Dancing is often regarded as a form of showing someone's blitheness and happiness. It's something that you'll never correlate with despondency, even though you may suffer from the dancing mania like in 1518. With that being said, in the hands of Cymbals Eat Guitars, the word that beams happiness as much as dancing can be turned into a track that is somber and evocative, inducing old memories of good old dancing days.
After two strong albums, Lenses Alienand LOSE, the departure of their old rocky and ferocious persona in Pretty Years, their fourth album and their most experimental one, is pretty much noticeable. In Pretty Years, they incorporate electric sound, resulting some songs that make you awkwardly dance, such as "Close" or "Have A Heart". But, in the middle of the album, you'll find the crown jewel of Pretty Years. "Dancing Days" may easily fit in LOSE as it invokes languorous atmosphere as much as "Jackson". But, it also fits the experimental noise that they try to implement here. "Dancing Days" itself is a rock-ballad, and as you can expect from a rock band that goes ballad, it sounds sweet and vulnerable. "Spring, the days lengthen/ the block is blossoming drifts of pink petals," D'Agostino describes his state of desolation that happens amidst the beautiful days of spring. With his shaky voice, D'Agostino continues in whisper, "Can't shake the feeling/ that I lost something precious/ my heart's finally fixed." between the slow beat of Andrew Dole's drum that sounds hypnotic as it reminisces us of our old good days. As D'Agostino loudens up and gains much confidence and courage, the track climaxes on the most sing-along chorus that Cymbals Eat Guitars has ever written, "Goodbye to my dancing days/ goodbye to the friends who fell away/ goodbye to my pretty years." The second part of the song couldn't be more tragic when D'Agostino goes cathartic, where his jamais vu makes him unable to recognize anything and his feeling goes numb as the impact of goodbye finally hits him. Farewell, and especially a farewell to our beloved one, is always an emotional experience, and "Dancing Days" perfectly captures the sense of it.
The first time I was digging into American Football's reissue of their self-titled debut album, I have to admit, I thought American Football is a new band with great songs; "Never Meant" became my jam for weeks, and I couldn't stop singing it. Oh, boy, how wrong I was when I found out that American Football is released in 1999, and their 2014's album is the reissue of the cult-following American Football's debut album. What makes me shocked is how ageless the songs in American Football are, enduring the tests of time--and that's the proof of how eternal their album is. The reissue of American Football cannot be more prompt as well, as it marks the start of the revival of emo music, the genre music du jour in late 1990's and beginning of 2000's, that happens in 2014 until now. And it's no surprise when American Football decides to release their second self-titled album, the world rejoice.
After dropping "I've Been Lost For So Long", the song that fits their absence of their second album for this seventeen years, the Illinois emo legend guns another taste from their latest album, "Give Me The Gun". It begins with the concoction of Holmes' guitar and Lamos' drum, "Give Me The Gun" reminisces their old songs, bringing back nostalgia of the emo phase of our life where everything seems so gloomy and portentous back then. Still, "Give Me The Gun" talks about the critical part of a relationship, where Kinsella's love interest is in the edge of her life as he sings, "But I'm scared for us both." with his Owen-acquired throaty voice, something that's nonexistent in their debut album. "Give Me The Gun" rolls like an unfinished story, when Kinsella ends the story with just, "You're made of wet paper" in minute two, and leave the rest of the song with just instrumental guitar and drums, pointing the fragility of his love interest and leaving their fate unknown.
For most of people, "What's up?" may be the most mundane way to start a conversation. Trying to engage and provoke other people's business are probably the most dreadful thing to undergo and something as simple and as colloquial as "What's up?" may evoke our fear. Either we enjoy being "what's up"-ed or not, there's no way to ignore it and a response is unescapable. It may be various, but one thing that remains the same is that "what's up" is the door to people's soul as we get to know someone better, and it leads into something deeper and bosom.
For someone who's a maven in nihilism, Tom Krell, surprisingly thoroughly understands the surreptitious meaning behind a simple "what's up". His "What's Up" is not trifling and it's not intended to fill the void in an elevator or break the ice in a lame party. Instead, it is honest, veracious, and direct. "I wanna know your mouth/ I wanna see the things the way you see them," Krell begins fortrightly amid the bravura beat that we're all used to. Krell repeats "Say it was you" four times in a choir-esque before hitting the second chorus when the tempo crescendoes and Krell infuses the bongo-like instrument in an upbeat and gay rhythm, something that you won't associate How To Dress Well with immediately. "I really feel like you know me/ And that's just the craziest thing," Krell emphasizes that his "What's Up" is not a dreadful question, and as it's proven from the absence of question mark in the title, "What's Up" actually skips the trivial part of the question, but jump directly to the true meaning of asking such question: to bring an intimacy.
The hipster's general consensus for Carly Rae Jepsen may be confusing and polarizing: "Is it cool to like Carly Rae Jepsen now that she's criminally underrated? Should we just bandwagon?" They may make fair point: the transformation of Carly Rae Jepsen from the soft-pedaled bubblegum pop princess of "Call Me Maybe" to queen of Pitchfork Music Festival is truly an interesting case study. In just one masterpiece album, Emotion, a true homage of 80's pop songs, Jepsen can turn the table. Before she releases the side B of Emotion, Jepsen teases her collaboration with British music producer, Danny L. Harle. "Super Natural."
The true star of "Super Natural" is of course Harle, one of PC Music's producers, the member of Dux Alliance with A. G. Cook. It's already a recipe of amazingness. Long fan of Jepsen, when Harle asks Jepsen to fill the vocal for "Super Natural", it's a dream comes true, and "Super Natural" lengthens the streak of Jepsen's superb songs.
It's no surprise when you listen to Harle's sick beat, it reminds you of A. G. Cook's work, with its twinkling beat and multilayered 80's synth. Jepsen is the perfect choice to fill the vocal, as her voice twirls between Harle's irresistible beat (and quirky charming smile). "Super Natural" describes an effortlessly matching couple, that's perfectly meant for each other, and in some other ways, it's exactly what's this collaboration is.
Grotesque is the exact word that's able to capture the quiddity of CEO's Eric Burgland's sophomore album, wonderland. The obscure, yet stunning cover album, showing Berglund in kaleidoscopic color palettes doesn't veneer the fact wonderland is indeed grotesque, distorted, yet harmonious and amazing, proving that Burgland doesn't produce his sophomore album half-assedly. It's opened by such a strong first track--that's also used as the first single--"Whorehouse"--a perfect pop-dance song that sounds salacious, but actually describes the sense of Burgland's entrapment and confusion that he feels like "lost in the whorehouse". The track is so damn good, that every time you ask other people about CEO, the first response that pops up in their head is either "Who is CEO?" or "Oh, that dude who sings 'Whorehouse'? Yeah, he's good". But, Burgland doesn't become CEO of Sincerely Yours because of nothing. He still has so much to offer. Hidden after "Whorehouse", the second track of the album, "Harakiri". is actually the true gem of wonderland.
At first, "Harakiri" sounds dreamy and tranquilizing. The soothing violin that begins the song may lull you, along with the soft synthed cadence and Burgland's brittle voice, "Your glitter rains on my face." "Harakiri" is so picturesque that you probably don't realize you've been deceived by the song. When Burgland continues, "Forming patterns of horror" and you realize that harakiri isn't something you'd consider as something picturesque--unless you are those kind of guys who enjoys profuse gory stuffs--you will have a moment of clarity. No one knows what's actually hidden beneath the glittery lyrics, mesmerizing rhythm and composition. It may be Burgland's ode for seppuku, or it's probably a representation of his shame and sacrifice. That's the mystery that's better left unsolved because that's the beauty and grotesqueness of wonderland.
When Bon Iver revealed the track list for their third album, 22, A Million, on last Friday, long gone our wish to hear Bon Iver's "normal" and "usual" stuff that we all love from their 2011's Bon Iver, Bon Iver. The track list is a meme material, something that seems likely to come from rtf file that's opened in Microsoft Word, as Justin Vernon et al. fall into the sea of obscurity. Or so we thought until we heard some tastes from the new album: "22 (OVER S∞∞N) [Bob Moose Extended Cab Version]" and "10 d E A T h b R E a s T ⊠ ⊠ [Extended Version]". While ""10 d E A T h b R E a s T ⊠ ⊠ [Extended Version]" may not be Bon Iver's casual stuff and need few listens before enjoying it (Spoiler: it's still amazing), "22 (OVER S∞∞N) [Bob Moose Extended Cab Version]", on the other hand, is Bon Iver's instant classic.
Ignoring the wacky song title, "22 (OVER S∞∞N) [Bob Moose Extended Cab Version]" is the same beauty and frailness that we all love from Bon Iver, even if it's more experimental and not all acoustic guitar. But, the feeling is there, and Bon Iver's versatility must be applauded here. A clip of noise opens the track, like a sirene as you can faintly hear "It might be over soon, 2, 2", which also opens the albums, marking the entrance of Bon Iver that may be different, yet familiar at the same time."Where you gonna look for cofirmation," Vernon's fragile voice kicks in amidst the noise, reflecting his musical journey and his anxiety of the future. After a minute, the acoustic guitar comes in and all hell breaks loose. The poignancy of Bon Iver's songs creep in, inducing your tear glands and as you can feel Vernon's insecurity and what he feels for these past two decades, suddenly you feel tears streaming down from your eyes. And that's what Bon Iver's capable of doing for you.
The road to Final Fantasy XV is a long and winding one. Initially developed as a spin-off of universally hated-but-loved Final Fantasy XIII in 2006, the latest addition of the Square Enix's most lucrative series finally sees the light in 2012 when it's rebranded as Final Fantasy XV that we all know. Square Enix has been all out in building fortification of anticipation for the game, by releasing several demos, anime, animated movie that looks gorgeous. and of course a mellifluous music from Florence + The Machine.
"Stand By Me" is actually first used as the music for the trailer of the game back in March which flaunts the picturesque view of Final Fantasy XV's world. Now that the game is less than two months away, Island decides to release the song officially, with the addition of two more songs: "I Will Be" and "Too Much Is Never Enough". All songs bring the best in Welch, but it's still "Stand By Me" that gives me chill. Welch transforms Ben E. King's 1961's hits into a haunting and hallowing ballad, matching the overall theme of the Final Fantasy XV. With an orchestral composition, "Stand By Me" feels grand and extravagant, once again matching Noctis' life as a royal family, yet sorrowful. But amidst the cacophonous violin, Welch wails, "Darling, stand by me!" in the most heartbreaking way, like a drowning person who gasps for air, over and over until the end the song. Again, it's matching Noctis' life, even if he must escape and fight, he knows that his comrades are always there for him, and that's all what he needs to know.
Tidak dapat dimungkiri lagi dangdut merupakan genre musik yang paling adaptif terhadap perkembangan zaman. Terbukti dengan adanya fenomena sosial terkini, para musisi dangdutlah yang paling peka dan liat dengan adanya isu-isu terkini, seakan-akan menjadi kritikan sosial terhadap budaya masyarakat Indonesia yang cenderung ikut-ikutan. Seperti hebohnya fenomena Valak dari The Conjuring 2 yang sempat merebak di Indonesia, dangdutlah satu-satunya yang berani mengangkat tema semacam ini dengan diluncurkannya lagu, "Seperti Valak" dari Ika D'Academy. Dangdut jugalah genre musik yang dapat menyentuh segala kalangan usia, mulai dari muda hingga tua, kemampuan musik dangdut untuk menghipnotis pendengarnya tanpa terkecuali sudahlah terbukti. Selihai apa pun anak-anak perkotaan menghindari dangdut seperti wabah kusta, mau tak mau mereka hafal sejumlah lagu-lagu dangdut terkenal, seperti "SMS", "Keong Racun", dan "Kopi Dangdut".
Kombinasi mematikan antara fenomena sosial paling mutakhir dan kemampuan musik dangdut untuk membuai setiap segi dan golongan masyarakat inilah yang dimanfaatkan Faiha, biduanita cilik yang independen ini, yang beberapa hari terakhir menjadi buah bibir, seiring dengan kepopuleran Pokemon Go. Ini sebuah langkah yang berani untuknya karena banyaknya musisi dangdut cilik dapat dihitung dengan jari. Ketika mendengar "Cari Pokemon" pertama kali, orang mungkin akan berpikir bahwa ini hanyalah tipikal lagu dangdut yang kerapkali mengambil judul dari meme terkenal akhir-akhir ini, seperti "Sakitnya Tuh Di Sini". Namun, setelah mendengar "Cari Pokemon" berulang kali, selain ternyata lagunya yang mudah dicerna dan dihafalkan, "Cari Pokemon" menyimpan sesuatu yang lebih mendalam.
Diawali dengan suara Faiha yang menggemaskan yang meneriakkan "Pikachu" berulang kali, ia mengawali lagu "Cari Pokemon" dengan memperkenalkan sejumlah Pokemon ikonik yang menjadi lambang trademark dari game Nintendo, sebuah metode yang sangat efektif untuk membuat anak-anak lebih familier dengan monster-monster saku ini. Dengan lagu "Cari Pokemon" ini, Faiha juga menepis kegusaran orang tua yang khawatir dengan dampak "kekerasan" yang mungkin ditimbulkan oleh Pokemon. Komposisi yang digunakan Faiha dalam "Cari Pokemon" sedikit mengingatkan akan eksperimen yang dilakukan oleh Belle & Sebastian dalam album Girls in Peacetime Want to Dance, penuh dengan nuansa disko tahun 1970-an yang membuat Donna Summer iri. Bagian chorus merupakan epitome dari lagu ini ketika Faiha berkali-kali menekankan, "Pokemon Pokemon di mana kamu? Ku mau kamu jadi milikku." Tak hanya merepresentasikan hasrat Faiha untuk catch 'em all dan be the very best, bagian chorus ini membuktikan bahwa renjana dan kerinduan yang mendalam bukanlah melulu monopoli orang dewasa. Dengan "Cari Pokemon", Faiha mengingatkan kita bahwa seorang anak pun bisa memiliki kerinduan yang sama.
It's almost ten years after the release of "D.A.N.C.E", a track that catapulted French electronic duo, Justice, to a prominence. "D.A.N.C.E.", being a perfect club banger itself, also becomes the best thing that Justice probably has ever released, as their follow-up album, Audio, Video, Disco has been drab and lackluster, to say the least. But, they don't give up, they may have redeemed Audio, Video, Disco by releasing "Safe and Sound".
Taken from their untitled third album, "Safe and Sound" is a track that can easily fit into Daft Punk's Random Access Memories. Justice dauntingly channels their inner Bangalter and de Homem-Christo with a delectable disco track which sounds retro and futuristic at the same time. A hypnotic vocal accompanies "Safe And Sound", blending in Rosnay and Augé's twisty and colorful composition. "Safe And Sound" reminds us the stupendousness of "D.A.N.C.E.", and with this, Justice may be able to reclaim their éclat back.
What a year, right? The first months of winter in a new year are usually absence of major release, but 2016 seems to be breaking the paradigm. Rihanna, who's running from her annual cycle of releasing new album, is back with her best work so far, ANTI, a solid proof that you undeniably need to chill and relax for few years to gain those Euterpe's muses back. This year also marks the comeback from veteran artist, aside from the Barbadian singer. Radiohead, for instance, guns their followup of 2011's The King of Limbs, and Queen Bey pulls another Beyoncé and surprises her fans with Lemonade, the most arguably personal album of hers to date. The long awaited Drake's latest album, VIEWS, finally views some shed of light as he releases this album which reigns Billboard 200 for weeks, another feat for him this year.
But, 2016 is fair and square. It gives an equal chance for rookies to shine out. Whitney, hardly a rookie though, offers Light Upon the Lake which sounds impressive and mellifluous. Canadian producer, Kaytranada, drops his outstanding debut album, which features collaboration with AlunaGeorge and Craig David, two of many collaborations in 99,9%--which ironically is given all of his 100% in making this fine album. These two artists are just only the tip of the iceberg of debutant this year.
This year becomes the hardest year to pick some of the year's best songs in my whole entire career. But, the job has to be done, and I have to pick some of the best so far to make my life easier by the end of the year when I compile the real shit. So, let's just get this torture started. Enjoy the ride.
1. White Lung - "Below"
Compared to their work in their 2014's album, Deep Fantasy--which has wacky art album, something that adds more obscurity to the band--"Below" is definitely much more easily listenable. When we think they can't get wackier in the art album department, White Lung's Paradise decides to fuck us all. However, despite the wackiness of the cover--which is actually intriguing to be honest, "Below" is probably the poppiest song that this Canadian band has ever recorded from this third album. Mish Way's androgynous voice begins the song with "Part the tide", soaring above the layered guitar riff. In around three minutes, Way shouts the transience of beauty, a kind of ephemera that weirdly we all value. "Below" becomes a social criticism that sounds so punk and grungey at the same time.
2. Mitski - "Your Best American Girl"
Mitski Miyawaki is one of the few artists who's able to make an emotional song so effortlessly, as she's proven in "Your Best American Girl". Star-crossed relationship is always an interesting topic--and an eternal one--and in "Your Best American Girl", Mitski tries to spice some things up by emphasizing the cultural differences of a couple, that's conspicuously relatable with most of young couples these days, especially supported by the fact that interracial marriages are increasing each year. Mitski, who lives in multicultural environment herself, indeed isn't brought up in the most American way, so that's why she emotionally proclaims, "Your mother wouldn't approve of how my mother raised me/ But I do, I think I do," underlining the differences until she realizes that she's fine the way she is now.
3. ANOHNI - "Drone Bomb Me"
Written from the perspective of a young girl whose family is killed in a drone attack, "Drone Bomb Me" is the most heart-wrenching and powerful song this year. Formerly known as Antony Hegarty, ANOHNI explains that "Drone Bomb Me" is about a girl who longs to be killed in similar fashion, as she sings, "Blow me from the mountains/and into the sea". This song, produced by Hudson Mohawke and Oneohtrix Point Never, is heavily synthesized as ANOHNI's haunting voice soars above the synth drop. She reminds us that war brings nothing but devastation and forlornness.
4. The Range - "Florida"
Up until now, I still cannot comprehend James Hinton's ingeniousness in "Florida". The whole concept of sampling from unsung artists on YouTube sounds so incredulous on paper, but in the cold hand of Hinton, anything's possible. kaihuna, for example, a young YouTuber, whose cover of Ariana Grande's "You'll Never Know" is sampled by Hinton in "Florida", is a living evidence that in the right hand, video cover, which no one rarely bats an eye to, can be some kind of masterpiece. In "Florida", Hinton wraps kaihuna's raw voice with steely drums and bass drops as her voice soars above Hinton's composition, making "Florida" one of the best summer jams this year, despite its spring release.
5. Kaytranada - "Glowed Up (feat. Anderson .Paak)"
Theremin is a magical and fascinating instrument that can create something that sounds so spooky, and using it in a song can be hit or miss. But, the award for most effective use of theremin in a song this year may go to Kaytranada's "Glowed Up". It's no kidding how astonishing this song is, and theremin part is just a tiny part of the bigger reason why this song is so astonishing. It features Anderson .Paak, the hottest artist this year, which brings the best of each of them. At the first part of the song, .Paak easily cruises between the Kaytranada's woozy beat and sings "I'm glowed up/ I'm glowed up" infectiously--it's hard to keep your hands down. In the second part, Kaytranada decrescendos the tempo, sheering the musical direction into something more brittle, creating a soft and perfect ending for a song this complex.
6. Whitney - "Light Upon The Lake"
Whitney is a supergroup actually, formed by Max Kakacek, Smith Western's ex guitarist, and Julien Ehrlich, the ex drummer of Unknown Mortal Orchestra. Their debut album, Light Upon The Lake, sounds nothing like Smith Western or UMO. In lieu of sounding more rock or psychedelic, Light Upon The Lake sounds much sweeter where acoustic guitar predominantly can be heard throughout the album. It's no surprise that the title track of the album is the most gorgeous song of the album. "Light Upon The Lake" may be a song of contemplation. "Fire across the planes/ light upon the lake lonely haze of dawn/ when old days are gone," Ehrlich speaks tenderly. Between the strings, Ehrlich continues in chorus, "Will life get ahead of me?" The chorus may only contain one sentence, but it's the sentence efficaciously makes us think about our life.
7. Frankie Cosmos - "On The Lips"
Frankie Cosmos' Greta Kline knows there's no point in making long song when you can manage to pour out your feeling in less than two minutes. "On The Lips" is not an exception. Its length is only less than two minutes, but it is impactful. It first appeared in im sorry im hi lets go, a collection of her songs released in 2013, hence, this reference on the lyrics. They are followed by powerful lines of "Sometimes I cry cause I know I'll never have all the answers". She sings it plainly, but it's what makes the song impressive. She started the song by seeing David Blaine, the street magician, starting to believe in anything, asking the significance of kissing people, and crying by the end of the song.
8. Preoccupations - "Anxiety"
When Viet Cong chooses name Preoccupations as the band's new name this April, they do not carry Viet Cong's torches on. While Viet Cong is known by their vigor--Mike Wallace's drums are ferocious as well as Munro and Christiansen's guitar riffs--Preoccupations' latest single "Anxiety" is much more somber. The first seconds of the song are filled with lulling noise that can faintly be heard. However, as the guitars and drums start to kick in, "Anxiety" proffers the same "Continental Shelf"'s vibe. The peak is when Flegel's studly voice begins the song, "With a sense of urgency and unease", showing the ominousness of the song. It may not be a perfect summer jam, but Preoccupations' "Anxiety" brings the new taste of summer: a portentous and bleak one.
9. James Blake - "I Need A Forest Fire (feat. Bon Iver)"
"I Need A Forest Fire" combines two things we miss the most in this world: James Blake's narcotic musical virtuosity and Bon Iver's versatility. Taken from Blake's third album, The Colour in Anything, "I Need A Forest Fire" explores vulnerability of a human being. It starts with a droning sound until a distant call saying "another shade/another shadow" can be heard throughout the song. Vernon's voice, still as haunting and mesmerizing as ever, soars above the call. "To burn it like cedar/ I request another dream/ I need a forest fire". Blake's distinctive voice follows as he sings, I'm saved by nature/ But it always forgets what I need/ I hope you'll stop me before I'll build a world around me". The structure of the song is recurring until the climax where Blake and Vernon's melodiously speaks together in the final chorus, the quintessence of the gloominess of the song, despite the fire title.
10. Rihanna - "Kiss It Better"
For someone whose name is as big as Rihanna, familiarity is a good thing. In her eighth album, Anti, Rihanna changes her direction, giving her fans a surprising and novel sound. Some of her fans complain that this isn't Rihanna they know, who makes ear-wormy songs, who reaches number one of Billboard Hot 100. Like it or not, Anti is Rihanna's best albums, where every songs are structured and cohered perfectly, with "Kiss It Better" and "Higher" are the highlight of the album. "Kiss It Better"--that can easily be put in Loud--is the old Rihanna, the Rihanna that her fans always hear. This R&B ballad, written and produced by Jeff Bhasker, with help from Glass John and Rihanna herself, elaborates Rihanna who lusts for her former lover, but it turns out wrong as Rihanna sings, "Man fuck your pride/just take it on back boy take it on back boy." "Kiss It Better" showcases us her talent and the reason why she's one of the greatest pop R&B singers in this generation.
11. Beyoncé - "Formation"
Despite many good songs in her surprising latest album, Lemonade, "Formation" still remains one of the best tracks, not only in Lemonade, but in her entire career. It may probably sound exaggerating, but when you've heard "Formation" for the first time, you must murmur to yourself, "Holy fuck!", blown away by the structure and the overall theme of the song. In "Formation", Queen Bey celebrates her African culture, "I like my baby heir with baby hair and afros/I like my negro nose with Jackson Five nostrils", between the thumping beat produced by Mike Will Made It. "Formation" is like a concoction of everything you love from Beyoncé: breathtaking music video, strong political lyrics, and her sass that slays everything.
12. Radiohead - "Burn The Witch"
After wiping out Radiohead's online persona, we all know that it's just counting days before they release new music. It is predictable, but it somehow still shocks us when the prediction becomes truth. "Burn The Witch"is first released in a form of stop-motion music video which depicts Orwellian universe. The unique structure of "Burn The Witch" is highly noticeable, with the sawing string combines with bass and electronic ubiquitously dominating the whole song. Taking references from witch-hunt events that occurred in Europe and North America around 15th-18th century, "Burn The Witch" describes what it feels to live in the era. "Burn the witch/ burn the witch/ We know where you live," Yorke sings in the chorus, playing as an authority figure who forces people to turn into dissident. It's just creepy, yet still relevant till now.
13. The Avalanches - "Colours (feat. Jonathan Donahue)"
Sixteen years is the time that Australian electronic band, The Avalanches, needs to release their sophomore album, Wildflower. Even if NME condescendingly says that Wildflower sounds "meh" for something that takes so long, the fact that "Colours" is the most impressive come back of the year is undeniable. A child-like voice that shouts "Oh, colours!" in full of awe kicks in the song, and it's followed by reverse sampling of The Sandpiper's "Where There Are Heartache". Donahue's vocals are faintly heard, hidden beneath The Sandpiper's sample, pondering about playing under the sun with sea mermaid. It sounds like a cacophonous hot mess, but in a good way, "Colours" is a tripped out rock and roll, a remnant of Empire of the Sun's Luke Steele and Tony Di Blasi's side project, and the sign of The Avalanches' return.
14. Cymbals Eat Guitars - "4th of July, Philadelphia (SANDY)"
The title of Cymbals Eat Guitars' second single, "4th of July, Philadelphia (SANDY)", is a reference to Bruce Springsteen's song. But, the resemblance just stops there. Cymbals Eat Guitars' "4th of July" is a uptempo song and weirdly fun. It's hard to hear what D'Agostino says in "4th of July", as proven by how many times the lyrics in genius.com have changed. D'Agostino's voice may sound slurry here, but it doesn't stop the spirit of 4th of July celebration in Philadelphia, where they begin their journey as they "step down the SEPTA", "make plan with Alex G", and riding a van "full up of fireworks and drunk people". The adventure just gets more exciting in chorus as D'Agostino screams at the top of his lungs, "My life is sliding by". "4th of July" reminds us of the fieriness in LOSE, and the fact that they are Alex G's friend just makes this song cooler.
15. The Hotelier - "Soft Animal"
The Hotelier's latest album, Goodness, is their best, which marks this Massachusetts-based band's maturity, with "Soft Animal", is arguably the highlight of the album. The dynamics of "Soft Animal" is remarkably well-structured. Holden sings softly at the beginning of the song, "We were cloaked in the awning of night or early morning", perfectly using matching figurative speech about nature and greenness. As the tempo scampers and the drum grows louder, the song hits a boisterous chorus, bolstered by gang's vocal on chorus which accompanies Holden's wail, "Make me feel alive/ make me believe that all my selves align." They use deer as a metaphor of caprice that comes and goes, but eventually it goes no matter how much we hold on to it ("In attempting to keep you to stay/ I am raising no alarm) and the show must go on.
16. Car Seat Headrest - "Drunk Drivers/Killer Whales"
Teens of Denial, Will Toledo's follow up of his 2015's Teens of Style, is the first album of his to be recorded in a proper studio and alongside a producer and full band, and it's really exciting, as proven by "Drunk Drivers/Killer Whales". "In the backseat of my heart/my love tells me I'm a mess," Toledo sings as he can't get his shit together, until he reaches the chorus when he wails, "It doesn't have to be like this." The same sentence that's repeated so many times in the song, This six-minute track talks about post-party sadness, about "going home alone, in poor condition". The killer whales is inspired by Blackfish which according to Toledo, "is a depressing film". "Drunk Drivers/Killer Whales" may be not the most effective song to remind people not to DUI, but this song's able to make us reflect our life.
17. dvsn - "Do It Well"
The best part about R&B musicians is their aplomb to turn lasciviousness into something beautiful and artful, like what Miguel did last year in "Coffee", for example. Indeed, sexual desire is something natural, but good artists will concoct this naturalness into something arty, without sounding corny and salacious. dvsn's "Do It Well" is another example, where it's basically a song about--well--stripper. Jefferies-produced thumping drum that starts the song sounds like a heartbeat as if it marked the birth of something. Daley's whispery voice begins the song, "You're the only one I can talk to/And I ain't gotta talk to you". "Do It Well"'s downtempo showcases Daley's voice as he unravels more about the stripper, celebrating her bodies, "I'm feeling fucked up, still love fucking/I ain't throwing money in the air for nothing", before he finally admits that the stripper is "the only therapy I know".
18. Big Ups - "National Parks"
It's really interesting that two of best punk songs contain the word "national park" in their title. Oxford Collapse's "Please Visit Your National Park" still remains one of the best punk songs ever in spite of their one-hit-wonder-ness, and Big Ups' "National Parks" is not so far behind. Big Ups, a Brooklyn four-piece band, releases their second album, Before A Million Universes, and the track titled "National Parks" is easily the standout track of the album. While Oxford Collapse's "Please Visit Your National Park" is more youthful, Big Ups' "National Parks" is more hip-hopp-y at the beginning of the song. Its dynamic is up and down, it starts with Joe Gallaraga's spoken voice, before being followed by his scream. It's like the palpitation of human hearts. This kind of structure ends in second part of the song, where they go all-out and pour everything they've contained in the first part, a moment of triumphant for them.
19. Parquet Courts - "Outside"
Despite its short duration, Parquet Courts' "Outside" feels so compact and infinite. Andrew Savage begins the song, "I saw a name in the graveyard that I knew/ Glowing, like the neon in a lounge light", a symbol of the omnipresence of past relationship that cannot be escaped. Savage's tone may not up and down; it tends to be indifferent, instead. However, "Outside" is clouded by regrets, as he sings in second verse "How do i blame all my carelessness on you/ Tell me, taking is mostly what it sounds like". It's really arduous to wipe all the past mark of a breakup, and Savage helps us to embrace it.
20. Porches - "Be Apart"
In "Be Apart", Aaron Maine writes from the perspective of a solitary man who finds moving body is so "physical". It's what Maine feels when he's anxious and antsy inside his apartment in New York, having been raised a small town and the complicated life of the city worries him so much. But, "Be Apart" also marks Maine's departure from his established indie rock sound where decides to make music that he really wants to listen to. "Cause I wanna be apart/ I wanna be a part," he sings in his gorgeous tenor voice in the chorus, spewing his frustration of the desire of being accepted and finding the balance of participation that works for him, between his heavily-synthesized beat.
21. Chance The Rapper - "All Night (feat. Knox Fortune)"
Chance The Rapper's Coloring Book leads the race for this year's best album, and "All Night" is definitely this year's best summer jam (Bye, "One Dance"). What could go wrong for him? It's no surprise, though, with all this sick beat and club banger rhythm, to know that it's produced by Kaytranada. Knox Fortune, who admits that it's kinda random to end up in Coloring Book, rapidly chants, "All night, I been drinking all night/ I been drinking all night, I been drinking ay ay", being reckless and careless. But, "All Night" indeed becomes Chance's chance (ha!) to be who he really is, oblivious to what others people say about him, now that him being famous and all.
22. Kristin Kontrol - "X-Communicate"
Dum Dum Girls' Kristin Welchez's solo project's debut as Kristin Kontrol embraces the 1980s sounds that have influenced her. If Dum Dum Girls uses louder and harsher approach in their music, Welchez decides to use something that's more pop and electronic. "X-Communicate" begins with a synthpop beat as Welchez sings, "I've been waiting so long with the ghost of our love/ She's as impressive as she is inspired". With a sharp songwriting, Welchez describes the past relationship when in chorus, she roars, "Should we excommunicate our love?/ Or should we wait?", between the Kurt Feldman's genius production beat, soaring above her transformation from garage-band-y Dum Dum Girls, into a queen of synthpop.
23. Angel Olsen - "Shut Up Kiss Me"
In Angel Olsen's music video of "Shut Up Kiss Me", Olsen seems really sassy, showcasing another side of hers that we've rarely seen. But again, "Shut Up Kiss Me" is also something that we've rarely heard from Angel Olsen. It's a pop-rock song with a ragged and brisky guitar riffs dominating the song. Unlike her first single, "Intern", from her upcoming album, My Woman, "Shut Up Kiss Me" is much more livelier where Olsen describes a woman's infatuation that's courageous and bold, that woman can also get what she wants. "I could make it all go away/ Tell me what you think/ Don't delay." "Shut Up Kiss Me" becomes a sweet and brave romantic song that potentially becomes a kind of anthem.
24. Blood Orange - "Augustine"
"My father was a young man/My mother, off the boat/My eyes were fresh at 21", Hynes recalls the life of his parents who both are immigrants. His father moved from Sierra Leone to London when he's 21, as her mother moved from Guyana. At the same age, Dev Hynes moved to New York City. But, "Augustine" is much more than a song about origins. When he quotes St. Augustine's scripture, the man who spread Christianity in Africa, in chorus, "Saint Augustine/ Late have I loved and chose to see", "Augustine" becomes something that reflects the influence of our faith in our life. Hynes states that the Christianity weaves his life, whether it's good or bad, but in "Augustine" Hynes comes to the state of acceptance. In the end of the song, he talks about Nontetha, a South African woman, who's put in mental institution because she built church for black people which scared the government. He sings in Krio, the native language of his father, as a proof that he never forgets his root, that he begins to understand himself a little bit more.
25. Savages - "Adore"
In "Adore", the first single of their sophomore album, the quartet British band, Savages, decides to slow it down. It may not be as ferocious as "Husbands" from 2013's Silence Yourself, but it isn't Savages if it doesn't convey some message. "Adore" is structured like a poem, containing three verses, in where each verses, Jehnny Beth questions the life choices and their compromises, starting each verses with "if only" and closing it by asking, "Is it human to adore life?" "Adore" is quiet at the beginning, mostly hypnotic, where the instruments are faintly heard and Beth seems like talking to us personally before the hook. In the hook part, "Adore" beams like a pulsar, so emotional as Beth sings, "I understand the urgency of life/ In the distance there is truth which cuts like a knife", solemnly understanding the shortness of life. It's no surprise if Savages ends the song with more question, "I adore life. Do you adore life?" The question is not trivial, it questions the fundamental source of human's strength.
26. David Bowie - "Dollar Days"
The great David Bowie's last legacy, Blackstar, is released in his 69th birthday, two days before his death, juxtaposing these two most important life events accurately. In "Dollar Days", Bowie also juxtaposes the regrets and success of his career life, contemplating what he may be or not be in the afterlife. As Bowie repeats, "I'm dying to" over and over, it becomes clear that "Dollar Days" contains the secret message of Bowie who wanted to say, "I'm dying, too," clandestinely, especially as no one knows Bowie secretly battled cancer. "Dollar Days" represents the life of his as a palmy superstar which he regretted sometimes. He thought of everything he's done, his eccentricity, his life choices, but he realized that those kind of things shape him to be who he really was and paved the way to where he really in: an eternal superstar. David Bowie may be gone, but his legacy may remains with us all.
27. School of Seven Bells - "This Is Our Time"
"Our time is indestructible," says Alejandra Deheza in "This Is Our Time", taken from School of Seven Bells' (ostensibly) final album, SVIIB. The album's nuance is dreamy and peaceful since it is intended to be a tribute for late Benjamin Curtis who passed away in December 2013 after losing the battle with his lymphoma disease. Alejandra Deheza--the only member of School of Seven Bells--finishes this album with the memories of Curtis that spark and burn inside her mind. SVIIB is the School of Seven Bells's most personal album, where most of the album is filled with farewell. In "This Is Our Time", Deheza sounds scared as she has to depart with Curtis and her fans. "No one can say we're too young/to decide that we're gold," Deheza sings, reflecting Curtis' death in such young age. But, after she truces with herself, she says that her memories of Curties, her memories of School of Seven Bells, and her memories of her fans are all "eternal".
28. Woods - "Sun City Creeps"
Throughout around a decade of their journey, Brooklyn folk-rock band, Woods, have steered their music in different direction, as proven in their first single of their ninth album, "Sun City Creeps", which is a seedy and seductive folk song--if it's deemed as folk song, but honestly it sounds much more like jazz, and a little bit reggae infusion. The subtle blow of the horn that begins the song gives warm and beautiful nuance, like a crepuscular ray that slips between the clouds in the sky. It opens their ninth album, City Sun Eater In The River of Light, as a statement that after making music for decades, they're not worn out yet, they can still offer something new. They prove that there's something new under the sun.
29. Kamaiyah - "Come Back"
When I first listen to Kamaiyah's A Good Night In The Ghetto, my mind instantly jumps to Dej Loaf, who both have androgynous voice. If you only listen to Kamaiyah's song and never look up her pictures, you'll be surprised that this heavy voice comes from a female rapper. In terms of musicality, Kamaiyah is like the reborn of Missy Elliott. Kamaiyah's debut mixtape, A Good Night In The Ghetto, gives us nostalgic feeling of 90's hip hop song, where female rapper is strongly influential. "Come Back" may not be the best song in her mixtape, but it's indeed the most fun one. In "Come Back" recalls her ex boyfriend who wants to come back, but she doesn't want to. "Your bullshit, I don't want that," Kamaiyah states boldly that she's sick of her ex's bullshit.
30. Maxwell - "1990x"
"1990x", the second single from Maxwell's long-anticipated album, blackSUMMERS'night, is a sleek R&B song, adding another nod to the revival of R&B songs this year. Compared to his previous breakthrough, "Pretty Wings", "1990x" may not share the same eclecticism, but indeed it sounds much more modern. In "1990x", Maxwell still flaunts his falsetto voice, talking about love, the universal theme of all song in this world.“There’s no song that defines it/ There’s no music behind it/ There’s no lyric to read from/ It’s just you and the moment," Maxwell flirts in the chorus part--somehow it feels ironic, especially his "1990x" can be the song that defines the perfect condition of love. "1990x" is an evocative song that turns people, and this is why we miss Maxwell at the first place. The wait for blackSUMMERS'night is over, and it is indeed worth the wait.
Preoccupations'--formerly known as Viet Cong--debut album, Viet Cong, is released last year, but its impressiveness still remains until today. Viet Cong is where outstanding tracks, such as "Continental Shelf" and "Death" dwell, and every single time these tracks are played, there's always something breathtaking from the song that awes us.
When they choose name Preoccupations as the band's new name this April--due to unintentional subversive and offensive name--they do not carry Viet Cong's torches on. While Viet Cong that most of us listen to is known by their vigor--Mike Wallace's drums are ferocious as well as Munro and Christiansen's guitar riffs--Preoccupations' latest single "Anxiety" somehow sounds more somber. The first seconds of the song are filled with lulling noise--something that's not the distinctive features of the band. However, as the guitars and drums start to kick in, "Anxiety" offers the same "Continental Shelf"'s vibe. The peak is when Flegel's studly voice begins the song, "With a sense of urgency and unease", showing the ominousness of the song. It's no joke how ominous the song is, as Flegel continues in the bridge, "Help has fallen by the wayside/ Nowhere near to finding better ways to be". That way, "Anxiety" feels familiar, yet obscure at the same time. It may not be a perfect summer jam, but Preoccupations' "Anxiety" brings the new taste of summer: a portentous and bleak one.
The first time I listened to Maxwell is seven years ago, when he released "Pretty Wings". I was still in middle school back then. "Pretty Wings" infuses gamelan chimes in it, and I have high pride with my local culture back then, and this song definitely awed me and my heart is suddenly is filled with incessant pride. I was instantly captivated by the song, pondering how a modest and simple song can be so resonant and extravagant at the same time. But, after listening to his other songs, that's Maxwell's best trademarks, aside from his gorgeous and beautiful falsetto.
"1990x", the second single from his long-anticipated album, blackSUMMERS'night, is a sleek R&B song, adding another nod to the revival of R&B songs this year. Still, Maxwell flaunts his falsetto voice, talking about love, the universal theme of all song in this world.“There’s no song that defines it/ There’s no music behind it/ There’s no lyric to read from/ It’s just you and the moment," Maxwell flirts in the chorus part--somehow it feels ironic, especially his "1990x" can be the song that defines the perfect condition of love. "1990x" is an evocative song that turns people, and this is why we miss Maxwell at the first place. The wait for blackSUMMERS'night is over, and it is indeed worth the wait.
After releasing "Aerobed" at the end of last year, I always think that Cymbals Eat Guitars' next album will sound similar with their previous releases. Man, those fiery and ferocious guitar riffs are such a music to your ear. After all, that's one of their finest qualities, alongside emotional lyrics that's able to stab your guts like a serrated knife. But, when they share "Wish" as the first single out of their latest album, Pretty Years (out September 16th), it's not only Nothing or White Lung who change their musical direction. In Pretty Years, bassist Matthew Whipple says that they "wanted to make a more energetic record", and judging from the sound of "Wish", their purpose has been pretty much accomplished.
The 1970s element that blankets the song can be heard unequivocally, heavily inspired by "Springsteen, ’70s Bowie, the Smiths, the Cure, Neil Young". Cymbals Eat Guitars probably is one of the few bands who can incorporate keyboard in a rock song in a harmonious way, and that's once again proven in this song. D'Agostino's growling voice is still as mesmerizing as ever as he soars above the Cymbals Eat Guitars' new groovy beat until the chorus comes, the only part that's almost exactly like what Cymbals Eat Guitars is usually heard. D'Agostino ends it by "I wish that I told you", before being followed by the insane squawky sax, like a party popper, that works--it's like what wise people say, "Sax sells." Cymbals Eat Guitars' "Wish" is a song of regret, but it's embodied in a complete and thorough structure. If Pretty Years sounds something like this, well, yeah, it's something that we all need to look forward to.
When Philadelphian shoegaze band, Nothing, released their first album (Guilty of Everything) in 2014, they use more grunge-y and hardcore approach, the manifestation of frontman Dominic Palermo's regret when he was jailed for stabbing someone at show. So, when they skid in their sophomore album, Tired of Tomorrow, changing their musical artistry direction from hardcore to something that sounds gentler, the result is gorgeous. And "Nineteen Ninety Heaven" as the most gorgeous thing in Tired of Tomorrow is the finest example of songabout the depression that infects people.
A placid and slow drumbeat starts the song to represent the silence of forlornness. With a simple and brief lyrics, "See you/ crying/ softly/ so cautiously", Palermo describes the ultimate sadness of a significant other who cries softly that it hurts. The guitar riff that adorns the song is faintly heard throughout the song, strengthening the depressive atmosphere of the song. "Then you/ glide off/ so gently/ baby," Palermo continues, picturesquely describing a sad separation. In the climax of the song, after his lover has gone, the world turns dark and "life's nightmare". There's no resolution of the song, and the whole nuance of the song is bleak, but it realistically portrays the lowest point of human's life; the fact that depression may sometimes be unsolvable.
Glaswegian synth-pop band CHVRCHES understands the adage that says "if it ain't broke, don't fix it", as proven by their sophomore album, Every Open Eye. Their debut, The Bones of What You Believe, fantastically works and becomes a masterpiece. It's not a surprise if they want to achieve the same lofty Metacritic rating for their sophomore album. But somehow, Every Open Eye, doesn't work. It has the similar sound, but it lacks the "it" factor that's apparent in The Bones of What You Believe, making CHVRCHES become one of the sophomore slump's victims. Don't get me wrong, Every Open Eye is still a great album, but it's much inferior compared to that chef d'ouvre called The Bones of What You Believe. Gladly, we don't need to wait too long for CHVRCHES to redeem themselves. In "Warning Call", a theme song from the reboot of Mirror's Edge, CHVRCHES reminds us the "it" factor that makes them great.
Making music for video games is not easy. It should be emotional because playing games itself is an emotional journey as we melt with the characters who embark on a covetous journey that we've always wished for. Music for video games must match the twirl of human being's feeling: when it's sad, it should be so sad that your heart bleeds; when it's blithe, it should be so cheerful that it pumps you up. "Warning Call" does them all. Mayberry sings from Faith's point of view, the main character in Mirror's Edge Catalyst who seeks freedom from a glass city. You can sense the forlornness in "Warning Call", a scream from girl who's trammeled in a dystopian city, but you can also feel her glimmer of hope as Mayberry soars, "Looked out on the cold ground / and we try to break the fall". "Warning Call"'s vigor suits Faith who happens to be a daring free runner. Its vigor makes you excited as well, but makes you cry at the same time. Their ability to twist our emotion is the reason why we love CHVRCHES at the first place.
When is the last time we hear something good from Craig David? David pretty much goes inconspicuous after his 2008's greatest hits album which features "Insomnia", and he's never heard since then. So, when Canadian producer Louis Celestin, or KAYTRANADA, invites back David to the relevancy, their collaboration should be something we should look forward to. After all, KAYTRANADA is known by his knack for bringing the best of his collaborator, as proven in his single, "Glowed Up", which features his fidus Achates, Anderson. Paak. And that's what David needs: a prodigy. Unsurprisingly, their collaboration works. When I first hear KAYTRANADA's debut album, 99.9%, "GOT IT GOOD" instantly grabs my attention.
One of the reasons is because of David's evocative and distinctive voice that mellifluously suits KAYTRANADA's composition, that is heavily infused with drum beat and synthesizers. Without spending any time, KAYTRANADA blasts the chorus at the beginning of the song, celebrating wealthiness and consumerism as David sings, "Don’t worry ‘bout the tag/ Go and throw it in the bag/ Cause I got it good." When most of other songs explicitly state that money is not everything, "GOT IT GOOD" becomes the anti-"Price Tag", contradicting everything Jessie J has tried to establish six years ago. But, in "GOT IT GOOD", David provides ground why money matters, because she is "worth it" and "she held me down when I had nothing". David may pompously flaunt his opulence, max credit card, rare Nike shoes, and "Buckingham Palace", but it is justifiable. It's Craig David, dude!
"I Need A Forest Fire" combines two things we miss the most in this world: James Blake's narcotic musical virtuosity and Bon Iver's versatility. Taken from Blake's third album, The Colour in Anything, "I Need A Forest Fire" explores vulnerability of a human being. It starts with a droning sound until a distant call saying "another shade/another shadow" can be heard throughout the song. Vernon's voice, still as haunting and mesmerizing as ever, soars above the call. "To burn it like cedar/ I request another dream/ I need a forest fire". Blake's distinctive voice follows as he sings, I'm saved by nature/ But it always forgets what I need/ I hope you'll stop me before I'll build a world around me". The structure of the song is recurring until the climax where Blake and Vernon's melodiously speaks together in the final chorus, the quintessence of the gloominess and somber of the song, despite the fire title.
Ever since Pharrell Williams' smash-hit "Happy" was ubiquitously heard in every radio station back in 2014, we always think of that ear-wormy and catchy tune every time we feel blithe and happy. Mitski Miyawaki, or more known by her first name Mitski, tries to re-brand the whole concept of happiness by creating an ominous song called "Happy". It's the second song she throws after "Your Best American Girl"--a paroxysmal song about unrequited love (one of the finest songs this year)--as a teaser of her fourth studio album (and her first with Dead Oceans label), Puberty 2.
In "Happy", still as tumultuous as ever, Mitski anthrophormizes happiness as a one night stand man who promises to stay, but leaves in the next morning. She depicts happiness as a man who "bought cookies on the way", whispering at the beginning of the song between the soft drum beat. As the instrument gets louder and the blowing sound of horn is heard, Mitski realizes that the happiness is a jerk as he's gone while she goes to bathroom ("I was in the bathroom/ I didn’t hear him leave/ I locked the door behind him"). Complaining of the mess he left behind, Mitski sings, "Well I sighed and mumbled to myself/ Again I have to clean." Mitski's "Happy" has an ironic feeling to it as it is a parable of the sinuous happiness, the up-and-down of our feeling, and an allegory of happiness and sadness; both can't last forever, no matter how tight we hold on to each of them.
When a punk rock band such as White Lung decides to make a ballad for glamorous women, do not expect it to be something Adele-esque. It is not. But still, White Lung's "Below", the third taste (after "Hungry" and "Kiss Me When I Bleed") of this Canadian band's third album, Paradise, is something that is surprisingly digestible easily, lighter than their previous materials. In "Below", White Lung tones their fieriness down, but still maintains their viciousness, as noted in the William's chorus guitar that begins the song, layering droned sounds on top. Something that they've never done before, William admits.
But, that's not the only thing that makes "Below" an exhilarating song. "Part the tide", Mish Way sings as if she were Moses. It's also the starting point of an epic journey, just like when Moses parted the Red Sea--the mark of Israel's journey to Canaan. Inspired by Camille Paglia's interview, "Below" is about the transience of a beauty, an ephemera that we value. "They'll bury your beauty/ transient living stone," Way soars. "I want to take it all down/ burn in the waste you have found/ I want to throw it around/ Back where the sea meets the ground". The chorus is not the climax--every part of the song is all climax, an epitome of White Lung's awesomeness and broadness in exploring genre. When they go "pop", they go all out.
It was just a tranquil Sunday morning in the eastern hemisphere when Beyoncé premieres her short film in HBO and drops her sixth album out of nowhere like a bomb and that tranquil Sunday morning becomes a rambunctiousness. This isn't the first time Queen Bey pulls such stunt, though. Back in 2013, she decides to release her self-titled album without any prior announcement. But, this time fans have anticipated Beyoncé's comeback after she dropped aesthetically-written "Formation" last February.
It's hard to pick the best song from Beyoncé's latest effort, especially because she explores different sound this time and all songs work out. It's a departure from darker R&B sound that she imbues in Beyonce, or pop-approach in I Am... Sasha Fierce. This time, she broadens her genre by collaborating with Vampire Weekend's Ezra Koenig, Jack White, The Weeknd, James Blake, and many more, while sampling from Yeah Yeah Yeahs, Soulja Boy, Led Zeppelin, and Animal Collective. "Hold Up", the song with the longest credited artists, is the highlight of the album, produced by the queen herself and Diplo.
In "Hold Up", Beyoncé arguably declares her love with her husband, Jay-Z, an ode but also a warning for him to state where his loyalties are. "Hold up/ they don't love you like I love you", she begins the song with a reference from Yeah Yeah Yeah's "Maps", presumptuously stating that her love is different and bigger and the rest of "them". Beyoncé whirls her vocal between Diplo's laid-back tempo--something that Diplo rarely does. She feels worthless in verse when "I smell your secret, and I'm not too perfect/ To ever feel this worthless". But after all, Beyoncé is a woman who has a right to be "jealous and crazy". Listening to "Hold Up" is honestly an uncomfortable experience because it's like peeping Beyoncé and Jay-Z's private lives where each of them ping-pongs their feeling in song that they make. But, this is not uncommon thing in a relationship, and Beyoncé who's brave enough to speak up and sings what she feels is the voice of what some women must go through out there.
.png)