I have a very large issue with the whole idea of body shaming Trump as some sort of defiance. The same thought went towards the drawing of Trump with a tiny penis circulating around the web.
Is it just a double standard to be able to make fun of men freely? That this somehow works around the same notion that reverse racism isn't a thing because the patriarchy?
As a politically bystanding Canadian, both Liberalism and Conservatism have just shown the hypocritical worst in themselves this whole election debacle. You see that in not the process of the platform, but in for the sake of othering. Just echo chambers of back patting and autopilot opinions that has made me question why I lean left in the first place.
I had to double take to see if Frank Ocean was on that track, but nope. Turns out Hodgy has a great singing voice.
Guess I'm super excited for this new album.
Pretension is often just a phase. I think both Smiths have been making legitimately good music after the whole media smoke cleared on their eccentricities + some shallow initial projects.
Not to be overcynical but I hope all these claims to anxiety aren't just cop-outs. Seeing as mental health is such a major, on-trend issue, I wouldn't put it past a PR rep to use anxiety as a fucked up way to cover up something else.
Btw, the Snakehips x Zayn collaboration has definitely been my sleeper summer pop track this year.
Lite Spots is a great pick. Makes me wish I could've heard it in more random places in my neighborhood than I have Broccoli.
Instant bust-a-boogie material.
That whole thing definitely is played out, though I think we pay attention to Phantogram because they've always seemed more like the type of group that has the potential to do it a little differently. Like, what they made with Big Boi this year was fantastic. Most of their stuff is hit-or-miss for me in that sense.
I wouldn't call this song generic, but I wouldn't call it a success either. Something about the electronically-processed rock guitar riff into the clubby, DJ Mustard synth plucks just feels like a calculated hip-hop-esque risk that looks better on paper. Still optimistic about their album, however.
This whole Pablo album rollout is sort of an apt representation of modern digital music's shift as an instantaneous, makeshift cultural idea. As of 2016, it feels more like, "How much can one do with the compulsive consumption of art" rather than the archival, time spent process of acclamation-via-consensus.
The classics feel dead nowadays.
Abra's vocal performances are so raw to the point that you'd think she records her first take. And nevermind the fact that it sounds like she recorded them via Macbook, but I'm always in-between enjoyment and critiquing.
Potential to be big, but can anyone else hear how bland those stock clap sounds are? Man, I can't get over it...the preview on Instagram had me so excited.
You're right. Take Care, even though it ressembled the same moody aesthetic, felt like we were exploring Drake as much as Drake was exploring himself. Now, he sounds tired of exploring himself and we're tired of exploring his mood, too.
"There could've been more bangers", is always the argument here, especially in the damned timing of the album (I need a summer album soon and unfortunately it's not Lemonade :'( ), but maybe we wanted Drake to celebrate forgetting that he's still that sad sack friend that skips out of the social functions where we're all like, "You're still hung up over that shit?"
Don't get me wrong, but this concept vaguely reminds me of POV pornography in that I never make it through the cringey rehearsed chatter without contemplating what I'm doing with my life.
I was going to burst a vein in the comments section if Glowed Up wasn't on the list, but now I'm just ecstatic.
Entirely excited for this Kaytranada album and will continue blasting this beauty of a single at home.
Drake riding the Ramriddlz wave strong on One Dance. Move over, Quentin Miller!
Also, I hope Pop Style swiftly hits the fringes of the bonus tracks. Laborious slow tempo Soundcloud beats with overly bassed kicks were 2015's trademark, and definitely not the 2016 go-to beat, especially for a posse cut this headline worthy.
Random marketing idea, but I wonder if random pedestrians would stop to buy a $5 CD if it arrived to you in cool, quirky journey, like the way gumballs would sometimes come to you via those extravagant machines with roller-coaster mini-tracks.
Let's make it happen, Adele!
Not that it's necessarily her fault, but I now have to disassociate this song from every twinkling Tropicana-House, post-Lido SoundCloud producer that shows up on my feed via Repost or otherwise hate the damn thing entirely.
Plus, it's nice that her producers have an ear out for that pretty prevalent SoundCloud sound, so I won't hold it against her that I cannot enjoy this sort of halfhearted attempt at this type of song because of my overexposure to the genre. But melodically, this performance has been done before and her vocal adlibs on here remove it from the sort of propulsive, simple-yet-effective lowkey house stomper it could've been.
I'd heard of Marina before Charli XCX, so the headline jab isn't really warranted as I always saw Charli (and still to some degree) as a prototype of that Marina-indiepop-female singer. Just my two cents.
Remember the time when Lil Wayne's semi-incoherent auto-tuned rambling was ongoingly lambasted and scapegoated by the general public as the decline of music? Now, it's 2016 and besides like, Kendrick, I only ever want to hear a post-language, post-semantic, post-Young-Thuggeresque rapper to mumble at me through autotune, an FL beat and a Macbook mic. How the times of mine have changed.
(But also, basically, I miss Lil Wayne with the vocal effects and I don't like listening to this release.)
#BringBackAutotunedWeezy
None of this would have happened without the love and support of Lebron James, who after tweeting the CEO of TDE made this all possible, eclipsing the Steph Curry lead in my personal MVP race this season.
Whether or not he's always been this indecisive, I'm not really feeling this new public backpedaling Kanye.
If Yeezy feels at any point before this album release that this isn't the greatest fucking album, he needs to call everything off even if it pisses everyone off. I don't want deadline hype to be the most pressing, defining thing about this album, I want that perfectionist Kanye with dope ass tracks.
I remember when Chance toured with DJ Rashad and no one in the crowd knew how to dance to footwork, myself included, but we atleast got to witness Chance kill it.
Seeing Chance dance footwork now, since the death of DJ Rashad, holds so much cultural and creative weight in Chicago I feel. And that's just another testament to Chance beacon of positivity.
I can't handle the internet right now. Rihanna's new album was my escape from this tumultuous Yeezy-Wizzy back-and-forth, so now I have to pay attention to Drizzy?
I'm dizzy.
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