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How You Like That | BLACKPINK 늏뷰
The most awaited K-Pop comeback of the year rises from the ashes on a fired-up electric swag BLACKPINK anthem.Â
After 14 months, BLACKPINK is back with 'How You Like That'.
It took several promo pictures and videos for the countdown to end, but this Korean group premiered 'How You Like That' with its corresponding music video on Friday, June 26th at 6 pm (KST).
One of the most anticipated comebacks of 2020 delivered Jennie, Jisso, Lisa, and Rosé into an evolved and nostalgic signature BLACKPINK track.
The girls had already teased on their vlog series 'BLACKPINK 24/365' that the vibes on this pre-release single were different from their previous work. When asked the girls how could they describe the song without any spoilers, Jennie and Rosé explained the track's vibe by saying 'King Kong' and acting like a roaring tiger.
'How You Like That' begins with a triumphal arrangementthat picks up where 'Kill This Love' ended sonically and lyrically but, after a small 5 seconds intro, the girls slowly describe themselves re-birthing from the ashes and decided to move on with a last goodbye kiss.
After the chill but enchanting first verse, the hook drops with an aggressive beat and leads into a swag-style break that demands a complementary sick choreography.
Every member gets to shine on the track, on the second verse, Lisa reclaims her rapping throne along with Arabian arrangements and gives a chance for Jennie's natural vocal talents to emerge just after her. After a slow but determined bridge by Rosé and Jisoo, the production meets an electrifying dance break and outros on a classical BLACKPINK style. For fans listening, 'How You Like That' rises with nostalgia by ending on a fist-pumping outro after screaming 'BLACKPINK' on its beginning.
'How You Like That' means everything BLACKPINK is, a strong female group that took their time to polish the sound, visuals, and performance that made them become a global icon of the K-Pop industry.
AMERICAN LIFE | MADONNA
On her 9th album, Madonna tried to wreck the American dream illusion with a political-conceptual-album filled with down to earth statements that sank in its release year and recovered sense overtime.
After 'Music'ssuccessful development in 2000 with chart-topping singles as 'Music' or 'Don't Tell Me', 'American Life' felt like a train-wreck as a continuation to Madonna's commercial pop legacy.
'Music', rejoiced on dance and electronic instrumentals that highlighted Madonna's talent to produce tracks that set a trend on mainstream music and began an EDM and Pop historic revolution with a merge of both genres. But, when 'American Life'emerged on full, it was a lot to take in back in 2003.
'American Life', the first single off the album, if described in one word would be: controversial.The music video couldn't follow its promotional journey in full due to public complaints about its aggressive and raw scenes exposing war, political and religious points of view. But, not only the lyrics on the track and the visuals were straight-to-the-point, but the song's production was also edgy: Madonna rapping on the bridge, a punchy synth was fighting with acoustic guitars to take the lead on the instrumental's composition, and all being summed upended not being easy to digest since the first listen as her previous works.
'I'd like to express my extreme point of view, I'm not a Cristian and I'm not a Jew, I'm just living out the American Dream and I just realized that nothing is what it seems' - A quote on 'American Life' title track that pretty much was summarizing the whole concept of the album in a matter of seconds, and an ideal that might've been contentious back in the days.
Madonna's narrative went from ideal-defensive to system-attacking.'Hollywood' fearlessly addresses the materialistic environment surrounding the celebrity-capital and sarcastically judges society's obsession with fame. But, on tracks later on the album, songs like 'X-Static Process'strip down to share that even after all the pressure, loneliness, crowds and search for meaning, Madonna found her value along surrendering to the natural process of life.
'Love Profusion'is the album's personal refugee from the world's issues as destruction and the lack of empathy within society. Madonna finds peace and sanity within a love overdose that lets her forget the confusion and social values mess and translates those feelings by merging folk and electronic compositions on its instrumentals.
The lyrical content of the album is one of the most personal cuts from Madonna.'Nothing Fails'opens up the track confessing 'I'm in love with you'and minutes after turns into a choir-supported performance comparing the emotions that love creates upon her with a religious experience. 'Mother and Father' is another track that merges purging lyrics talking about the emotional struggles after a family rupture with a multi-diverse set of synths and electronic beats that could've felt out of place but instead help to give the lyrics the attention they need to get involved with its story.
'American Life'is a hard-punching shell of political and religious statements with experimental instrumentals and acoustic phases but on its core, Madonna surrenders to the power of love to make her feel clarity and meaningful. 'Intervention'takes away fear with the essence of true love on its lyrics and its production jumps from guitars to heavy electronic layers just when needed.
American Lifeshatters the fragile and mistaken perception about money having the power to give happiness. At the point where Madonna had already made a lot of money and had all the 'power' that 'should' make anyone happy, she was the perfect voice for a worldwide public to listen that this message about finding meaning in life through material things wasn't real.
The storyline on the album might be not so easy to follow on its first listen, but it makes sense when we get to really understand that the mess around her as the social pressure to be a certain way or act in specific ways leads to self compare to others but even after all of this, we all need to learn from the challenges in life and move on with self-empowerment and love.
The musical concept of the album was too experimental at that time, not only her fans, but the general public was used to listen to the same structured pop songs for it to feel well executed. It's not that hard to listen now to 'American Life' since the music industry has suffered a change within the last years, being more open-minded to step out of the box on the development of track's production and a society that might not accept alternative takes on all genres in full, but we surely have made advances and maybe soon we'll be able to fight against a predisposition for the musical genres and how a 'pop' song 'should' sound.
CHROMATICA | LADY GAGA
Chromatica sucks the pain out of Lady Gaga and throws it to the dance floor.
When Lady Gaga's sixth studio album 'Chromatica' dropped on Friday, May 29th midnight, she tweeted: 'Welcome to Chromatica' an own-curated world that Gaga created as a concept for her new body of work.
The album is divided into three acts, each one opened by an interlude call Chromatica I, Chromatica II, and Chromatica III.
When the first act begins, Lady Gaga and Morgan Kibby's written instrumental opens the call for a sonic adventure of strings arrangements that and leads toward 'Alice', an EDM falling spiral that uses Alice in Wonderland as the metaphor to welcome the listeners to an electronic fantasy.Lyrically Gaga begs to be taken to Wonderland to find peace and freedom, she is hurt and even if the lyrics describe loss and desperation, the production bursts inwards a trip through dark and heavy beats and vocals that crash with one another. The production also seems a comeback of Gaga to dance genre that makes it nostalgic and comfortable for the listeners that loved 'The Fame Monster'.
After listening to 'Alice', you assume you've fully entered the world of Chromatica, and with the next tracks on the album, this journey into Gaga's search for forgiveness begins with the confidence of achieving happiness and overcoming the obstacles that may appear. 'Stupid Love'confesses a radical acceptance condition of learning to love yourself to be loved. BloodPop infused the album's first single with sentimentality too when building the track with beats that seemed to be taken out from 'Born This Way' and mixing them with the soul of 'ARTPOP'.
On the rest of the album's first act, Chromatica shares freedom celebrating tracks, 'Free Woman'and 'Fun Tonight' walk away from the dependency with men or a damaging relationship with soft-house and bubbly pop vocals and instrumentals. While you end the first act, Gaga made clear already her still existing will to make pop music never be low brow as stated on her first album 'The Fame'sera, creating tracks that linked meaningful lyrics with mainstream structures to transmit a global message.
Each act shares a collaboration that is unique in its way. 'Rain On Me' arrives first to serve 'a celebration of all the tears', a bubbly dance comeback to a disco pop's universe that balanced Gaga and Ariana's vocal talents to sound harmonized as a context of the power of union and supportiveness between artists and humans.
The collaboration track on the second act, 'Sour Candy' features BLACKPINK and represents what might be the most important collaboration to date within K-Pop groups and occidental mainstream artists. The production samples 'What They Say' by Maya Jane Coles, but shines on the merge of the vocal styles of Jennie, Lisa, Rosé, Jisoo, and Lady Gaga. 'Sour Candy' plays with a sweet and tough metaphor to the artists' personality just as BLACKPINK's name plays with the soft side in the pink color and the hard connotation of their darker side.
The last collaboration of 'Chromatica' is 'Sine From Above' with Elton John. With 'Chromatica III' as an introduction and mood-setter to the track, Lady Gaga explains the power of music and its importance on a healing process as an artist and a human. Elton sounds cohesive to the message that the track shares and intertwine's with the instrumental's electronic storm that raves on the drop after the hook and then rebels at its ambitious and mesmerizing outro.
As 'Sine From Above', '911' is presented after an interlude in the album too. 'Chromatica II' builds its string arrangements up to a dramatic end that aggressively and tenderly leads towards '911' a futuristic performance that commands Chromatica's stage.Gaga's vocals are auto-tuned and up-tempo taking us back to past vocal experiences from tracks like 'LoveGame'or 'HeavyMetalLover' that join the natural talent on Gaga's falsetto but adds melodramatic edges to the production.
Along '911' the album's second act narrates accepting our scars. 'Enigma' surrenders to virtual-modern-loveand dances with a heavier house production on the hooks and dreamy instrumentals on the verses. 'Replay' directly addresses Gaga's scars on her mind and overthinking issues but also realizes that there are things outside her mind that are hurting her, so she decides to let go of them to stop her psychological condition. The production by BURNS drives a club affair into an outer space disco adventure. 'Replay' doesn't only talk about issues and realization but sounds also like the peak of an emotional range.
Gaga's narrative and influences have turned through the years into a collective message that intends to increase self-awareness and the social matter of attending mental issues and post-traumatic experiences. 'Chromatica' explores the journey that led Gaga to this kind and grateful state that allowed her to make peace within her artistic persona and herself as human. The lyrics tell a story of acceptance and growth, Gaga overcomes her traumas by a simple method: catharsis by making art.
As we all humans most generally need to do to start a healing process, accepting our flaws and the scars made trough our journey and opening up to talk about it, Gaga goes personal and crystal-clear on her thoughts and feels and, at the end of this emotions dump she finds herself healed by sharing her message through music and making it sound authentic.
On the third and final act of the album, Gaga shows this final healed state with odes to confidence and liberation and that's why even if 'Babylon' might not sound like the most cohesive track sonically to the album on the first listen, it makes sense to be the last song on the tracklist as an invention filled with joy and meant to open a new chapter of a healed artist that now allows herself to create songs in order of her feelings whether they are deep and meaningful or creative and experimental.
Chromatica is a vertex between dance productions and purging lyrics, and even if it's born and meant for the dancefloor, the album celebrates Lady Gaga's dance roots and opens a channel for her followers to let themselves feel free and encouraged by its genuine lyrical message. Chromatica is sure to be timeless and a new fan-favorite on Gaga's career by her futuristic and now classic sound, daring aesthetics, and cohesive directions.
WWW.MAINSTREAMLOUPE.COM | REINVENT YOUR PERSPECTIVE
FUTURE NOSTALGIA | DUA LIPA
FUTURE NOSTALGIA BRINGS TO THE TABLE A MIX OF DUA LIPAâS FUTURE SOUND AND CLASSIC POP.
On her first self-titled album, Dua Lipa worked hard on showcasing the power of her voice and comfortably chased a sound that fits well as an open letter to the world, showing how experimental she could get and how badly she wanted to make music.
The success that brought worldwide hits like âNew Rulesâ and the experience that she kept by collaborating with famous and talented producers like Diplo and Mark Ronson on âElectricityâ and the chill EDM âOne Kissâ with Calvin Harris, seemed to help her find along the road, the specific journey that she needed to begin so it showed the force to be reckoned with that she is in pop culture.
The albumâs title âFuture Nostalgiaâ fits accurately on the sound of the 11 tracks that build it.
When the album title track blasts, its retro background distorted vocals and the literal message on the lyrics work to dismantle your perceptions on the sounds that a pop record by Dua Lipa should be like. She opens up on the confidence she has about being on the tip of everybodyâs tongue and the pressure that the public puts on artists to find new sounds and stepping their game up on their sophomore albums.
The âFuture Nostalgiaâ catchy title can be interpreted too as the futuristic-retro composition that the songs display. Since the first single âDonât Start Nowâ began this 80âs pop-influenced era, a glamorous and experimental atmosphere began to take shape on the singerâs aesthetic, the collision on the catchy hooks and the familiar instrumentals that were clearly inspired by disco records reflected a clever work on inspiration and not emulation. It may sound easy, to bring disco back and make it modern, but the attempt of even thinking itâs risky by itself. On the first single, Dua made a full one-eighty, not only on her heart but on the radios.
The vocal arrangements are cleverly built around powerful lyrics that are mostly love stories and, that anybody can feel identified with. With this being said, itâll be no surprise for people to find themselves quickly singing along to tracks like âBreak My Heartâ where the 24-year-old singer built a sonic trap to get anyone caught when they can easily relate to the regret of falling in love with someone who shows red flags on a possible disappointment since the first âHelloâ.
On the first tracks of the album, youâll discover âCoolâ; the third track of Future Nostalgia sounds exactly like the albumâs cover art, an outer space adventure blasting off on a vintage car while Dua Lipa carpools her heart out on the vulnerable side that admitting when someone breaks down all your walls and takes control of every sense.
Just after that, the fourth track, âPhysicalâ comes along to make you feel a big-bang explosion on the record. Dua flies her way up to an explosive chorus fulfilling the track with the power of her voice forcing the instrumentals to keep up with her, instead of waiting for her voice to keep up with the beat. As the song ends, it wouldâve been hard to keep the listener at the same speed without aiming higher, but just as a sonic big-bang, the record gets to a zero-gravity zone with âLevitatingâ where Dua Lipa fills your ears with milky-way quotes and floats on the marvelous feelings that letting yourself flow with the discovery of love can bring to your life as she urges the listener and her lover to get lost on this bubbly beat that can make anyone who sings this song on a karaoke, the disco queen of the night.
Itâs not all about the lyrics and the mesmerizing production on Future Nostalgia, talent becomes evident on the modern-love ball âPretty Pleaseâ where the stars of this nostalgic adventure are Duaâs vocals and a seductive bass with futuristic beats adding up in the right moment. Her vocal delivery might seem innocent but the message she transmits is clear and direct just as the demanding lyrics on it.
The cosmic and playful bass arrangements couldnât be less powerful on the next track, âHallucinateâ a retro disco banger that could even fit in 2005 Madonnaâs âConfessions on a Dancefloorâ. The track begins mysterious and flirty on its instrumentals and the lyrics, but on the main hook, glows like a giant disco ball at a Saturday Fever night.
As this track fades, âLove Againâ takes you by surprise with a vintage-like intro, that suddenly grows on violinâs melodies that take the sincerest and corny confessions from Dua Lipa. She sounds joyful and starstruck on the feeling that falling in love fearlessly brought to her heart. The most complex side of this track is more on the instrumental side that on the lyrics, so, it really deserves your undivided attention to its sound for you to enjoy its power.
The theatrical âBoys Will Be Boysâ closes this experience on the exact same prayer that helped the album to lift up, the female-power and a social growing-notion on the recognition of their power and influence. Just in case you forgot.
The former eleven tracks are no fillers, theyâre all built on being enjoyable and are cohesive on the transition from song to song. The lyrics try to demonstrate sheâs living her present, she lets herself enjoy new experiences, and leaves statements only for her most concrete thoughts. The production makes it an immersive experience and falls far for the sounds that nowadays play on most of the popular playlists. Future Nostalgia might not be changing pop musicâs game in a new dimension yet, but still, it manages to make clear that Dua Lipa is a young pop star that came to stay, even if youâre not used to a female Alpha.
REPUTATION | TAYLOR SWIFT
Taylor Swiftâs âreputationâ is not only the title to her fifth studio album but a volatile subject that the media tends to have fun with.
When media plays around and stalk every move of one artist like Taylor Swift, a small simple mistake or even a kind intention can turn into a circus, but an amazing outcome always blossoms from Taylor Swiftâs accurate or misunderstood headlines, and that is the art that she makes of it and how these events reflect on her storytelling when writing.
Reputation shares a rebellious aesthetic to the public and relies its lyrical content on love but goes widely experimental for Swift production-wise. On âreputationâ the beat drops are aggressive, and the hooks intend to be colossal like an international revolution.
On the production, âDon't Blame Meâ is all about waves and vibrations growing on the hooks, a synthesizer rebellion on âI Did Something Badâ, and theatrical arrangements mixing with serious beat drops and melodramatic hooks on âLook What You Made Me Doâ.
Taylor printed her liberation in the composition of the songs, even since the first track, â...Ready for It?â Taylor goes aggressive on the storytelling about her meeting someone but, then goes bubbly and gently on the confession of her devotion to this relationship. âEnd Gameâ shows Taylor first, accepting commitment and then growing to heavier verses where her reputation appears relevant and necessary for Taylor to show up. It is like a repeated list of questioning regrets and resentments that answer themselves through a resolution verse on the same song.
âSo it goesâ drops rapidly and dominant on its hooks, but then, Taylor counts from one to three within whispers to drop you one last time before the song ends. She already learned in â1989â to do honest and sarcastic interpretations of her songs, but on 'Reputation' she used this knowledge to find the right styles to capture her farewell to the emotional challenges that her social environment causes when it attacks and judges her.
On the vocal assets that characterize âreputationâ Taylor hit notes according to the colors of the songs. She worked on a casual and seductive interpretation on âGorgeousâ, an honest and demanding one on âKing of My Heartâ but the vocal arrangements also turned daring for Taylor, making her changing the styles on her interpretations, since the fast verses on âEnd Gameâ, to a changing vocal set that goes from steady and consistent to smooth when the upbeat verses require it on âDancing with Our Hands Tiedâ.
âReputationâ shows a wide collection of pop styles being gathered to express a purge of resentment. as the hardcover above a more vulnerable Taylor that admits her flaws and wants to come clean so she can be free to love genuinely once again.
When you ask for someone to take you at some of your lowest points, vulnerability is all around the air and it feels 'Delicate' as the fourth single of the album.
Throughout all of the tracks and besides the distracting events that may change her or not, she remains consistent on the characteristic storytelling that shined on 'Red' when she is still able to deliver love stories like an old passionate adventure designated to fail and the ignored red flags shining at the beginning of like the one on âGetaway Carâ, one of the most detailed and theatrical takes on 'reputation'.
On the last two tracks, its composition contrasts with the majority of the previous tracks as she maintains a more familiar sound to her previous works, relying on simpler instrumentation with piano and guitars. As the tempos come back down, her sensitiveness goes back up.
While on the first tracks of the album Taylor puts a lot of attention to her reputation and brings it up to her lover, for him to be aware of the issues that it may generate, on the 14th track, âCall It What You Wantâ she remembers a journey that involves traitors, surrendering and most important, the lessons learned and what isolation from all the drama and fuss brought her.
And, the closing track works also like the closure to all of this anger and traumas, âNew Yearâs Dayâ uses its metaphors to pull up a closing ceremony that recalls the good memories it brought and the calm that comes after all this year.
When you listen âreputationâ from beginning to end, ââŠReady for it?â sets the mood on a raging tornado dragging all of the dirt out and growing strong and consistent through its way and, as it reaches its peak, it tenderly leads you back to the ground and even shows you the calm before the storm as âNew Yearâs Dayâ appears.
A fearless side of âreputationâ shows up on the way that the album's era was handled. Taylor re-appeared after isolation to drop an explosive and direct project and doesn't give it any promotion on interviews or radio promotions, she let the world interpret reputation's concept and prominence by themselves and after making a record-breaker stadium tour in support of the album, she closed the chapter in her life where she lets her surroundings influence her and attempt against her emotional stability, she learned to speak her mind and experiment on her albumâs production.
Reputation shows how the press may affect anyone and challenge you, but it also showed that Taylor Swift embraced these challenges and showed the world the lessons that she learned along the way and how she became stronger and more fearless by writing what she wants and mixing her honest and loving ideas with marketing-friendly catchphrases for it to be popular and successful. Reputation shows Taylorâs growth vocally as she dares to experiment on different interpretation styles and how confident she has become on attempting new sounds. But, as a clever and consistent artist, Swift also showed that despite what her reputation may be and the worldâs interpretation about her is, she tamed the press beasts and became more self-aware of her feelings and what is really important for her.
Little did we know that on the next album Taylor would feel free to love and being loved, back at the time when Reputation was created, she impregnated these records with a lot of love hidden under a tough cover of empowerment and purge.
BORN TO DIE | LANA DEL REY
âBorn to Dieâ is not only a collection of Americana-poems about co-dependency and criminal fixation but the prologue to a self-discovery journey.
When you listen to Lana del Rey for the first time, her voice blasts into your memory as something completely new in the mainstream history of female vocalists and stays there as one of her most unmistakable talents, but what builds it and give it power is the lyrical talent that it transmits.
Lana del Rey wasnât easy to digest at her debut era, she was a New York City girl that traveled south to find her own sound and find new artistic inspirations but, on the road, she fell in love and got hurt, just what any human needs to have their world revolutionized, the real world and the one in her head and heart too.
âVideo Gamesâ, the first single to her debut album, is a risky and vulnerable ballad that tries to make a settled down couple sound as much as possible to a commitment anthem. On the story, she settles down and makes of her guy, everything that she needs, she is sincere on the little details that make her happy at the moment, but you can tell that besides her passion and admiration, there is a dark side to it that floats around the atmosphere of her tracks.
This place, where she wants to take you to listen to her stories, is not a parallel universe, is somewhere between the real and the fantasy. She writes about her past and what it changed or influenced her present, but the darkness on her past always shortens her future. When she talks about moving forward, Lana turns fatalist and negative. Just as the title of the album suggests, sheâs born on her lyrics without any fear of dying.
âBorn to Dieâ, showcases the wars and struggles taking place on Lana del Reyâs mind. She owns her rebel, she owns and embraces her wildness, but as she feels free to come clean on her thoughts and feelings she also thinks sheâs done it all, leaving behind and erasing her expectations on any kind of future.
âOff to the Racesâ is one of the tracks that portray her self-destructive fixations. She is careless about the romantic dangers that her lover may cause on her. She always acknowledges the fact that the man she chose is not a good man, not only for her but to society. Her lovers share a mediocre Bonnie and Clyde destined to fail vibe, but still, she finds beauty on the little details that make her feel loved to bring more tones to her gray love stories.
This same track and âCarmenâ were inspired by âLolitaâ a 1955 novel written by Russian American novelist Vladimir Nabokov. In the book, a middle-aged literature professor under the pseudonym âHumbert Humbertâ, is obsessed with a 12-year-old girl, Dolores Haze, whom he sexually abuses after he becomes her stepfather. "Lolita" is his private nickname for Dolores. Its assimilation into popular culture is such that the name "Lolita" has been used to imply that a young girl is sexually precocious.
All of these inspirations lead to and explicit and wild-fascination state of mind that made her honest and direct, she wasnât afraid to reference the taste of her vagina with a soda label like she did on âColaâ, she wasnât afraid to reference her struggles on a love triangle of herself to John Kennedyâs inspired âNational Anthemâ, and she didnât even bother to proclaim Elvis Presley as her father, Marilyn Monroe as her mother or Jesus Christ as her best friend on âBody Electricâ.
All of these pop-cultural references and metaphors mightâve seemed superficial and Hollywood-esque, but all of this honesty, all of these fearless pop culture references, added value to her work, made it authentic, made it feel and sound true, and not just some radio engineered tracks.
Lana always assures to make her inspirations notable, you get to understand that her fascinationâs where inspired by a true novelist and his sexual and addiction-related tales, âBorn to Dieâ, lives between the fantasy of Lanaâs favorite stories, but feels natural because of her own past with alcohol and wild experiences.
As the inspirations to her lyrics, as a way to channel her deepest emotions in a poetic and theatrical way, her music speaks through its composition according to the mood of the story.
Vintage violins arrangements and distorted and noisy synths merge on the instrumentals to build Lanaâs characteristic sound aesthetics. âDark Paradiseâ is a game within black and white, like love and death, it feels vintage, religious and elaborate. Modern beats fight against ambitious choruses supporting and giving strength to her vocals. The beats go up as she risks on higher notes previous the final hook, the rhythm ladders up to a heavenly composition that feels utopian and still fatalist.
The weak link on âBorn To Dieâ might be the instrumental narrow variety that mightâve helped every song to have a unique character if it went wider. The full listen from beginning to end might turn odd and complicated on the âParadise Editionâ of the album, where the production narrative turns long and repetitive. You could play the title track âBorn To Dieâ and then âBlue Velvetâ and get a copy-paste intro and slowed down verses as in the instrumentals as the vocalizations.
The outstanding track âRideâ works as an autobiographical anthem and the albumâs concept synthesis, but the remaining tracks, could be better described as an interlude to the forthcoming âUltraviolenceâ.
âBorn to Dieâ does not reflect Lanaâs best, not because of a lack of talent or inspiration, Lana is a natural songwriter and storyteller, but because she still needs to find true love, and might even need to taste the sweeter side of life. She has felt hurt, sheâs been betrayed, she knows how obsessed she can get over someone, but still needs to learn to let go of the things that poison her, her story might get brighter by the discovery of self-love and self-sufficiency, or she might not even get there, but she teases you to keep you by her side on this self-discovery story.
Born to Die is not a story with an end, it is just the context to understand what inspired her as an artist, it is a lyrical retrospective to her darkest moments and rejoices on the complexity of achieving a brighter future. It is the opening act to a theatrical self-discovery play curating a patriotic soap opera. We were all born to love, but when you fall in love with the wrong person, your perspective might change to a destiny of being born, to die.
THANK U, NEXT | ARIANA GRANDE
'Thank U, Next' inspire and embraces personal growth that anybody can relate to as a cherished token to keep the lessons learned on reach.
It took Ariana a musical journey to discover that speaking your mind from a place of honesty, brings natural catharsis to traumatic experiences. On Sweetener, she displayed her most inner-revolutionary thoughts acknowledging her strengths, opening up about new states of mind and mantras about her life that colored the blank spaces on her mind.
Thank u, Next, released just six months later, expose Ariana's raw grief but find resolution and closure in thankfulness.
Every track thrives inwards like growing roots, whether in it's production as in the nature of it's the creation.
When the 26-year-old singer found herself involved in a heartbreaking loss to an ex-boyfriend while being on a new relationship, her pain and shame only needed voice and acceptance. On 'Ghostin', Ariana recognizes the heavy baggage that she's been carrying around. Her promise is down to earth, she asks for forgiveness and promises for a better tomorrow. When she admits this transitioning state as something natural, she finds relief and answers her own prayers.
'Needy' and 'Imagine' share with 'Ghostin' not only its slow-tempo composition but the introspective tasks that she needs to complete to start healing. On 'Needy', she addresses the difficulties her personality might create, but instead of sharing them with a sense of regret, she embraces her own way of being and seeks for understanding.
Thank U, Next, wouldn't serve as a reflective relief of concerns without her opening and transparency on her self-awareness.
When she overthinks, she lets us know her train of thought through the therapeutic 'In My Head'. The lesson on the track is a grown-up scenario where, instead of regret, she takes responsibility for the outcomes for these emotional attachments.
On the composition, Thank U, Next seems engineered by a similar catalog of synths that sound cohesive with one another. The chosen melodies and the supporting beats get familiar like they did between 'Needy' and 'Makeup', but they never fall in a repetitive or plain sound scenario.
Another stage that had its own glimpse on 'Sweetener' with the empowering 'successful', is Ariana's state of power-acknowledgment. On â7 ringsâ Ariana sounds comfortable sampling âThe Sound of Musicâ for its verses but puts her money where her mouth is with opulence and feminism. The beats share hip-hop infused rhythms and her vocals sparkle up on new dimensions when she merges with the fast tempos needed.
â7 ringsâ talks about drinks and diamonds but reflects an honest stage that exposes confidence and joy. The track, inspired and curated after a shopping spree afternoon in jewelry with friends and champagne, share that Ariana is not alone through this phase and hangs with people that remind her and inspire to move on.
â7 ringsâ debuted at #1 on the Hot 100 during the week ending February 2, 2019. Grande became the fifth artist in the chartâs history to have multiple number one debuts. The song spent five consecutive weeks at the chartâs summit.
Ariana talked to fans about its meaning and place in Thank U, Next and shared on Twitter:
â@arianagrande: indeeeed. but i guess thank u, next is more vulnerable and gentle lol. seven rings is jus like ..... a flex. friendship anthem. how the homies WANT u to feel. what the âthank u nextâ energy evolves into while embracing a new chapter (even tho both moods /energies are v present).â
This same encouraging freedom and free-spoken success channels other sides of confidence on other tracks like the closing âBreak Up With Your Girlfriend, Iâm Boredâ. Shocking since its title, Ariana samples NâSync and haves fun. Thereâs no further meaning to it than allowing yourself to play along with the moment and feel free and confident.
At this time Ariana shows there are no more tears left to cry for her, not by saying it, but by showing it.
As everyoneâs break-up and healing process, Ariana seamed to finally learn something really important to move on with these lessons. On the Max Martin engineered âBloodlineâ Ariana already learned what she wants and what she doesnât. She talks about a âfriends with benefitsâ relationship but knows that this type of relationship without commitment is not only what she wants but what she needs.
Arianaâs state of mind since âSweetenerâ has changed, but a more artistic take like âGod is a womanâ and âthe light is cominâ stays lyrically on the hallucinating âNASAâ. Arianaâs need for space and time literally, to understand her own emotions, translates in an outer-space adventure that levitates within milky-way metaphors that work in the pledge for clarity.
The production on the instrumentals is led by a joyful song-title spelling that leads to a bubbly and catchy hook that addresses space as a timeout for her emotions and a galactic metaphor that transports your attention to the gravitating bass that flows constantly around her soft vocalizations.
This tale on the need for time to work on herself is explained and discussed wider on songs like âFake Smileâ and âBad Ideaâ. On these tracks, Ariana clears her emotions, she works on finding and acting how she needs and puts away the expectations over her actions. 'Fake Smile' glows as more vulnerable and down to earth than âBad Ideaâ since itâs way to happiness is found by a pure thought of losing fear to show and being clear with her emotions. 'Bad Idea' resolves these issues by using someone else, something way more immature than the other ones.
Ariana not only went through a break-up and finding inner strength by herself, but she also found confidence in her commercial success and she embraced the artist she is and the power it gives her. She now learned that the person next to her doesnât define her anymore, but her legacy does. Sheâs learning to have fun, she learned that honesty and talking about your thoughts gives you clarity, and, as the title track cleverly pinpoints, the most powerful action to heal relies on thankfulness.
'Thank U, Next' wasn't a big worldwide only by its fresh production arrangements and friendly beats, but the honesty on the lyrics that go along cohesive with the instrumentals made the tracks easy to relate and worked as a token to remember hard phases that love always bring out and the sincere performance by Ariana made it enjoyable and cherish-material.
When you learn and embrace your power, you grow and 'Thank U, Next is powerful because of its self-awareness, not only for Ariana Grande, but for a generation that is growing with her.
SAWAYAMA | RINA SAWAYAMA
The dream of reinventing pop music in 2020 comes alive in Rina Sawayama's debut album.
Pop culture and pop music lovers are the most loyal fanbases and consumers in the music industry, (now perhaps competing with K-Pop's on-growing industry and fans communities) and they are always looking for someone or something truly new; their connection with the media can bring an artist to the top of the world in a matter of months or sink their entire career in seconds but, there's always a linking characteristic in all of them: the thirst for reinvention.
Maybe, that's why some of the biggest icons in pop mainstream music have one thing in common: the ability to reinvent. Not only on music and aesthetics or themselves but the reinvention of social beliefs and changing the world's perspective through art.
Rina Sawayama is a beginner in the mainstream pop community, but keep in mind that beginner is not always attached to 'amateur'. Because she certainly isn't.
Her debut studio album: 'Sawayama', just as her last name, presents to the world an integral conceptualization self-identity and the search for it.
The album's opening track 'Dynasty' talks about family and the main idea of self-discovery and search for meaning. The production on the track meets a fantastic 'Evanescence' influence on nĂŒ-metal dramatic structures and powerful lyrics that prepare your perception for a new musical experience, an excellent opening that lets you know this is not gonna be the album you expect, on the best way possible.
But one of the things that represent her the most is the printed passion in her work. Nothing on this full-length studio album is done the mediocre way. Rina's music expresses and reflects her emotions and desires in her production in a literal and unapologetic way. She's fearless and without any reservations neither for her lyrical content nor for the instrumental production.
Everybody gets angry when it comes to claiming for attention and respect and, on the explicit 'STFU!' a single off the album, Rina talks about racism but addresses her anger on the production and burns down the track in a metal explosion colliding with soft vocals and acoustic guitars. 'XS', the second track on the album, introduces you to the idea of new rock-styled-pop. Its hooks are pop classic polished with quality vocals and the rock guitar riffs on it work to capture your attention and keeping the track unique.
Rina diversifies on everything. From genres switching from pop to heavy rock, laughter turns into vocalizations and harmonies, her lyrics are meaningful and deep but also she knows how to have fun.
On the fourth and fifth tracks of the album, she transports from a disco bubbly journey on 'Comme Des Garcon' to industrial-pop switching tempos on the exact same song. Her strength is found on her ability to harmonize, The 90's geek pop 'Paradisin' channels a young Britney Spears composition around clumsy instrumentals that inspire pure joy but adds triumphant saxophone accords as Gaga did on 'The Edge of Glory'. 'Love Me 4 Me' lies on the edge of experimental production that Mariah Carey wishes she had the production creativity to reinvent her sound, the song opens with a telephone call that immediately takes you decades back but the message on the hooks is powerful and empowering.
Rina's inspiration and interpretation channels the best of the biggest stars, from the vocal range that reminds you of Christina Aguilera to the theatricality of Gaga or Madonna. But what makes her music sound different and far from adoration and more like natural expression is her talent. She has something to say, and she might be looking up for big pop name's but she's not trying to say what they've said, she just takes the little and big aspects that make the best of their music and makes it her own to speak her mind on the most cohesive way possible.
Vulnerability is something indispensable to create credibility in the artist and, 'Sawayama' showcases an intimate memory on 'Bad Friend'', one of the most honest moments about a specific encounter with one of her old friends and maybe the most minimalist on the album's musical production. The bridge is spectacular and the vocal arrangements are wide and pure pop. But the most stripped-down song comes just right after with 'Chosen Family' a futuristic ballad about her relationship with the LGBTQ+ community.
The closing track on the album, 'Snakeskin' might be the biggest genre mixture in pop and 'Sawayama' sampling Beethoven and Final Fantasy's video game fanfare to create what every other artist should do: wild anticipation to hear more from her. 'Snakeskin' relates to the strength of the opening track 'Dynasty' to full-circle the album's concept and sound and resumes the best things of all of the songs: the talent to merge unimaginable track's components and enormous hooks.
As every debut album should, this body of work accomplishes its task to tell on every aspect of the songs who Rina Sawayama is. Since the first track, we already know that her sound is different from everything else in the mainstream world right now and by the end of it we are sure there is almost one great song for every type of pop music lover to enjoy. Rina Sawayama has the talent to revolutionize pop music by her talent, and this debut album changes the pop genre's perception one track at a time.