The opening weekend of March Madness, the start of the best sports tournament in the world, had a fairly mellow and therefore juxtapositional soundtrack.
If this week’s music was seeded, a la March Madness, comparatively to the other weeks this year, it would be somewhere in the 7 to 10 range. It was fine, but certainly not an elite week, particularly for the albums. Some undeniable greatness was unveiled. Some duds, too.
A few artists not getting enough hype continue to churn out epic single after epic single while the most hyped artists hit a speed bump. Sorry, Lizzo. Wasn’t feeling Tempo.
A great song in its original form, Chris employs the assistance of Honey Dijon to make this track a discotheque’s dream.
It’s lengthy, with a 6:35 run time, but that’s ideal for music like this. It’ll leave you in a sweaty trance.
Chris is one of the pop stars out there that does things right. Not concerned with the social media or tabloid aspect of the industry, Chris just continues to update her discography with dynamic bangers.
After her startlingly good last LP, I’d be surprised if the follow-up doesn’t garner more support and retrospective appreciation for what she has done recently.
I’ve said this a few times on here:
What Luke Christopher is doing is one of the more impressive feats in music today.
He has been releasing a song a week for the last five months, and rarely does he take a false step.
THE ONLY ONES is no exception. Paced by a memorable and immersive instrumental that envelops from the jump, this single adds another layer to the Luke Christopher narrative.
Sonically, I have no idea what he’ll do next.
It’s not like he releases the same song every week. There’s always something distinct about every addition to his catalog.
And it’s not just impressive–this shit is catchy.
This is the second-best song on American Football’s new LP. Where “Uncomfortably Numb (feat. Hayley Williams)” transcends in its beauty and euphony, “I Can’t Feel You (feat. Rachel Goswell)” excels in its dynamism.
The gritty, guttural percussion, juxtaposed with the insanely angelic guitar hook on the bridge, give this song that resurrective quality that I love so much. When songs feel like they have given you everything they have to give you, only to surprise you with something different and better, that’s one of the reasons why listening to so much music can be as rewarding as it is.
Whether you’re looking for it or not, the best music always surprises you.
I was certain this would be my number one, until I was absolutely floored by something else.
That doesn’t discredit this song, which is a masterclass in mixing and production. Somehow, every element of this song is emphasized and, folks, it works.
The vocals? LUCID.
The piano? ENTRANCING.
The percussion? Dare I say, FUNKY.
The hook? INTOXICATING.
Can’t wait for the thankfully imminent new Tame Impala record.
I am anticipating Weyes Blood’s new album so SO hard. This track is so beautifully composed. Whether it’s the choral progressions and distant yet sinister synths in the first section, or the swirling intoxicating strings that signal the song’s second act, THIS SONG IS INDICATIVE OF GREATNESS AND DESERVES ALL OF THE ACCLAIM.
So much is going on here, and yet it feels as coherent and intentional as anything I’ve heard this year. She is clearly a budding musical genius and we get to witness this.
And that’s why music is so special.