My Favorite Songs: Week 2 (2/24–3/2/16)
As promised, I am back again, in wake of my radio show tomorrow from 8–9am Central.
This week has been especially interesting. I have found myself making larger steps in mental progression which has most certainly been encouraging.
Last week, trying to accomplish what I was able to accomplish this week seemed impossible. The thing I was fighting against seemed indomitable in conjunction with the fact that I felt like I was stuck in the throes of sadness.
Watching yourself progress is perhaps one of the gratifying and encouraging feelings.
I’ve also ran into issues with my laptop. It no longer will charge, and will only operate if plugged in. I spent 45 minutes talking to a Lenovo representative who was of no help. Hopefully running virtualDJ tomorrow won’t burn more percentage than I have.
Curb Your Enthusiasm
I’ve also been watching Curb Your Enthusiasm, and have been making some great progress in the show. I know I’m a hater of these kinds of pictures on Instagram, but I feel as if this is truly genuine — as these moments have made me laugh, and I had to put them together myself with “cntrl” and “PrtSc” buttons and Microsoft Paint. Please excuse my poor cropping.
Speaking of Microsoft Paint, I have decided that I will re-create the cover art of my #1 song each week in Microsoft Paint. I have decided that this is a great way to keep my otherwise boring blog somewhat entertaining, and to provide incentive to for readers to keep reading. This week, I feel a little zealous, so I’ll be re-creating the album artwork of my #2 and #1.
Without further ado, my top 5 songs of the week.
The song has a xylophone progression to start. The song’s introduction owns a quite interesting progression, with the modified vocals, and the sudden strings like I am listening to the stereotypical “Asian song.” I sort of feel as if I’m walking through a Japanese rock garden.
Nao’s vocals are somewhat reminiscent of AlunaGeorge’s, or Aluna’s, rather. I don’t mean this to undercut Nao, and see it more as a compliment.
It’s no wonder that this song has over 4M plays on SoundCloud. At 0:52, the song hits what I like to call “Forever 21 Sound,” where it’s a very generic, (albeit pleasing to the ear) and has synth with 3 or 4 note chords. It’s reminiscent of SNAKEHIPS, and their bootleg of Bondax’s “Gold.”
My only gripe lies within the bed creaking samples, which start around 1:10, which I believe are delegated to the Jersey Club genre, and have been long-gone since Cashmere Cat used it in Mirror Maru, more than 3 whole years ago.
“say yes / you’ll be my firefly / take everything or nothing at all,”
A bare-bones song with some flair, along with lots of elan that is “generic” enough for the masses.
I feel as if many Disclosure songs have been thrown under the rug, which is an awful thing. Guy and Howard have thrown a sort of unintentional shade over their older music, which comes with one’s newer music becoming more popular. A prime example that actually involves Disclosure is “Latch (feat. Sam Smith),” that became a radio hit two years after it’s release. I’ve heard many people say that they’re “Disclosure fans.” When you ask them what their favorite Disclosure song is, they usually respond with “Latch,” and the Flume REMIX (MEANING REMIXED BY FLUME) of “You & Me (feat. Eliza Doolittle).”
There’s nothing like Disclosure “fans.”
Disclosure’s music in the past 1–2 years has been a disappointment for me.
My infatuation with Disclosure began after listening to Settle (2013), during the summer. With such an incredible album, I expected an even more incredible sequel. I was eager for more music, and finally got some new Disclosure.
Disclosure responded with “Bang That,” which I found to be an absolutely abysmal song in every single aspect. I believe that I can get songs to “grow on me,” but I found absolutely no way that a track that was just noise with atrocious vocals, would become a song of choice.
Disclosure followed up near the end of the year with Caracal (2015), which was sub-par, and I found that Disclosure really tried to re-create a bunch of Latches, which was sad. There were a few songs that were reminiscent of Settle, but the sound felt long-gone.
Enough about my complaints about the recent Disclosure music.
With such a strong introduction at 0:45, the song feels like a video game, followed with compellling drums as well as the fun vocals.
The bridge with the high vocals 3:18 with the transition to the original sound is so incredibly smooth. What a dynamic song.
“Girl (girl) / get on the floor / don’t make me / don’t make me”
A song that has stood the hands of time for me. Not forgotten.
I don’t think I would have ever come across Skylar Spence had it not been for my friend Cameron, who sent me a link to this Saint Pepsi video.
Skylar Spence definitely makes some interesting music, and while this is the few songs that I’ve listened to from “Prom King,” I must say that I’ve been surprised by how polarized I became to the song.
This song takes more of a “traditional” approach to a song — with a guitar, catchy tune, and fun lyrics but upon further inspection, the lyrics do mean something.
“Slowed some music down, and called myself an artist,”
Which alludes to his former name — Saint Pepsi, where he made “Future Funk / Vaporwave Music.” It’s interesting to see artists criticize themselves, and the song has the electric guitar, along with the horns, and sounds like a pop hit that I’d never find myself listening to.
While that is only one line of the song, the lyrics are pretty meaningful. Please believe me.
After listening to this song, I have found myself facing a quandary of sorts. I wonder if I should be listening to more pop music.
I’m late to this. Really late. I’ll admit that I was a Flume hater and even went as far as telling someone that I thought he had “no talent.” It’s crazy that this song was out when I was in High School. Things were much different then.
Flume is now part of an over-genericized “future bass” genre. With his recent release of “Never Be Like You (feat. Kai),” it has become sort of clear that Flume has hit a plateau. According to the folks at /r/futurebeats, everyone has caught up to Flume, while Flume hasn’t really made any strides. “Future Bass” is over as a genre because we see [FUTURE BASS] in Monstercat titles to their YouTube videos. When it’s a genre under Monstercat, the genre is done with. Flume still has the name though, which would explain his millions of plays on SoundCloud.
I feel like Space Cadet shows off a much less “generic” sound from Flume that I really enjoy, which is radically different from his other songs. Space Cadet is something special to me. I can feel the song, with the easy-to-make fun of modified audio samples, but with the careful notes I can play in my head. The fluttering of the notes in the background imbues a careful, playful, but very calculated feeling. A song that will give me thoughts, and feelings.
I knew I was going to enjoy this song from the first time I heard it. The soul sound, along with Santell’s vocals were enough to set it off. I love Santell’s vocals, as well as his aesthetic, as his curly blonde hair is reminiscent of Justin Timberlake’s. I am a huge fan of Justin Timberlake, and Santell’s vocals remind me of Justin, which makes me happy.
This song along with the rest of The Passion Project (2015), was a project between Lido and Santell that featured more of an R&B sound, which Santell was more than capable to pull off.
While I am not entirely sure, I believe that this song is about singer Halsey, who Lido used to be in a relationship with, as Halsey’s name comes from a re-arrangement of her birth name, “Ashley.”
“I just wanna tip her, tip her / even though she’s not a stripper, stripper”
The snapping samples, along with the partial a capella background along with Lido’s production compliments and really puts together the R&B aesthetic of The Passion Project, and most importantly, this song.
all images belong to their respective owners