10 singles to cover this week:
DISCOOOOOOOOOO!!! If the EDM-fueled renaissance of R&B brings back disco, we’ll all have Mary J. Blige to
thank worship. And if it happens, prepare for think pieces comparing the rise of disco during Nixon’s Presidency to its Trump-inspired revival. When the country’s no fun, we must find our own on the dance floor…
You know who I’d love to hear take a stab at disco? The Black Eyed Peas. As much as I find the sonic temperature of this track interesting, they’re unquestionably at their best when they’re lightheartedly grooving. Also, I remain unsure if The Black Eyed Peas without Fergie should still be considered The Black Eyed Peas; she was too integral of a component to pretend like the group’s still the same.
Yooooo when the beat kicks in halfway through. I dig the deep house vibe; is this the best pop example of the genre since “Passionfruit”?
Two for three in 2018 ain’t too shabby for Donny (and just to be clear, this is the harmless but unfortunate third)
My first exposure to twenty one pilots. Green Day-lite?
Or are they Green Day meets Maroon 5, right on down to the random rap verse at the end? For the record, there’s nothing wrong with that comparison! And to be honest, these songs are a bit too unclassifiable to so easily label them as modern incarnations of their famous predecessors. Most importantly: I’m excited to hear more…
Eventually, her sterling voice will stop being enough, and she’ll be forced to find SOMETHING distinct in her artistry that gives it even an iota of personality.
Is Khalid on the verge of overexposure? I’m not tired of his sound…I’m just tired of him agreeing to appear on tired, formulaic BS.
Busta’s added verse — basically the only difference between this “remix” and the original — compelled me to give the song another listen, and I must say, I now appreciate the insanity of its producing. Like a crazier Kendrick.
While I’m on the subject, might as well officially retract my previously-recorded slander of Mr. .Paak. It’s ludicrous that the same artist is responsible for both of these tracks. Each boasts radical producing of vastly different flavors, yet they also feel aesthetically unified, clearly the products of a single artist who understands how to utilize the range of his talents without sacrificing artistic cohesion. All of this praise — a far cry from my aforementioned derisive confusion regarding his appeal — hopefully serves as yet another reminder that we surveyors of the arts should never cling to our initial opinions. By being willing to admit that our first reactions may not hold true after further go-arounds, we open ourselves up to more enlightened perspectives. Huzzah!