My brain in the middle of the night out of nowhere and in the epicness of the stress I have rn : أشنو درتي ليا.. عشقك أتر فيا.. انت لحب و لعمر يا دلبر.. دلبر دلبر..
Like excuse me dear brain when did u even learn it???????
فناير يقدمون "ونقول مالي" في أول عرض عالمي في بطولة NBA
فناير يقدمون “ونقول مالي” في أول عرض عالمي في بطولة NBA
بعد تجاوز عدد مشاهدتها أغنتهم الأخيرة المليون والنصف في أقل من ثلاثة أيام، من المترقب أن تحيي مجموعة “فناير” الغنائية، عرضا فنيا في إحدى مباريات بطولة NBA الأمريكية.
ووفق تدوينة للمجموعة في حسابها الرسمي على تطبيق “أنستغرام” فإن أغنية “ونقول مالي” ستُعرض خلال شوطي مباراة كرة السلة بين فريقي بروكلين نيتس وأورلاندو ماجيك، التي ستُقام يوم الخميس القادم.
الأمن يستمع الى عنصر بمجموعة "الفناير" تسبب في حادثة سير خطيرة بمراكش
الأمن يستمع الى عنصر بمجموعة “الفناير” تسبب في حادثة سير خطيرة بمراكش
تسبب واحد من أعضاء فرقة “الفناير” الغنائية، في الساعات الأولى من صباح اليوم السبت، في حادثة سير على مستوى مستوى شارع الحسن الثاني بمقاطعة المنارة بمراكش، بد أن دهس شابين كانا على متن دراجة نارية.
ونقلا عن موقع “مراكش الآن”، فمباشرة بعد صدمه الشابين، نقل المغني الذي لم تحدد المصادر أي واحد من أعضاء الفرقة الثلاثة، بسيارته رباعية الدفع المصابين، إلى قسم المستعجلات بمستشفى ابن طفيل بدون أن يخبر…
Here are my reviews for the nine songs I gave [9] to on @thesinglesjukebox in 2016, the one I gave [10] to and some of my favourite [8] reviews, plus three previously unseen bonus tracks that were my unused potential amnesty choices. This is some of the writing I’m most proud of this year.
YouTube playlist here, and that is the order for the reviews below, arranged for flow rather than in order of preference.
Twice - Cheer Up
The video isn't the only reason for their breakthrough success, but it must have helped. Its concept of switching lenses bringing up different movie archetypes is a superb way to showcase a lot of group members, it's visually exciting, and its changes are perfectly timed to complement switching modes for the song's incredible range of hooks. The video also affected how I heard the song. With a common visual thread of playing established roles, it gets easier to read the song as being about playing established roles too. Maybe the point is the unclear borders between 1) actual feelings 2) playing a part according to constrictive gendered dating rules 3) actual feelings as a result of playing a part according to constrictive gendered dating rules. The soft-focus verses' gorgeous sigh and sparkle makes me think of Lily Allen's "The Fear," and maybe "Cheer Up" is the answer to what happens if you react to being trapped by expectations not by easing into resignation but instead by lashing out, portrayed complete with a fixed grin and massive d'n'b-pop chorus. At least, that possibility is how I enjoy the cruelty it builds to, how I process Momo singing "I will be your baby" with gun pointing at the camera, how "I hope you understand, I'm a girl after all" and "be a man, a real man" become intensely sympathetic, and how I've been overwhelmed by feelings from my first listen onwards.
Grimes - Kill V. Maim
The rhythmic intro synth line makes me picture dashing footsteps, and the track lives up to their promise of action big time. Repeated listening hasn't unpicked the lyrics' tight knot of horror, thrill and diffidence, but it's perfect over such a non-stop thrill ride of a track. There's no space to catch a breath, and it leaves behind a sequence of images that adrenaline hasn't allowed to be processed yet.
Robbie Williams - Party Like a Russian
I thought after the last couple of albums that Robbie was settling into mediocrity, but apparently not, because here he is merging the sublime and ridiculous on a whole new scale. I generally love pop so ambitiously and maximally stuffed, and even here when it only works 75% of the time, what a 75%! Where to start? Let's go with the Prokofiev sample, and two things that make it work so well. First, there's the way that it's cut to never resolve, turning it into a fidgety juggling act, the song's mood writ large. Second, thanks to The Apprentice I associate that music with helicopter shots of Canary Wharf skyscrapers, turning the song from just finger-pointing at Russian oligarchs to something which points fingers inwards to City excess too. And being a Robbie Williams song, it points further inwards still, because alongside throwing around Putin homophones like Georgia in 2009, there's the promote/emote line which has to be himself, or at least his go-to character. Even when playing Roman Abramovich, he's playing Robbie Williams playing Roman Abramovich playing etc., vulnerability wrapped up in a series of performative layers that just exaggerate its form (no wonder he's so big on nesting doll imagery). As the bare focus of some of his songs or turned into self-pity, that act has been tiresome, but as the gravitational centre for something as overblown and exciting as "Party Like a Russian" and its "put a bank inside a car inside a plane inside a boat," it's a powerful force.
Hank Solo - Söpö
Hank Solo and his sadly unnamed collaborators are far from the only ones to realise the potential of pitched up voices and pinched synth sounds. "Söpö" is a delight becuase, like Dënver before them, they know not to be stop there, not to be constrained by that aesthetic. Yes, you can make something cute and alien with it, but if you also have it in you to do a banging dance track with "Bad Romance" revving noises and a rap break, why not do that too? Why not throw it all together? So "Söpö" collides the human and the artificial, then flips a switch and suddenly the walls are spinning and the two sides collapse over each other and into a brain-melting kaleidoscope of joy.
Fnaïre - Chayeb
This is SO MUCH. It gets going with a pitched-up vocal that seems just too incredibly plaintive to fit into any kind of song. Then they create this song which is hypnotic and dreamy but clearly a single with beats and drops and everything, and yet at the same time is entirely suffused with that same strength of feeling. I need to catch my breath every time I'm done taking it in.
4Minute - Hate
The first verse looks backwards, some regret mixed in with the desire for it all to be over, pleading not to drag things out. Then just as it reaches an emotional crescendo, the song transforms abruptly into the coldest and hardest stomp. And what initially seemed like too disjointed a structure has quickly become my favourite aspect of "Hate." It's like all of the feelings were there to make things a bit easier for the person being told to leave, but they want to make it very clear that it can and will be dropped in an instant if required. As fuck yous go, it's a powerful one.
Riton ft. Kah-lo - Rinse & Repeat
I love "this is not how I woke up but it's how I look now": not a rebuttal to the iconic line it's referencing, but an alternative that blends humour and matter-of-fact confidence. The rest follows from there, Riton realising Kah-lo is a star and providing an unobtrusively banging beat for her to demonstrate it.
Pet Shop Boys - The Pop Kids
Aside from the additional '90s nostalgia beats lending a Saint Etienne edge, musically it's pretty much in line with Electric median, which is no bad thing. With bits about the joy of clubbing too, it needs something to avoid being a "Vocal" retread, though, and gets it in the way that Neil Tennant weaves together memories of a music scene and of an individual relationship. The "us" in "they called us the pop kids" works ambiguity -- it could be tight or loose, the same couple "we" as the rest of the song or a break to bring in a whole group of people -- before "I loved you" snaps into focus. There's a keen sense of how fitting in with a community and discovering how you and one specific person within it fit together can go hand in hand.
Martha - Ice Cream and Sunscreen
An explosion of emotions and guitars which sounds like Johnny Foreigner doing "Girl From Mars" -- everything I want from indie pop in one tight pakcage, leading to my fastest "+ bandcamp" search ever.
Playa Gótica - Fuego
How do you take slinky but passionately sung indie disco to that extra level? It must be all that more pressing a conundrum in Chile with the competition as it is. Playa Gótica's answer is to have someone setting off avalanches of guitar feedback behind their chorus, which could seem a weird one right up until the moment of hearing how fucking glorious it sounds.
Pinkshinyultrablast - The Cherry Pit
I have many ways of sifting through the internet's gushing flow of new music in search of gold, but most of them are metrics or association based. Then there was looking through Spotify's new music playlist last year, seeing this band's name and thinking I must listen to this. I was expecting trashy electropop but got magical nu-shoegaze, and on this year's Grandfeathered they develop what makes them stand out, moving further away from the familiar and into richer and stranger sounds. The name of "The Cherry Pit" conjures hardness within sweetness, or for a different reading of "pit" perhaps sweetness-filled oblivion. Both work! Too loud to think, too loud to make out lyrics ("holy forest" seems possible and right), they find the kind of beauty in being totally blown away, and when they finally let in a bit of light it's to make the bass and feedback sinkhole of an ending all the more brutal and transcendental.
Daughter - No Care
I have learned to manage my emotions much better in recent years, but I still remember a past with moments of stomach gnawing, white-hot frustration turned in on myself, crouching and shaking and trying to negate out of the pain of whatever I was feeling. That's what "No Care" takes me back to, as it viciously scratches at itself, as Elena Tonra flails and clutches at walls and tries to collapse into a state of uncaring but the words and emotions keep on pouring out and there's no solution in sight and the best she can hope for is the delay provided by sleep. Said like that, it doesn't sound like an obviously good thing to put myself through, but there's an immense comfort in hearing it all expressed so frenetically and totally in a song and being able to breathe deeply at the end and know again that it can be identified and contained.
Sigur Rós - Óveður
The first time I heard Sigur Rós, it was unknowingly. I got a track on a filesharing site mislabelled as being from Radiohead's forthcoming Amnesiac, when really it was the awesome drift and clatter of "Ný Batterí." Eighteen months later and I knew what I was getting into with their untitled/brackets album, but it still touched an emotional nerve and slowly sawing away at it that hasn't been matched since and which came at exactly the right moment in my life; another five years later I saw a TV drama which used it to soundtrack a self-harm scene and gulped and wanted to run from the room. I parted ways with the band after that album before we even got to "Poppiholla" et al, but "Óveður" takes me back. The combination of the alien din of its percussion and the way that its sonic intimacy scrapes along the edge of uncomfortable offer a new combination of their most memorable bits, neatly scaled down to fit a life not needing quite the same outpourings of undefined catharsis.
Jamala - 1944
Last year, Måns Zelmerlöw's "Heroes" got to #11 on the UK charts. Fair to say nothing from this year's will even match Loïc Nottet's #69, and it's not just because of the introduction of streaming to the charts since. We're an imperfect barometer, but a lack of songs with wider immediate appeal, it makes sense for something at least striking to get through to win. "1994" is really striking. The recorded version can't match the intensity of performance, staging, or context from the night of course; it doesn't silence me and have me holding my breath in the same way. It's still impressive in its own right, as anything which has me thinking of positive comparisons with both La Roux's "In for the Kill" and Ayumi Hamasaki's otherworldly epic "Brillante" probably has to be. Jamala powers the small scale sections but keeps enough in reserve to make the grand moments jump out too. And somehow it's done in three minutes!
Miranda Lambert - Vice
It's the unflinching precision that makes me gulp. She doesn't dwell on any of her actions but cuts a line through every one of them, the feeling behind "when it hurts this good you've got to play it twice" played out across it all. The arrangement keeps a matching level of distance, clean but with washes of noise and guitar solo cracking like the ice that doesn't have a chance to melt.
Ahlam - Talqah
I'm enchanted by the way that the beat never seems perfectly in step with anything else. Its jerky momentum had me wondering if I was having buffering issues on first listen, but since induces a rapt concentration tinged with uncertainty which lets the twisting high strings creep up and please me anew each time.
Hannah Peel - All That Matters
Hannah Peel has alternated heartwarming indie-folk and more experimental material (and EPs of music box covers of '80s pop hits). This year she pulled it all together on second album Awake But Always Dreaming, and especially on "All That Matters." Held in place by Its emotional mantra, purity of voice stunning, its gently shifting waves of strings, vocals and arpeggiated synths roll past and shimmer brightly.
KING - The Greatest
Afloat on the serene cloud of harmonies, I barely noticed that they were singing "flashing faster than the speed of light", but the synth line somehow conveys the action without disrupting the reverie. "The Greatest" is like the winning moment taking part in something competitive when the world seems to slow down as everything goes exactly right. Except that never lasts long enough to give three minutes of blissful certainty.
Eleonora Yumizuru x Tsubasa Oribe - Dream☆Catcher
This year Japanese video game developers Atlus, who have touched on idol culture previously in Persona 4 and its spin-offs, took things to a new level with Tokyo Mirage Sessions.Despite being a crossover with Nintendo's medieval fantasy war series Fire Emblem, Tokyo Mirage Sessions features a cast of trainee idols who gain new battle moves via releasing new pop songs, supported by a vocal software character and a blatant Marty Friedman analogue. I loved it. It uses the music industry as a handy hook for the usual RPG themes of friendship and belief and progression, but it also puts its music at its centre, providing many of its biggest story payoffs. It pastiches everything from Vocaloidto traditional ballads with clear knowledge and love, and listening to impressively strong songs sung by characters you've spent hours with is a good way to increase their impact. Yet I was still unprepared to be knocked back as much as I was by "Dream☆Catcher." The identity of Its source material is as obvious as many, but it draws really effectively on a range of Yasutaka Nakata productions, mixing the electro chaos of "Invader Invader" with more refined Perfume grace. And producer KOH and vocalists Ayane Sakura and Inori Minase help it to do much more than replicate, filling an ode to an unattainable moon with yearning emotion that seeps through all of its bouncier moments. Perhaps the fact that the singers are voice actors with half a music career between them helps the precarious vulnerability, the sense of just clinging onto happiness. Perhaps it's the worlds colliding coincidence of the kind of game I love getting such a specific music I love so right, but my first time seeing the music video in-game I could only react to with disbelieving wonder.
Röyksopp ft. Susanne Sundfør - Never Ever
I don't know how much of it comes from associations with Sundfør's own work, but I hear so much depth and darkness under the surface in her vocal. There are leagues lurking within "I've been dying to see you," and whether I hear the last line of chorus as either a cheerful "now that I'm in love" or "not that I'm in love," the implications are disturbing. And all that is beneath a surface so dazzling it would be satisfying on its own, even before Röyksopp and Sundfør use the bright chunky synth sounds and chopped-up vocals to go on an expansive tour through pure pleasure in sound. It matches the giddy joy of the bridges in Robyn's "Indestructible" or Perfume's "Spring of Life," and the only question left is the fact this is tagged as an edit of a complete version -- could it really get any better?
