Two days ago on September 18, 2020, the Japanese animated film production company announced the release of 400 free stills for fans to download and use.
The images were released on Studio Ghibli’s official website.
The co-founder, producer and at one point vice president of Studio Ghibli, Toshio Suzuki, included a note with the release of the images, stating,
“Feel free to use it within the bounds of common sense.” (Translated from Japanese).
The images released to the public include 50 stills from each of the following films:
When Marnie Was There
The Tale of Princess Kaguya
The Wind Rises
From Up on Poppy Hill
The Secret World of Arrietty/The Borrower Arrietty
Ponyo On the Cliff
Tales From Earthsea
Spirited Away
While Studio Ghibli is well known for its strict copyright, the company seems to be more open to sharing its films, allowing services such as Netflix and HBO Max to stream its movies. Releasing the images is yet another step by Studio Ghibli easing on its copyright.
Studio Ghibli intends to continue releasing more stills in the future, but for now, fans can download images from the 8 titles.
Read more about the news on SoraNews24, The Mainichi and Anime UK News. (*Note: I’m not affiliated with any of these sites).
May was a month that happened and I guess we need to talk about it.
As barren as the month seemed for impressive releases, there were a few diamonds in the rough, thank God, and as I’m sure you’ve figured out by now, it’s my job to bring them to light, and talk about why these hits stood out among the many (many) misses this month of May had to offer. All complaints aside, I present to you my top five musical recommendations for the month of May.
Just as they always are, links for purchase and streaming services will be provided at the end of each segment for their respective release. Please remember to support these artists and their music so we can hear more from them in the future.
#005. “DDU-DDU ddu-ddu (뚜두뚜두)” - SINGLE BY ETUDE♡ (습작)
RELEASE DATE: 03 MAY 2019
You all often like to joke with me that I am, for the most part, boy group illiterate, so it may not come with much shock when I say I’ve only knowingly heard a few songs from this group in the past. I tend to listen to almost anything and everything that drifts into my recommended or that I stumble across while browsing MelOn and the like, and I believe that’s how I discovered ETUDE♡ existed in the first place. In the case of “DDU-DDU ddu-ddu” (like the professionals we are on this blog, we’re going to shorten that to just “DDU-DDU” from now on, thank you), however, I actually sought this release out after seeing the video teaser the day prior, because it seemed very intriguing -- and for once, I wasn’t deceived.
(Just to preface, we’re only going to be talking about the title of this release since this is not an in-depth review, but I would definitely recommend listening to the other two songs, if you’ve got the time.)
“DDU-DDU” is a pop-rap song heavily influenced by trap and EDM with its heavy bass and almost peculiar-sounding beat. Right from when the song starts and the group screams their name into your ear on the first beat drop, you get the sense this is going to be a power anthem about how great and capable they are and how they’re better than everyone else; and as eye-roll worthy as that sounds, that’s actually what makes the title track of this single so great. It knows exactly what it is and it accomplishes its goal perfectly with gutsy raps and surprisingly solid vocals.
The aforementioned raps are really where this song finds its footing because the chorus isn’t much, but that’s perfectly fine, because with a song like this, the chorus doesn’t have to be groundbreaking. The first rap is delivered by member Yejun, with a slow and suavé kind of flow to it; the kind of rap you would expect to play while the final boss of a video game or the big bad of an action movie makes their first appearance. The punchlines are a little weak, but I think the way this rap flows in itself makes up for that in earnest, it just sounds so good, you don’t really care much about what he’s actually saying. Then, the second rap, delivered by member Saint, follows the chorus and it’s the antithesis of what the preceding rap was; it’s fast-paced, hard-hitting, and really drives home the point of the whole song. I still don’t know that ‘that ddu-du ddu-du du’ is but I fully believe I was hit with it.
Not to undermine the vocalists, though, because they really did an outstanding job, despite this type of beat and vibe being more fitting for rappers. The main vocalist, Seongwoo, stood out to me because of the way he sang his lines. It’s hard for a lot of k-pop vocalists to portray bravado and confidence with their voices because they are trained to sing in very distinct ways, but he captured that vibe perfectly while still managing to sound stable and light. “DDU-DDU” is the kind of song you play when you need a confidence boost, no doubt about it, and it’s definitely made its way onto my playlist.
Listen to “ DDU-DDU ddu-ddu (뚜두뚜두)” here and stream the music video here.
#004. “BLAME IT ON YOUR LOVE” - SINGLE BY CHARLI XCX AND LIZZO
RELEASE DATE: 15 MAY 2019
These two getting together was completely unexpected on my part, but it was the match made in Heaven that I never saw coming. A snippet of this song actually leaked sometime last year, which had many living in the XCX-verse on the edge of their seats waiting for the project to come back ‘round, and Charli and Lizzo made quite a wave on Twitter when they announced they were doing this piece together. Though I was definitely thrown, I was excited; both artists have a way of being so wonderfully simple and straightforward with their lyrics, but combine that with complex arrangements and composition and messages that it leaves you trapped between two different feelings, and it’s great when music can evoke that strong of a response.
“Blame It On Your Love” is no exception to this formula these two ladies employ in completely different ways, and their radically different styles come together with a harmony that makes this such a good, and unique song. I wouldn’t be against them forming a duo or doing a collaboration album, to be honest.
Anyway, “Blame It On Your Love” is an eccentric pop song about nervous jitters and different wavelengths making a relationship difficult -- the feelings seem unrequited but it’s hard for Charli to tell because she can’t get close enough to the object of her affections without turning into a nervous wreck, and sabotaging herself when it comes to opening up. Charli’s vocals are broken and slow and create a sense of nervousness and tension that the listener can resonate with, while Lizzo is confident and straightforward (as always) while delivering her short verse near the end of the song. She seems to be giving a completely opposite message than Charli, but because her high-energy rhymes are so different from Charli’s cautious vocals, it works. It’s not detached, either -- it doesn’t seem like it comes out of nowhere, as the production sets the dong up perfectly to have Lizzo give Charli this reality check. Her banter-like ad-libs really make this song so fun and enjoyable, too; despite Lizzo’s contributions seeming relatively small on the surface, she really did her part to make this song the summer-night anthem that it is.
Overall, I really enjoyed this release, as I knew it was going to be great the moment they announced via social media that they were working together, even if I didn’t immediately know what to expect. I hope these ladies collaborate again in the future; I think when wildly different artists come together and vibe the right way, it can make a memorable spectacle. We need more of that. Some artists are way too full of themselves these days.
Listen to “Blame It On Your Love” here.
#003. “DEDICATED” - STUDIO ALBUM BY CARLY RAE JEPSEN
RELEASE DATE: 17 MAY 2019
If I could only recommend you one underrated artist to stan this year, it would be Carly Rae Jepsen. This is the first time I’ve discussed her on my blog for a while because she sort of fell off the radar after “Call Me Maybe” had the whole world singing in 5-syllable sentences for the better portion of 2012, however she came back onto my life on a better note when “Cut To The Feeling” was pretty much the Pride Anthem of last year. I went back and listened to pretty much everything I had missed from her and when I tell you this girl is not only talented, but pretty much dedicates her career to true retro-esque pop music, I mean it, and I couldn’t mean it more. While I’m sure none of us were as excited to hear “Dedicated” as my best friend’s boyfriend, there was a lot of anticipation surrounding Jepsen’s fourth studio album via her cult following. Now that it’s here, I can verify it was not only worth the wait, but that it didn’t disappoint in the slightest.
Carly (I’m going to call her by first name for the rest of this segment because I feel foolishly close to her) has the energy and ambition of a pop star with the innocence and modesty of the girl-next-door, and I absolutely love that about her. As much as I need to hear a good, old-fashioned pop song about having sex with a stranger in the back of a stolen SUV every now and then, there’s something so refreshing about Carly’s innate curiosity about love and how desperately she wants to experience it as a young (33 is young, shut up) woman with a big heart. I believe “Dedicated” is the clearest glimpse into her world she’s ever given, and with that, the songs I would like to highlight from this 13-track (not counting the bonus tracks) wonderland of an album are “Now That I Found You”, “Right Words Wrong Time”, and “Real Love.”
If you haven’t heard “Now That I Found You” by now, I want you to know that I am deeply disappointed in you. This song is everything you’d expect from CRJ and more -- the retro vibes, the high-energy, the stellar vocals and the addictive lyrics blend together to make this not only the song of the summer, but the song of every summer. The delivery of the lovesick lyrics is so earnest and bright that it not only puts you in a great mood, but makes you want to go outside and dance in the rain, regardless of who’s watching, or your high chances of catching a cold. This is exactly the kind of pure, unadulterated pop that Carly delivers consistently without getting stale; it’s so easy to get lost in her world that you won’t even realize 3 minutes and 20 seconds has gone by and you’ll want to replay it 20 times on your drive to work or while sniffing melons at the supermarket. I know this sounds oddly specific, and that’s because it is. I listen to every piece I review 3 times over at least, and this was one of the easiest songs to follow that rule with to date.
“Right Words Wrong Time” is the second-to-last song on this album, and I think that was done with a concerning degree of intention. It’s a slow, melancholic track about a relationship that just isn’t working because the two lovers are on two different wavelengths. It rings consistent with Carly’s desire for passionate and confident love, as she’s frustrated with her lover for not prioritizing her enough to know what she really seeks in their relationship until its too late. I was considerably surprised by this track, but I think it works so perfectly for this album’s overarching layout and themes because it teaches the listener that you should never settle in a relationship, and you should know when you’ve given enough chances. It’s not a song you could break out in a full-choreographed dance to at any given time, but it doesn’t need to be for the message it’s trying to convey. Carly’s soft vocals and the simple, tastefully-repetitive beat amplify what she’s saying in a way that really resonates with the listener, which is exactly what the lyrics of this song demand. It works perfectly.
Remember that point about “Right Words Wrong Time” intentionally being toward the end for a reason? Well, “Real Love” ends this album and that same concept must have been employed here, too, because this song ties this album together so perfectly, it could honestly work as a formal outro. It sums up what Carly has always been about, wanting “real, real love” in a cold and unforgiving world when she doesn’t know who to trust or who is telling the truth. It’s such a wholesome desire that I think most people can relate to in one way or another, because at the end of the day, a lot of humans just want real, honest relationships that give them a reason to get out of bed on a particularly tough day, or to reassure them that they’re worth something when the world gets them down. This energetic pop song and earnest ballad hybrid showcases just how much CRJ makes music for normal, everyday people who aren’t glamourous rich pop stars constantly feeling like they’re the best. It’s so honest and I can feel how naked she must have felt writing and putting out a song like this, and it shouldn’t go without appreciation.
Listen to “Dedicated” here and stream the music video for “Now That I Found You” here.
#002. “90s BXTCH” - SINGLE BY KKUMA (꿈아)
RELEASE DATE: 26 MAY 2019
If I had been on top of my game this month, this song almost certainly would have missed the cutoff date to be included in this list -- so I guess my turmoil was a blessing in disguise (though it could have always been included in next month’s, I know, but I like to be optimistic sometimes).
Kkuma is one of those artists that, even if by some tragedy you don’t like her, you have to respect her because of how iconic her style is, what she stands for, and the fact that she’s probably produced some of your favourite Korean artists’ biggest hits. She’s really been outdoing herself this year by releasing so much music after leaving her fans with very little the last year and a half, and nothing she’s put out has been bad. Period.
(The reason I haven’t been reviewing them all individually is because I’m nearly certain that she’s gearing up to release an album this year, by the way. I’m not a fake stan, I promise).
“90s BXTCH” stood out to me this month because of how utterly Kkuma it is -- she’s basically pioneered the 90′s aesthetic in the Korean music industry and she knows that with a song like this, from the descriptions of classic 90′s aesthetics and imagery to the way this song sounds like it could have been ahead of its time during its release in 1996. The chorus references “Sade,” though I’m not entirely sure if it’s referring to the solo artist or the band she was in that was named after her -- either way, Sade is a 90′s icon known for her soulful vocals and unique style, and Kkuma mirrors that in 2019 in a way that is indescribable. It’s a perfect allusion.
As the single description states, the track is an ambitious mix of 90′s R&B and contemporary hip-hop, and it works so beautifully, showing that old trends really never die because they always come back in one way or another. Kkuma makes it clear through this song that while she’s a simple woman, she isn’t basic; she enjoys the finer things in life but they’re not all she cares about. The song has an underlying message about being true to yourself no matter what everyone else is doing, and also that it’s a beautiful life when you mind your own business and do things your own way. The seamless blend of vocals and rap is done so well that it’s nearly undetectable when she’s switching from one to another, and I love that this woman literally has no rules when she puts out a song -- that she can do whatever she wants and still make something incredible.
The beat of the song is just as relaxed and confident as the lyrics, and given that Kkuma writes and produces her own music, I’m not surprised by this, though I am impressed by how in-tune she is with her own aesthetic and her own music. Kkuma prioritizes aesthetics a lot in both her visuals and sound, and “90s BXTCH” is like the final boss as all of that culminates and she shows you exactly who she is and what she’s about in just one song. It takes strength, confidence, and self-awareness for an artist to do that, and Kkuma’s got all of that and more. I really hope to see this included on a future album of the same caliber.
Listen to “90s BXTCH” here and stream the music video here.
#001. “DUSK V. DAWN (황혼 대 새벽)” - REISSUE ALBUM BY NINEBANG (나인뱅)
RELEASE DATE: 03 MAY 2019
If you’ve spent more than five minutes on my blog at any given time after NINEBANG’s debut in May of last year, this probably is no surprise to you. Especially when his age bracket and status as a rookie is considered, NINEBANG is one of the best artists out there right now, and the best male vocalist in the industry, by far. I was elated to see that his second mini-album “Eclipse” was being repackaged into a full-length album, and boy am I satisfied with the new material sprinkled into an already-great work.
Whenever K-pop artists do repackage albums, I get a bit nervous that they’re either going to add bland remixes or re-hash the same song structure they had in the initial release, or completely destroy the synergy of the original release, if it had any to begin with. As much as I admire NINEBANG, I couldn’t evade those worries with him, and I was pleasantly proven wrong as the new material fits like a glove among the original material in terms of themes and structure. Whoever arranged this tracklist deserves a gold medal, as I especially appreciated how the new songs weren’t just tacked onto the end like an afterthought.
So, that considered I want to exclusively focus on the new material, as I reviewed “Eclipse” in the past. The songs I have selected to pitch to you are, of course “WANT”, “Artistic Groove”, and “Nightdrive.”
Starting with the title track, “WANT” is perhaps the best of this dark, sultry image NINEBANG is exploring with both this album and it’s initial release. It’s a contemporary R&B and Pop hybrid, drawing the listener into NINEBANG’s sultry charms and powerful yet versatile voice. The lyrics are actually pretty simple and somewhat repetitive, but the way they are delivered makes this song the great listen that it is. I actually recommend you watch live performances of this song, too, because they are really something. I’ve never been a good dancer but watching someone not only outsing the industry but move so fluidly while doing so is beyond my realm of understanding. Anyway, “WANT” does its job to make you horny but it also incites this sense of curiosity in the listener, too; like the feeling you get when you know you’re about to indulge in a sinful pleasure but you wonder what the consequences will actually be, and if they’ll even be worth worrying over in comparison to the pleasure itself. This song spells out temptation with bold letters between NINEBANG’s seductive vocals and the spell-like lyrics. It’s not a listen for the faint of heart, but it’s a great song by a great artist, and that’s always worth your time.
Next is “Artistic Groove,” and if you thought “WANT” was a little dirty, we’re just getting started. This song is packed with innuendos and suggestive tones, to the point where my eyebrows were almost flying off my face the entire time I was listening to it. It’s so good, though; the way he lays out his sexuality and sensuality for the listener to explore. It, in turn, can make the listener feel confident and sexy, on top of being the kind of song you just have to move to. It makes a fleeting attraction feel like something deep and profound, like the excuses you make in your head before a hookup, and while that can be a little dangerous for the weak-willed (like me), it’s the kind of unapologetic self-expression and view into the artist’s mind that I like to see in music. I like to know that I’m listening to a person sometimes, and not some untouchable god, as much life as that can give me, too.
Finally, let’s end this segment right by talking about Nightdrive. I actually wasn’t sure how I felt about this song the first time I listened to it, but it grew on me by the second time, and by the third, I was belting out the chorus to my neighbours’ dismay. This track features another great vocalist, June of GEMINI, who you may remember from last months’ TMIM post. I can tell these two are friends because they work together really well; their singing styles are pretty different and wouldn’t work together in even a slightly different setting, but they made them work in this suave R&B track about a blossoming attraction in the confined space of a car. The way the verses and bridge build up to the loud and funky chorus via both the lyrical structure and the arrangement of the song itself is so smooth and easy on the ears, while it simultaneously builds anticipation in your chest, and I really enjoy getting invested in a song like that. Their chemistry is really what makes this listen so enjoyable, because I honestly feel as though if anyone else released this song, it wouldn’t have been that great. It just goes to show how specific music can be.
Listen to “Dusk V. Dawn (황혼 대 새벽)” here and stream its music videos here and here.
This concludes May’s installment of “This Month in Music”! I hope you found something new or learned to appreciate something you may not have before through these recommendations. Please remember to support the artists by visiting their respective links, and enjoy their music legally. Also, be sure to tell me about your own recommendations from this month in the comments, and feel free to respectfully discuss any of the points I’ve made here, whether you agreed or disagreed.
This month was surprisingly rich and eventful when musical releases are considered; I had a hard time picking my top five of the month, especially when a lot of great releases trickled in near the end. However, as many character flaws as I have, being indecisive typically isn’t one of them, so without further ado, here are my top five recommendations for the month of April.
Before we get into it, though, I just want to say I know that I missed last month -- you guys won’t let me hear the end of it, and rightfully so. I won’t make a lot of excuses beyond there was a lot going on with work and in my personal life, but I’ll do my best not to miss another month again. March wasn’t that eventful anyway, though there were a few gems. If you’d still like me to talk about them at a later time, let me know.
Anyway, let’s get started. As always, all links for streaming and purchase will be included in each section. Please support these artists and their great music.
#005. “THANKS (고맙다)” - DOUBLE SINGLE BY GEMINI (제미나이)
RELEASE DATE: 06 APRIL 2019
Now, this may be a little shocking and possibly even upsetting to some of my readers, but I’m actually not entirely all-that-familiar with the whole Gemini situation, even if my younger sister is under their same company. All that went on while I was still in college,and trust me, I had a lot of drama of my own to sort through at the time, but the gist of what I knew before this release was that they were involuntarily put through a survival show where half the group got cut. Through my sister’s experiences, I know a little bit of what it can be like to be in a group; you literally spend every second of your time together and more often than not, the members get really close. The pain that event must have caused them is so tangible with this release, even three years after everything happened as it did, as the twelve of them briefly reunited to release these two songs.
With that bit of background out of the way, “Thanks (고맙다)” consists of two songs; one with the exact same title and another called “Don’t Wanna Cry (울고 싶지 않아).” Both songs are Future Bass-esque tracks with modulated synth patterns and heavy beat drops, which I think is a unique pairing with such sad and emotional lyrics -- but it works well. In both cases, it really makes the listener feel the strength of their emotions, and it has the potential to generate this sort of bittersweet nostalgic feeling, which I find quite genius on the part of the arrangers and composers of these two songs; and sensibly, the members of Gemini themselves worked on every aspect of these songs together. It shows.
For specifics, we’ll start with the title track, as it’s the first of the two that appears on the tracklist. “Thanks (고맙다)” is, in my opinion, the lyrically superior of these two tracks, so I’m glad to see it as the title. The chorus is so powerful both lyrically and musically that I got that lump in my throat as I listened, and even as someone who doesn’t know the entirety of their story, I really felt for these boys and all they had been through together, and apart. The general message speaks toward the regret they feel for not better articulating how much they cared for one another while they were together, so they take this time now to thank each other "even after all the waiting, all the longing, and all of our memories.” That’s a truly beautiful message, and I believe it may be encouraging to other groups not to take each other for granted, because you never know what your company will do with you, at the end of the day.
“Don’t Wanna Cry (울고 싶지 않아),” while not as lyrically solid as its predecessor, is definitely the sadder of the two songs as you may have gathered from the title. The synths are used in a way that support the simple chorus so that the listener can feel more than hear how the events of the survival show have affected them. According to the album description, this song was actually written three years ago, right after the events of the show came to an end -- but they re-recorded and released it now that they have the chance. It definitely shows how their skills as lyricists and artists have progressed; this isn’t a bad song at all, don’t get me wrong, but I almost feel as though “Don’t Wanna Cry (울고 싶지 않아),” should have been first on the tracklist because the way it conveys a simpler, though sadder message. On this track, the members of Gemini are basically telling each other how sad they are to be separated, and how much they wish things could have been different -- but how, in the end, they’ll be strong for one another, and always there for each other, waiting to do anything they can, and for the chance to be together again. It almost seems like a love song, honestly, and I appreciate the emphasis on the vulnerability and the value these boys place on their relationship. It’s definitely something you don’t see a lot of boy groups doing.
Listen to “Thanks (고맙다)” here and stream the music video here.
#004. “RUSSIAN DOLL” - STUDIO ALBUM BY COLA
RELEASE DATE: 25 APRIL 2019
I feel as though everyone has those artists that they know about and appreciate but don’t heavily “stan” so, ashamedly, some things fly under the radar. That’s Cola for me. I love to see more experimental and bold artists out there, especially male ones, because male artists in the industry tend to repeat and copy the same trends and styles and ideas and it gets stale really quick. But Cola always brings something fresh and new, and that’s what I can really appreciate about his music. I didn’t let “Russian Doll” slip through the cracks for me; as soon as I heard it had come out, I dropped everything and went to listen. And let me tell you, I was far from disappointed.
As Cola’s fourth full-length album, “Russian Doll” consists of 12 tracks, with one title. As this isn’t an in-depth review of the album, I can’t talk about every song, but I’ll tell you now that all of them are worth your listen. The two I’d like to highlight are “Golden Age” and “Motherfucker,” and of course I have to talk about the title track, “Juice.”
“Golden Age” is the first song on the tracklist, and I think this was done with incredible purpose. The slow progression of both the lyrics and the music together really sets the mood for the rest of the album, which takes you on this sort of rollercoaster of emotions and sensations. The lyrics are delivered with so much emotion that it can be easy to forget about the accompanying music, but the way the vocals are pushed to the forefront is actually really appropriate for a song like this, in my opinion, and the way the progression is paced sort of primes you for this huge bang that doesn’t actually come within this track itself, but that’s okay. An explosive bridge or a sudden change in tone would have felt weird with a song like this, and I like it as a standalone, but I think it’s supposed to lead you into the album, like the prologue of a story. On top of that, the deeply personal lyrics convey a theme of self-discovery and self-giving love, which is really sweet. As painfully single and alone as I am, this song really made me feel loved for four minutes.
Remember that “bang” I just mentioned? That’s “Juice.” I was not expecting this energetic pop song right after “Golden Age” just plunged me deep in my feelings, but I think that’s what makes this song an even better experience than just listening to it on its own. As a pop connoisseur, I love everything about this song -- the high and light vocals, the disco-synth beat, the overt sexual innuendos -- it’s great. I can already see future-Melody in her skintight rainbow dress dancing to this in the gay bar after having too many sangrias, and I’m happy for her. I hope she gets juiced, too.
The last song from this album I’d like to talk about is track seven, “Motherfucker.” And no, I don’t just like this song because I have a potty mouth, though that’s definitely a factor; the fact of the matter is that lyrically, this song is really something special. The lyrics are written and delivered in this short-of-breath kind of way that makes the song feel so simple and yet so passionate, and the way its so in-control of itself as a song is excellent. This song knows exactly what it is and Cola knows exactly what he wants to say, and how to say it. I feel like most will agree with me here, but the lyrics “do you really want me to write a feminist anthem? / I’m happy cooking dinner in the kitchen for my husband” sent me. There’s something so intrinsically feminist about that lyric, because its his choice. It’s not something he, or any person listening, should feel required to do because they hold a ‘submissive’ role in a relationship. But when it’s something you’re happy to do, regardless of what society says? That’s powerful.
Listen to “Russian Doll” here.
#003. “OLD TOWN ROAD (REMIX)” - SINGLE BY LIL NAS X AND BILLY RAY CYRUS
RELEASE DATE: 05 APRIL 2019
I know. Okay? I know. I am risking my credibility as a music journalist by putting this song in what is meant to be a serious review -- but hear me out. I’m more than willing to argue about why this song is unironically good all day long. As Lil Nas X says on the track himself, “Can’t nobody tell me nothin’.”
The original “Old Town Road” came as 2018 was fading away (good riddance), and though it was pretty popular within the meme community as this fun and entertaining country-trap hybrid, it never really saw real status as a musical release. Lil Nas X was only 19 when he released it to SoundCloud, and as I’ve stated before, SoundCloud is not exactly the place to go if you want to find music of legit quality. Not always, at least.
But when this remix hit the charts, everything changed. At first I didn’t even bother with it because I had listened to the original and while it served its purpose as a comical and light-hearted guilty-pleasure track, it wasn’t anything I was too invested in. Yet, as I’m sure any of you who have a twitter account are aware, this song was literally everywhere and was climbing the charts faster than anything I had ever seen before, so I gave in and listened. And, by god, this is among very few country songs I can actually enjoy -- and that’s saying a lot, as a country girl by birth.
So, let’s get into why this song is so, so good. First of all, the arrangement is simple yet so effective, and the beat drop on the aforementioned “Can’t nobody tell me nothin’” chorus is borderline artistic. The way the vocals are synthesized and enhanced gives the song a completely different feel from its original, like something you can actually enjoy without feeling as though your best friend will side-eye you from the corner of the room (that is based on personal experience), and even if he did, you wouldn’t care. Admittedly, this song leaves a lot to be desired lyrically, but the simplistic rhyme scheme and Billy Ray Cyrus’ assertive and very iconic rap bring a joy to my heart that is nearly indescribable.
My only complaint about this song is that it’s so short. At least one more refrain, or another verse would have been greatly appreciated since it feels like it stops so short, but that’s easily remedied by hitting the replay button. Not all songs have to be deep and thought-provoking to be good, and Lil Nas X deserved his big break with this infectious and spirit-lifting song he and Billy Ray Cyrus have brought us.
Listen to “Old Town Road (Remix)” here.
#002. “I LUV U” - SINGLE BY 5OGUE (보그)
RELEASE DATE: 19 APRIL 2019
I felt somewhat depressed about missing my chance to review 5ogue’s sixth mini-album, “Mixed 6nals” last month, but as if they read my mind, they released an auxiliary single near the end of their promoting period to give me a second chance. (Side note: if you, my dear readers, are still interested in full a Mixed 6nals review, just let me know. I have a lot to say about that album.) They’ve actually done this before with their fifth mini-album, “Re:Covery” where they released “HXTE U” as a single as a gift to fans. I can only imagine how much work and planning goes into something like that, but 5ogue have shown themselves to be fiercely dedicated to their fans many times before, so I can’t say I’m surprised.
Anyway, to be honest, I was kind of shocked when I first listened to this song because I thought I wasn’t too fond of it. I’ve stated many times before that I’m extremely picky with songs that have overly-repetitive lyrics because I feel like if they don’t serve a certain purpose, it’s just ear poison, but after my first listen I quickly released just how obsessed with this song I was, even if the word ‘like’ is said over 100 times.
I don’t think I’m very susceptible to brainwashing, but the chorus went from being a little annoying to being infectious; I genuinely couldn’t stop listening to it because I couldn’t get enough, and the more I listened, the more the song grew on me. The chorus does most of the work for this track, and I think that’s where that ‘purpose’ i mentioned earlier comes in, because the verses are simple but are delivered in a way that center around the chorus and pull the song together perfectly. The message of being so extremely infatuated that it makes them physically and emotionally sick is conveyed in not only the lyrics, but the style and arrangement of the song itself, and that makes it so clever. They don’t glamourize that, either -- they show how unhealthy it is to think of someone that way, even if it can be sickeningly sweet. I love that. I luv that.
5ogue have pretty much established themselves as the masters of Retro Pop, so the old-school-with-a-new-school twist aspects of this track come as no surprise, but rather as a nice brand that lets you know this is something they’ve created. And even if you’ve never been obsessed with another person to the degree this song expresses, the power vocals and smooth raps draw you in enough to invite you to their world, and to give you a taste of what its like. That’s brilliant to me, and 5ogue really stepped outside of the box with this song.
Listen to “I Luv U” here and stream the music video here.
#001. “SUPREME” - EXTENDED PLAY BY WICKED! (위키드!)
RELEASE DATE: 25 APRIL 2019
This may look like bias because, as many of you probably know, my sister is in this group. But, as many of you probably also know, I don’t really tend to let how much I like or dislike an artist influence my objective reaction to their music, so believe me when I say this album is number one because it’s amazing rather than my familial ties to it.
Good? Good.
That out of the way, let’s talk about “Supreme.” This is, by far, Wicked!’s best release to date and I’m not sure if they’ll be able to top it anytime soon. Every song on this mini-album was good, so much so that I struggled to pick which ones to discuss here at first, but after a long period of introspection I have settled on “No” and “Like It,” and of course we should at least briefly cover the other title track, “Kill This Love.”
This album starts off with a bang, literally, as the heavy drum and trumpets of “Kill This Love” will actively scare the shit out of you if you aren’t expecting them. But, given this song’s disposition and very bold lyrics, I think that was more than intentional, as the girls discuss getting rid of a toxic and superficial love before it becomes something they can’t walk away from. Kimmy’s rap in this song is some of the best I’ve heard from her; the tumble-like flow and high-energy really adds to the overall message of this song -- that they’re strong enough to let go of something for their own good, even if they don’t necessarily want to do it on the surface level. The vocalists really came through on this song as well, and all the members really did their part to make this power anthem the great song that it is.
Next up is “No,” one of my favourite songs to come out this year so far. This song actually distantly reminds me of “I’m Too Sexy” by Right Said Fred, with the low synths and dance-pop vibe it gives off, as well as the confident lyrics. Don’t get me wrong, though; these girls outsold those crusty white guys without any question concerning it. The chorus and Future Bass-like arrangement of it are so unique, and fuse with the idea of loving yourself and being confident in the things you like in an unexpected and yet perfect way. The bridge of this song is actually my favourite part, as it makes you just want to strut like a supermodel no matter what you’re doing or wearing. This song makes me feel sexy, independent, and free to do whatever I want, and I think that’s a common sentiment. It’s excellent work.
Finally, I feel a begrudging need to talk about “Like It” -- and I have to say begrudging because, as fantastic of a song as this is, it’s really weird to hear my little sister sing about sexual sensations. But, we’re both grown women and I can look past that enough to tell you that “Like It” is one of the best songs on this incredible album, second to only “No,” in my opinion. The Dance-pop and R&B combination of this track is beautiful in terms of both its arrangement and how it fits with the sensual lyrics. Speaking of those lyrics, they’re pretty simple aside from the raps, but I think that’s perfect for a song like this because when you get to feeling so strongly about wanting to be with someone, you often can’t think straight. Maybe I’m giving the writers too much credit, but if that was intentional, it’s brilliant.
Listen to “Supreme” here and stream its music videos here, here and here.
Well, that’s all for this segment of This Month in Music. Be sure to tell me about your favourite songs of the month in the comments, and start a discussion about any of the points I’ve brought up today. I hope you enjoyed, and I helped you to discover at least one new song you love. ♡
