freestyleâ featuring Rick Ross is at #25 and âWants and Needsâ featuring Lil Baby is at #28. We also have a handful of other notable fallers like âWITHOUT YOUâ by the Kid LAROI at #27, âHold Onâ by Justin Bieber off of the debut at #31 (could rebound next week when the album makes its impact), âParadiseâ by MEDUZA and Dermot Kennedy at #35, âAnxiousâ by AJ Tracey off of the debut to #45, âAnyoneâ by Justin Bieber at #49, âMedicineâ by James Arthur at #54, âBluuwuuâ by Digga D at #57, â34+35â by Ariana Grande at #58, âDance Monkeyâ by Tones and I at #60, âToxicâ by Digga D at #61, âGood Daysâ by SZA at #64, âWhooptyâ by CJ at #65, âPrisonerâ by Miley Cyrus featuring Dua Lipa at #66, âAfterglowâ by Ed Sheeran at #68, âRegardlessâ by RAYE and Rudimental at #69, âyou broke me firstâ by Tate McRae at #71 and finally, âLemonadeâ by Internet Money and Gunna featuring Don Toliver and NAV at #75. I hope that next week is the last time I need to say âLemonadeâ by Internet Money and Gunna featuring Don Toliver and NAV, not because the song is bad but that is a convoluted credit if Iâve ever seen one. In terms of gains and returning entries, it does get interesting. The only return is for âWatermelon Sugarâ by Harry Styles at #67, but our gains include âDidnât Knowâ by Tom Zanetti at #56, âHeartbreak Anniversaryâ by Given at #42 thanks to the video, âFerrari Horsesâ by D-Block Europe featuring RAYE at #36 off of the debut, âWeâre Goodâ by Dua Lipa at #32, âAll You Ever Wantedâ by RagânâBone Man at #29, âAstronaut in the Oceanâ by Masked Wolf at #24, âLetâs Go Home Togetherâ by Ella Henderson and Tom Grennan at #21, âLittle Bit of Loveâ also by Grennan at #13, âStreetsâ by Doja Cat at #12 thanks to the video and three songs making their first entry into the top 10 after picking up the pace on the charts recently: âCommitment Issuesâ by Central Cee at #9 thanks to his album, âBEDâ by Joel Corry, RAYE and David Guetta at #8 and finally, to my dismay, âLatest Trendsâ by A1 x J1 at #2 thanks to a remix featuring Aitch. Sigh, okay, well, we have a... curious selection of new arrivals so letâs start with that.
NEW ARRIVALS
#73 â âYouâve Done Enoughâ â Gorgon City and DRAMA
Produced by Gorgon City and DRAMA
Gorgon City are a British EDM duo who were particularly big back in 2014 or so when they had their top 10 hits, particularly âReady for Your Loveâ, which peaked at #4, but they havenât really had much success since in the UK or Europe in general. This time, however, theyâve clinched a spot in the top 75 by collaborating with DRAMA, another electronic duo except theyâre from Chicago instead of north London and the vocalist here, Via Rosa, is actually from DRAMA and not some uncredited session vocalist or a sample, which surprised me because the vocals here are genuinely great and remind me a lot of these booming diva voices used so commonly in 90s house. In fact, I think this whole song is genuinely great, relying on a house groove that is pretty damn funky and some subtle keys making the foundation for a bouncy four-on-the-floor beat, with the shaky percussion just adding the spice on top of it. It helps that this chorus is pretty ethereal, with Rosaâs vocals booming over this angelic synth blend before a pretty ugly-sounding drop but that is absolutely on purpose, as the content here is about that struggle between trying to find someone and trying to better yourself so you feel like youâd be worthwhile to anyone you end up meeting, which is kind of a depressing cycle in many ways... not that Iâve experienced that, but it sounds like it warrants the DRAMA here. There are tons of intricacies in the productions here too that make the song a lot more complete, particularly in the vocal production and all the intrusive bass wobbles by the second chorus and drop, so, yeah, for once, the generic house tune debuting low on the chart is a pretty great one. I wish it went somewhere further so it sounded like an actual song but as is, without a real bridge, this is still a good, almost anthemic dance track.
#70 â âRasputinâ â Majestic and Boney M.
Produced by Majestic and Frank Farian
Boney M. are a pretty legendary disco group collected by producer Frank Farian of several Caribbean singers to make some of the most fun pop music of the 70s. One of the most interesting things about this band were the fact that they were immensely popular in the Soviet Union back when that existed, and some Soviet films even show their songs playing during high-ranking Soviet government meetings, which sounds like pure comedy. Funnily enough, âRasputinâ was the only song Boney M. were forbidden to play in the USSR, even though it was still a big hit there. The 1978 song, a #2 hit for the band in the UK, basically retells the story that led to infamous and fascinating Tsarist Russian mystic Grigori Rasputin being assassinated, with most claims in the song itself being true or at least as far as we know, although the song does mostly focus on how much of a womaniser he was. The original hit is equally fascinating as the guy himself, with a great typical disco sound, those iconic strings and the use of Russian instrument balalaikas in its mix just furthering that intrigue. Now, in 2021, the song became a hit on TikTok because... of course, and now this remix by a DJ and producer called Majestic, is charting on the UK Singles Chart. Why this remix and not the original song? Well, this is basically a French house remix of the song, using those house patterns not too dissimilar to Daft Punk or Stardust-type stuff, which makes perfect sense to remix a classic disco tune. I do prefer the original track about âRussiaâs greatest love machineâ, because itâs a lot more natural and the remix is kind of poorly done in some places if Iâm being honest, but if this is how kids decide to experience this type of classic disco, Iâm not going to complain. Itâs a good song; Iâm interested to see how this second chart run goes.
#53 â âDAYWALKER!â â Machine Gun Kelly featuring CORPSE
Produced by BaseXX, Machine Gun Kelly and SlimXX
Nope. No, no, no. I refuse. Iâm completely fine with bringing pop-punk and post-hardcore stuff back, but if the ringleader is Machine Gun Kelly and heâs bringing out Corpse Husband to help him on this trap-metal garbage, Iâm not even going to acknowledge it further than the fact that it exists and itâs probably not in MGKâs best interests to compare himself to Capitol Hill rioters. Otherwise, absolutely not. Nope. Not even going to give this the time of day.
#46 â âAddictedâ â Jorja Smith
Produced by Compass
In stark contrast, here we have Jorja Smithâs new single to add to that confusing sophomore album roll-out that I feel has been delaying itself for two years now. This new song is about giving your all to a relationship and not having it reciprocated, but she paints this in a very odd way, painting herself as âtoo selflessâ to leave and that her partner should be âaddictedâ to her, which seems like the wrong way to go about writing this entirely, especially if this instrumental is going to be the dullest blend of checked-out live percussion and a boring electric guitar loop, and Jorja Smithâs not going to sell this in a different way to how she sells her other songs, going for a subtle croon that just doesnât make sense for a song where weâre clearly not supposed to think Jorjaâs in the right for being this obsessive and somewhat hyperbolic about this relationship not going the way she planned. I could see this being done really well but the song is too weak and flimsy as is to grasp how to handle the content and Iâm sorry but it just does not work for me.
#44 â âDay in the Lifeâ â Central Cee
Produced by Frosty Beats
Central Cee released his debut mixtape, Wild West and, listen, there was a point to me not saying much about âDAYWALKER!â so I think Central Cee existing and giving me so little to work with will weaken that point even further. To be fair, I like the choir sample in this beat, even if the drop is going to be really awkwardly staggered by a loose 808 for no reason, and this drill beat never really feels like it keeps up with itself, especially because Central Cee might be the least interesting rapper in a crop of already desperate British rappers. He also says that rappers that use Auto-Tune donât âreally rapâ or âreally trapâ, which is awkward considering some of this guyâs back catalogue, and also incredibly untrue. He also disses D-Block Europe pretty directly which, regardless of who itâs from or how famous DBE continue to get, always feels like punting down, so, yeah, this is worthless.
#43 â âOn the Groundâ â ROSĂ
Produced by 24, Jon Bellion, Ojivolta and Jordgen Odegard
This is the debut solo single from ROSĂ, one of the singers from K-pop group BLACKPINK, which explains my initial confusion to why this was so high. The label has enlisted Jon Bellion of all people to produce as they intend to push ROSĂ as a global hit-maker in her own right, given that this is part of a two-track EP so that if one track doesnât do as well, fans could gravitate to another and that becomes the hit. See âHavanaâ or, really, how Drake releases his singles nowadays. Looking at some of her television appearances and the language surrounding that, it seems like theyâve been trying to push her as a soloist for a while, and given that she broke PSYâs record for most-viewed solo South Korean video in 24 hours with this song, I think itâs a success. Is the song itself any good? Well, to my surprise, itâs all in English. It now sits at 100 million views and really, thereâs no way to distinguish that this is from Korea... which isnât a bad thing, necessarily, because the song is great, relying on this slick electric guitar pluck and ROSĂâs vocals which, despite being drenched in reverb, sound really great, before the whole song is abruptly plunged into this distorted, bassy electro-pop void which is just a fascinating and kind of avant-garde choice for a pop song like this. The song doesnât really develop further than that, pretty much repeating its own structure, but that drop with all the spliced-in backing vocals, is such an interesting catharsis itself that I think it makes up for that. The final drop does a lot different as well, going for a lead synth melody on the top of the mix that again sounds really great when paired with that mix and then the rising strings. I was tempted to write this songâs quirks off as shoddy K-pop songwriting but given the credits, especially Jon Bellion, Iâm confident all of this nonsense is absolutely on purpose, and I love it. Check it out, I hope this becomes a hit outside of this debut week, although I really donât think thatâll happen given itâs (ostensibly) a K-pop song and their western success is largely dominant on sales from fans. Regardless, Iâm glad it debuted here in the first place as I wouldnât have heard it otherwise.
#16 â â6 for 6â â Central Cee
Produced by Okami202, Sevon and Young Chencs
This is Ceeâs sixth song to hit the chart, and hence heâs going âsix for sixâ, even though only two of those singles were actually poised to stick around in any shape or form. He does seem to be going somewhere with this, particularly the direction I thought âLoadingâ would be going, as it uses a choir sample as the background to this janky UK drill beat... but itâs soon drowned-out and Cee himself is such a non-presence that itâs not worth paying attention to the guyâs content, let alone his lyrics which seem to try and be somewhat introspective about his drug-dealing and gang violence, but end up being incredibly shallow and not really saying anything, about as shallow as this instrumental. The outro would be a pretty nice piano interlude if it didnât stop so abruptly and Iâve only got to hope that leads into a track on the album and isnât just a mistake, because Iâm not listening to that mixtape if my life depended on it. Another snooze from Central Cee, what a surprise.
#3 â âPatienceâ â KSI featuring YUNGBLUD and Polo G
Produced by Matt Schwartz
Remember when I said we had three songs making their first entry into the top 10? Yeah, turns out that Iâm a compulsive liar since we actually have a fourth at #3, and Iâm tempted to nope my way out of this one as well. Whatâs with this week and whiny, wannabe pop-punk singers collaborating with obnoxious YouTubers? I feel like Iâm too old to cover this stuff every other week, and thatâs saying something considering KSI himself is pushing 30 at this point, but regardless, I have to check out the song and to my surprise, itâs actually kind of decent. It goes for an 80s synth-rock vibe, with massive guitar tones and obviously not live drums that kind of undercut the pretty great bass groove here, but man, Polo G sounds surprisingly good on this production. His verse is pretty infectious, even if it ends up crushed at the end by YUNGBLUDâs hook, which sounds the least insufferable this guy has ever been, probably because of how the vocal production keeps him slightly in check. KSI himself might be the weakest link as he cannot sing at all, and the Auto-Tune in his verse is not helping, but I do like his David Bowie-interpolating ad-libs on the choruses (Yes, seriously). The bridge is a pathetic excuse of a bridge and the songâs mostly chorus â Iâm kind of worried about KSI as a hit-maker going forward if heâs going to consistently contribute so little to his own singles, most of which have two other people on. I mean, it works as a short, inoffensive pop-rock song and not much else. I really wish this was Polo Gïżœïżœs song, actually, I think he deserves a second verse here.
Conclusion
Well, that week happened, thatâs for sure. Iâm going to give Best of the Week to the obvious outlier here, âOn the Groundâ by ROSĂ, but not without an Honourable Mention to Gorgon City and DRAMA for âYouâve Done Enoughâ. Worst of the Week is also going to the obvious outlier, âDAYWALKER!â by Machine Gun Kelly featuring Corpse Husband. Can I give a song I literally refused to review Worst of the Week? Yes, yes, I can. For Dishonourable Mention, just pick your Central Cee-flavoured poison. Hereâs this weekâs top 10:
Iâll see you next week for... Justin Bieber and Lana Del Rey. Damn, maybe I wonât see you next week.
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