Showing posts with label nicki minaj. Show all posts
Showing posts with label nicki minaj. Show all posts

Thursday, September 12, 2019

THICC AF 2018: #60 - 41


| Follow "THICC AF 2018" on Spotify |

| 100 - 81 || 80 - 61 || 60 - 41 || 40 - 21 || 20 - 1 |

| All 100 Songs |

60. The Shifters “Andrew Bolt”


59. Innumerable Forms "Punishment in Flesh" / Creeping Death "Trail of Confusion"




58. Nicki Minaj f/ Ariana Grande “Bed” / Ariana Grande “God Is A Woman” / Khalid f/ 6LACK & Ty Dolla $ign "OTW"





57. Satan’s Satyrs “Take It And Run”
At the final table of the 2018 World Series of Poker’s $1,500 seven-card stud event in June, Albini wasn’t wearing shades or showing off any tacky ink. But he did have on a black T-shirt featuring the name and logo of a Belgian punk band called Cocaine Piss. Albini works with the group. “We actually have a session booked in a couple weeks,” said Albini, the owner of Electrical Audio in Chicago. “They’re coming to record another album.” After he sported the tee, traffic to the Cocaine Piss Bandcamp page quickly jumped. https://www.theringer.com/sports/2018/7/2/17524632/steve-albini-poker-world-series-champion


56. Bad Sports “Comes Close”



55. Mason Ramsey “Famous”
Mason Ramsey went to Walmart sometime prior to March 24th, 2018, and he decided to yodel. Someone took a video with their phone -- likely one of his parents. And they wisely tagged the video "Walmart Yodel Boy" to make it seem like the video was not taken by anyone in the yodeller's family. By March 31st, the uploaded video had an entry on knowyourmeme. By April 13th, Mason had been asked to perform at Coachella. Up until this point, the meme felt pretty annoying. However, it all became justified mere weeks later after a songwriting team of four people wrote him the outstandingly dope song "Famous." It was quickly recorded and released to Spotify on April 27th, later debuting at #62 on the Billboard Hot 100. It's not tough to quickly move on from an unremarkable meme-of-the-week, but a dope jam lasts forever. Also he kinda looks like Jordy.


54. Three Keep Deep “Kingz Way”


53. Etran de L'Aïr "Etran Hymne"
The No. 1 LP is the winner of what would have been the Grammy for "Wedding Band Album Of The Year" if such a Grammy Award ever existed. A layer of field recording surrounds the atmosphere of this mysterious 2014 artifact, possibly taped with only one or two mics. Liner notes reveal that these distant captured sounds are an actual wedding, and that Etran de L'Air is one of Niger's most successful wedding bands. We would like them to play at every wedding forever, but that is impossible. So instead, just play the CD or vinyl. It'll be great. P.S. Why don't more wedding people get vinyl DJ's to spin at their weddings? Kinda sick of just seeing the one dumbass with the mic spinning the same dumbass songs for 5 hours.


52. Stove "Mosquiter" / Stove “Nightwalk”



51. Otoboke Beaver “Anata Watashi Daita Ato Yome No Meshi”


50. David Nance Group “In Her Kingdom” / David Nance “110 Blues (I-80 Version)”



49. Travis Scott f/ Drake “Sicko Mode”



48. Beach House “Lemon Glow”


47. Windhand "Old Evil" / Windhand “Red Cloud”



46. Sleep "Sonic Titan"
For all practical intents and purposes, the fluid track listing of Dopesmoker finally congealed upon the release of its 2012 vinyl and streaming reissue: Track 1: "Dopesmoker (Parts 1, 2 and 3)" Track 2: "Holy Mountain (live in 1994)," Track 3: "Sonic Titan (live in 1992)." After lasting 20 years without any official studio release, "Sonic Titan" seemed destined to go down as a lost fan favorite. Without much warning, 4/20/2018 suddenly arrived with a Beyonce-style surprise drop from perhaps the most mythic stoner-metal band of all time. The Sciences had arrived.

The record's two lengthiest jams - "Antarcticans Thawed" and "Sonic Titan" - both survived similarly long journeys from their 1992 genesis, written alongside "Dopesmoker" starting around the close of the Sleep's Holy Mountain sessions. Fully ripened in its official studio version, "Sonic Titan" now stretches well-past the 12-minute mark, fully formed beyond its 9-minute Dopesmoker version. The placement of the bass solo after its gigantic intro justifies every repetition. The Iommi-thirds accompanying its riff ascend straight into one of Matt Pike's wildest shredder solos.

[Incorrectly labelled as "Giza Butler" on Bandcamp.]

45. Kim Petras “Heart To Break”


44. Mister Goblin “Option Vampire”


43. Rolling Blackout Coastal Fever "Talking Straight"


42. Surface To Air Missive “Life is So Sad” / Surface To Air Missive "Phases"


41. 6ix9ine f/ Fetty Wap & A Boogie Wit Da Hoodie “KEKE”
We were bad.


| Follow "THICC AF 2018" on Spotify |

| 100 - 81 || 80 - 61 || 60 - 41 || 40 - 21 || 20 - 1 |

| All 100 Songs |

Thursday, January 28, 2016

Hot Mix 2015: #40 - 21

More delays as usual. But there's some good news: Somehow the new format has made this year's list a lot less of a burden than during previous years. So if there's a Hot Mix 2016, we'll probably continue doing it like this. The bad news is that we probably won't be able to finish this up by the end of January.

Time flies. But also it doesn't.

| Hot Mix 2015 on Spotify |

| #200 - 166 | #165 - 131 | #130 - 101 | #100 -71 | #70 - 41 | #40 - 21 | #20 - 1 |

| All 200 Songs |

40. Earl Sweatshirt “Mantra”
"Mantra" gives us hope for a future Earl & Miguel collab. The beat suggests a painful struggle with intimate exploration. With Miguel, this would entail a more sensual (sexual) journey, while Earl's is entirely introspective - a drug song. Starting at 2:40, the warped coda sounds like the chemicals are finally starting to work their magic. By 3:20, Earl is painless and catatonic while the intro of a far more relaxed and polished beat slides its way into the picture.
https://www.youtube.com/watch?v=mJG4AGs3tMw

39. Surface To Air Missive “Who Do I Think You Are”
The classic rock radio backlash continues growing. Its irrelevancy remains more obvious than ever not just because of their stubbornly unchanging playlists, but because once upon a time it seemed like rock stations cared about their audience. Today, the listener is treated like nothing more than an unwitting consumer, whereas the GM's and PD's of 20-25 years ago put actual effort into engaging their listeners. This became painfully obvious on December 4, 2015, and then again on January 11, 2016 when approximately zero commercial stations in the NYC area paid any type of death-date tribute to Scott Weiland or David Bowie, respectively, instead opting for a few extra spins of "TNT," "Rock N' Roll Hoochie Koo" and "Heartbreaker" segueing into "Livin' Lovin' Made." (It might just have been in our area - between New Haven and New York City - but we heard similar reports from the Baltimore/DC and Atlanta markets.) Rock radio is obviously in a very different place than where it was on the afternoon of August 14, 2002 when our local modern rock station played two hours of deep cuts from Drowning Pool (a band remembered for literally one song) following the announcement of their singer's passing (during the rush hour commute).

On the opposite end of that conversation, the years since Napster have shown an upsurge of appreciation for '70s rock bands who weren't nearly as overplayed as Side A of Led Zeppelin IV but were just as deserving. Back in 8th grade, I assumed none of my friends would ever obsess over Todd Rundgren's Something/Anything during my lifetime, but this surprisingly changed over the past few years. It's not nearly as difficult to find a Big Star or T.Rex t-shirt as it used to be. Badfinger's "Baby Blue" received a sudden increase of Spotify spins after its inclusion on the series finale of Breaking Bad.

Many of 2015's singer-songwriter-based projects like Surface To Air Missive are just as much a reflection of this shift in perception. "Who Do I Think You Are," an immediate standout from their third LP, borrows many of the same guitar tones, analog warmth, thematic and structural aesthetics once brilliantly exploited within the early years of power-pop: Rundgren, Alex Chilton, Emitt Rhodes, Cheap Trick. Hopes are up for more like this in 2016 and beyond.


38. Little Mix “Black Magic”
“Take a sip of my secret potion / One taste and you’ll be mine.” We hate to break it to you, but what people call "love" is just a chemical reaction that compels animals to breed. It hits hard, and then it slowly fades leaving you stranded in a failing marriage. Little Mix are just a bunch of creepy creep-persons throwing around their roofie-juices. But if their witchery is good for anything, it’s passing down the classic formula once perfected by The Girls of Spice: Each group member takes a turn during the verses, and then everyone joins in for the singalong chorus. There haven’t been many truly outstanding songs in the past ten years to follow this method, although approximately one-thousand J-Pop and K-Pop groups have tried. But tried and true is nothing when the hooks aren’t instantly memorable like they are in “Black Magic.” As far as Girl Groups or Boy Bands in the 2010s, it’s the only truly great single for this decade so far.
https://www.youtube.com/watch?v=BM6w27puq_g

37. Dilly Dally “Purple Rage”
Despite popular belief, there's a lot more Frank Black than Kim Deal injected into "Purple Rage," a jam that might have been the most perfect traditionally structured loud rock song of 2015. There's even a breakdown after the second chorus, plus plenty of opportunities for audiences at their shows to scream "YAAEEEEEEAAAAAA" while throwing their fists in the air. Slack is back - with a vengeance.


36. Kamasi Washington "Re Run Home" / Kamasi Washington “The Message”
Not gonna lie here: We don't know enough about jazz to correctly identify which sections of The Epic sound closest to John Coltrane or Chick Corea. But we listen to Miles Davis's On The Corner a lot. It's probably our favorite '70s fusion record. Disc 3 is probably the one we like the best because it sounds closest to On The Corner with its wah-organ and mild drugginess. And it might contain the album's catchiest hook. However, the solos in "The Message" - the album's closer - are probably our personal highlight. Soulful guitar solo between 1:40 and 3:20. Wait for it: Kamasi's sax solo climaxes with a intense eruption right around 5:50. It's been a while since we've actually enjoyed any song with a drum solo. Again, we're not really in a position to pretend we know what we're talking about. With that said, in the same way that Black Messiah was a handbook for soul music history, we'd like to think The Epic acts as a handbook of '60s and '70s jazz history fused with plentiful soul elements. If anyone's had the mildest interest in '60s and '70s jazz but hasn't been sure where to start looking, this record would be a very appropriate introduction.


35. Stove “Dusty Weather”
We found two other online reviews of Stove Is Stupider that individually note the ignition of the Big Muff in "Dusty Weather's" outro as an album highlight. And while we're inclined to agree, the preceding 3 minutes and 20 seconds of quiet restraint are equally crucial. Within the album's sequencing, it's the first moment on this record that doesn't rest comfortably on the line between Ovlov and what happened afterwards. The Stove era feels more introspective than ever, and possibly as a consequence, slightly more aligned with the textures of Jimmy Eat World's Clarity and The Get Up Kids' Something To Write Home About (both from 1999). But what's truly remarkable is that any randomly chosen song from Is Stupider might actually prove itself just as timeless as almost anything from either of those albums.


34. Dornik “Stand In Your Line (Single Edit)”
This refers to the 3:34 version posted to Soundcloud back in July and (for some reason) only available for streaming from its Stereogum review. (We can't figure out how to embed this link so a slightly longer 4:35 edit has been posted below, which is still an improvement from the "bloated with bonus interlude" 6:19 album version.) Dornik might be the most unfairly unsung of the modern day disciples of MJ. In a year with no new music from Justin, Usher or Ne-Yo, a freshly subdued reflection of this style might have considerably livened Top 40 or R&B stations beyond what The Weeknd was able to accomplish.


33. Ava Luna “Billz”
Sources have reported that Ava Luna's creative process involves brainstorms and organization so extensive that their notepads might be incomprehensible to average humans. Whenever any band does a song about money or bills, we always say it's "their official commentary on the nation's economic climate," and we're usually half-kidding. But in this case, Ava Luna seem to have sonically captured a frustrating balancing act between responsibility towards both money and relationships. The complexity in the lyrics reflect its "mini-symphony" arrangement, soulful vocals that wouldn't be out of place on a Hall & Oates record, and drum mics pushed into the red. Its arrangement seems oddly balanced as well, with an earwormy singalong chorus that doesn't return the same way twice.


32. Philadelphia Collins featuring Ellen Kempner "Sofa Queen"
We regret not throwing together a few interviews for this year's Hot Mix. In this instance, it might have been helpful to know if "Sofa Queen" was remotely composed, like that Postal Service album. In either case, we stand by our initial assessment that we've probably already drunkenly confessed to the three musicians involved: "It sounds like Ellen singing on a Grass Is Green song," which for us is a "Breaking News" headline worth far more than "Check Out Josh Homme and Dave Grohl's New Band." You know those instances of big business collaborations where the headline is worth more than the actual music? Dave Grohl is usually involved in a lot of these. "Check Out Kanye and McCartney's New Single On Tidal." You get the point.

In a way, we agree with whichever reviewer stated that Derp Swervin' functions as an EIS sampler of sorts, but it's also its own separate entity. There's definitely a specific juxtaposing atmosphere that connects the 5 songs on this EP resting outside of anything else Devin or Theo have played on (bearing in mind that we haven't heard literally everything they've played on). It's kinda slacker and stoned, but also so precise. Mathy, but never labored. Once it's over, it feels final and complete but leaves the listener wanting more.


31. Nicki Minaj featuring Drake & Lil Wayne “Truffle Butter”
Fact #1: As an official Beyonce-dubbed title, "The Queen of Rap" is still an understatement. Nicki is the indisputable No. 1 rap icon of this decade. Fact #2: "Truffle Butter" was originally intended as a throwaway - one of a small handful among The Pinkprint's iTunes-only bonus tracks (technically a lower tier than the 3 bonus tracks on its "Deluxe" edition).

With these 2 facts in mind, and with utmost respect for our favorite rapper, "Truffle Butter" includes an unfortunate example of "time to rap about my easily Googleable sales stats," a.k.a. Nicki's least flattering indulgence. It was endearing and logical within the context of "Come On A Cone" ("Pink Friday, 2 milli / Super Bass, triple plat") whereas in "Truffle Butter" ("I'm still the highest sellin' female rapper, for the record / Man, this a 65 million single sold") it seems like she was running low on different ways to say "I'm the best out there." We'll give benefit of the doubt: Who could have forseen an iTunes bonus track dominating hiphop radio for 7 months? And either way, her swag still radiates with conviction (as usual).

However, Lil Wayne and Nineteen85's production steal the show. It's Wayne's best radio verse since Carter IV, and a sad reminder of how long we've been waiting on Carter V. For a minute, it seemed as if Wayne was considering retirement after this album's release. So in a way, Birdman's reluctance to oblige Wayne's demands resulted in a rejuvenation of his creativity, releasing Sorry 4 The Wait 2, Free Weezy Album and No Ceilings 2 all within the next 12 months (probably his most productive calendar year since 2007).
https://www.youtube.com/watch?v=EvlQOjK0MPk

30. Kanye West featuring Theophilus London, Allan Kingdom & Paul McCartney "All Day"
2015 may have been "the year of lead singles from promised albums that never got released." While Missy's "WTF" and Rihanna's "BBHMM" were among the most notorious, many Kanye fans must have been tipped early on that the odds of these McCartney collabs ending up on Swish were just as likely as "Mercy" or "Clique" winding up on Yeezus. All three songs arrived within the first 3 months of 2015. By the time October arrived, it was pretty certain that Kanye had moved onto other things. A lot of fans couldn't help noticing the similarities between the intros of "All Day" and "Black Skinhead" - loud, ugly, dirty, catchy as fuck, and possibly the year's #1 riff most worthy of a singalong from Beavis and Butthead. With its verse's disorienting beat, it's the only song he released in 2015 that might be considered quintessential 2010s Kanye. We're skeptical of Paul's "involvement" with this one. It sounds more like a leftover from the Yeezus sessions with Paul's eight bars hastily inserted. [Note: This was written when Kanye's album title was still Swish.]
https://www.youtube.com/watch?v=UfQOawFwx6w

29. Krill "Tiger"
On their tour following the release of A Distant Fist Unclenching, Krill would frequently close their setlists with a strategically placed emotional earthquake: "Brain Problem," "Infinite Power" and "Tiger" were not always played in that exact order. But sure enough, all three of these songs did appear within the final 20 minutes of Krill's very last show in October 2015 (along with a surprise throwback encore featuring Frankie Cosmos' Greta Kline). "Tiger" always felt like the fiery epicenter of not only this trifecta but also the whole of Distant Fist, starting with just an innocent spark from Ron Ratoff's guitar intro and eventually spreading to its apocalyptic coda. We know it's not the last song from their last record, but it was sequentially the last song from their last record to be played at their last show. It feels like it should be their literal swan song.


28. Alex G “Kicker”
Our favorite moments on Alex G's last few records are the darker, more bizarre moments, if only because they're always more unexpected among the larger, more traditional fraction. The oddities have been showing up more frequently since 2012's Trick. "Salt," "Look Out," "Brite Boy" and "In Love" might be the weirdest, darkest and arguably best sequence on any of his albums so far, while the more traditional singer-songwriter parts of Beach Music are as strong as ever. There's a very good possibility that it's his best album yet. The quiet dissonant guitar feedback in "Kicker" suggests a madness creeping underneath all the coolness. "Big plan for a big man / Tough change for a tough guy." A definite album highlight.


27. Carly Rae Jepsen “Run Away With Me”
Here's a great example of visuals in a music video capturing the essence of a song. The Youtube viewer gets to literally run away with Carly Rae as she escapes to Paris, NYC and (possibly) Tokyo. The production elements and sax riff help it to fit within the current fake-'80s trend (M83's "Midnight City," Taylor Swift's 1989, Hotline Miami, Moonbeam City) while still maintaining accessibility and Top 40 crossover potential. We're interested in seeing if the massive love "Run Away With Me" received from 2015's end-of-year lists has any impact on its radio spins like how it helped "Midnight City" a few years back.
https://www.youtube.com/watch?v=TeccAtqd5K8

26. The Internet “Get Away”
"NOW she wanna fuck with me...". She sounds like she's dealt with this many times before. This lyric accompanied by a abruptly warm and dark introduction kicks off an otherwise outstanding 4-song front-load and the year's most sadly unheralded song sequence. If '90s nostalgia is still considered hip, then Ego Death arrived just in time for what appears to be a brief revival of neo-soul. Syd Tha Kid's understated coolness recalls Amel Larrieux's vocals on Groove Theory's "Tell Me," while the verse section of "Get Away" almost brushes against the slow-crushing subtitles of NIN's The Downward Spiral.
https://www.youtube.com/watch?v=z32HJ7PHnKY

25. Homeshake “Heat”
Homeshake is a home recording project of Mac Demarco's former rhythm guitar player. The sleepy, melancholy aura within "Heat" somehow aligns pretty well with its unauthorized cut-up of a late '70s episode of The Dating Game. We were unsure why at first, but the answer occurred to us a few days later. "Heat" sounds like Winona Ryder and Ethan Hawke having a heart-to-heart in bed while stoned out of their minds on some of that purple kush. It's a weed song.


24. Vince Staples “Norf Norf”
In October 2014, we were fortunate enough to visit the Odd Future store on Fairfax Avenue in Los Angeles (which closed down the following January). The items were a bit pricey, but Devin bought socks, and we picked up some "GOLF" bumper stickers. It was pretty empty with the exception of 1 or 2 clerks and 2 or 3 dudes at the front of the store who were loudly playing FIFA 2014 on XBOX. And by "the front of the store," we mean you had to walk right past them since the TV was above the entrance. And by "loudly," we mean they were laughing and yelling expletives at each other creating a less-than-typical environment for a retail store. And if memory serves correctly, there was no music, so these FIFA dudes were the only audible sounds throughout the entire time you were there. We'd like to think that those 2 or 3 dudes were employees who were paid to help generate an OFWGKTA-approved atmosphere.

We're not sure why "Norf Norf" reminded us of the O.F. store, but those dudes reminded us of Odd Future's rambunctious early years. When we think of Vince, we can't help but still think of the "bodybag" verse from 2010's "epaR", a song which has almost no thematic connection to the bulk of Summertime '06. Vince's beats still sound equally as musical as they did 5 years ago, but the immature horror-core nature has been replaced with depth rooted in eeriness, mystery and paranoia.
https://www.youtube.com/watch?v=mb6Jc4juSF8

23. Palehound "Healthier Folk”
Palehound's knack for strong melodic hooks is probably the most obvious attribute at the heart of "Healthier Folk's" dopeness, alongside their excellent usage of careful restraint. But the structural twists and turns are what might make this their quintessential jam. Like the finest Simpsons episodes, it "wraps up in a neat little package," effortlessly flowing despite concluding in a different area from where it started. Because sometimes that's what happens. We're led to some unexpected areas throughout the journey.


22. Janet Jackson "No Sleeep"
A welcome inclusion to any of her future Greatest Hits packages, "No Sleeep" chronicles Janet's sexual excursions confined within some lavishly decorated house or apartment throughout a rainy 48 hour period - one in which Janet and the object of her desire receive no sleep despite surrounding themselves with very soft and comfortable beds, couches, blankets and pillows. It sounds like they start to run out of steam around 2:51 as the beat switches back to the heartbeat-sounding kick drum from the intro. Janet starts to doze off here, but then gets awakened for another round. "No Sleeep" might also a strong candidate for the "fade out hall of fame" (alongside Aaliyah's "One In A Million," Beck's "Loser," Bowie's "Space Oddity") as the heartbeat resurfaces throughout its final 15 seconds. (Sadly, this is the portion of the song that J. Cole raps over in the album version. But fortunately, R&B radio has avoided this version.)


21. Rihanna "Bitch Better Have My Money"
We may have blown our #BBHMM load on our blurb about the video. But there's one crucial aspect of this song that critics and fans may have overlooked: If she had sang this song in the same style as "What's My Name" or "Umbrella," it simply wouldn't have worked. If Beyonce or any other ubiquitous diva had sang this, it just wouldn't have been the same. The minute inflections make all the difference. If it hadn't been for such an inspired performance we probably wouldn't give a shit about this song or its video. She's a better vocalist now than at any point in her career so far, and for the first time ever, we're actually anticipating a new Rihanna LP - one that might actually challenge her fans, functioning far beyond a showcase for 2 or 3 mega-huge Top 40 hits. I mean come on... It's called Anti. If there was ever a time for her first huge statement as an album artist, this is that moment. [Note: ANTI coincidentally dropped just a few hours ago, well after this blurb was finished.]
https://www.youtube.com/watch?v=hnIeRkCqD-E

| Hot Mix 2015 on Spotify |

| #200 - 166 | #165 - 131 | #130 - 101 | #100 -71 | #70 - 41 | #40 - 21 | #20 - 1 |

| All 200 Songs |

Wednesday, January 14, 2015

Hot Mix 2014: #60 - 51

This is a weird page. They're probably all going to get weirder from this point forward. We've been saying that literally anything is ok to say about these songs as long as it takes up space, and so at least one of these descriptions ended up being absurdly long for no apparent reason, and another one is just like quoting a bit from a stand-up CD - one that's kind of embarrassing but at the time it felt right. Also, we broke our stride due to laziness stuff. But whatever. We're halfway done. 50 more songs after this...

| Hot Mix 2014 on Spotify |

| #100 - 91 | #90 - 81 | #80 - 71 | #70 - 61 | #60 - 51 |
| #50 - 41 | #40 - 31 | #30 - 21 | #20 - 11 | #10 - 1 |

60. Nicki Minaj featuring PTAF “Boss Ass Bitch (Remix)”
Pitchfork likes this one enough that it placed decently well on their 2014 faves. The blurb writer's approach shouldn't have surprised anyone considering P4k's more recent slant towards feminist music criticism: "It’s likely that many dudes who came around to Nicki early this year have already lost interest, having deduced that The Pinkprint won’t actually be Illmatic With Tits." Likely, sure, and obviously sad if true. As the past year of news feed algorithms continued their bias towards feminist essays, we found it upsetting to witness non-feminist circles watering down the term's true impact, until it was eventually trending with enough hashtags that someone working at MTV was influenced to have Beyonce sing in front of 30-foot letters spelling "feminist" in all caps.* (Hah, you actually thought that was Bey's idea?)

The louder perspective in our heads is always the one that recognizes Nicki Minaj as the most exciting and best current lyricist in hiphop. And we shouldn't have to follow that up with the phrase "regardless of gender" because that phrase sucks.
This was the first new song we heard in 2014 way back on 01.01.14. "Boss Ass Bitch" arrived with an immediate impact courtesy of the sample's crushing minimalist attack (doing wonders for our New Years hangover). This not only inspired a few lyrical peaks in the "badass" category but also showed her artistically turning to a new chapter. Frequent homages to Biggie weren't just limited to "Four Door Aventador" (reviewed a few pages back), but at least one web source also noted the first 3 of her "10 Boss-Ass-Bitch Commandments" (with #4-#10 coming soon, hopefully). The song also kicked off Pinkprint anticipation. Throughout the year, the gusto in her guest-verses felt supplanted by sadness, which only made the 11-and-a-half month waiting game seem even longer. But now it's here, and for the moment it sounds like it might be her most consistent record. The lows aren't nearly as low, but also the highs aren't as high, making it also her least impressive. But either way, her genius is present enough that it still has a very strong shot at placing in our (eventual) top 20 of the year.

And rull quick before we close the door on this one, here's some excerpts from probably our favorite Rap Genius annotation of 2014:
- "Good pussy is pussy that is warm (hot) and wet, which describes a tropical environment, which is where Nicki wants to vacay to."
- "You hoes need to get vaginal rejuvenation on your pussy to make it tight again!"
- "The line is too long to get with Nicki’s pussy, so you should make a reservation."
- http://images.rapgenius.com/cbc7abc7353dbc85cac785df54d06f25.750x571x1.jpg

(*On a personal note: As someone who has a phobia of signs with large scary letters, I found it horribly frightening and difficult to watch.)
https://www.youtube.com/watch?v=fBY38tgQmzs

59. Angel Olsen “Hi-Five”
In the January 1999 issue of SPIN, Sasha Frere-Jones described Rufus Wainwright as "a singer/songwriter, in that order - a rarer animal than you think." At least one good example of this arrives every few years, but rarely with Angel Olsen's overwhelmingly intense sadness. And it's not like her songs aren't awesome. But Jesus... Not many recent songwriters express as much pain in their hearts simply through singing, an element that sets her apart from Laura Cantrell or Lucinda Williams. She's actually a lot closer to the elite inner circle with homegirls Patsy Cline and Tammy Wynette. "Hi-Five" might be the one song that made it toughest to keep from filing her album under "alt-country" (as opposed to "indie-rock with C&W vox").
https://www.youtube.com/watch?v=oL_3Y4zNnqg

58. Grass Is Green “Scattering Ram”
TMK: Tell us a little about "Scattering Ram."
Devin McKnight: "That's a J.Weiss tune. A lil' Jesse Weiss: The man, the myth, the legend."
Andy Chervenak: "'Scattering Ram' is sort of kinky for some reason. It's about some weird dude and a sexual repression kinda thing."
Devin: "It's got my Talking Heads solo at the end. It's a complete ripoff. I didn't mean to."
TMK: You think so?
Devin: "Well, Jonah from Krill was like 'what is that from?' And then, Luke from Krill figured it out and verified the song."
TMK: Which song is it from?
Devin: "I don't remember what it's called, but it's got this guitar part with a harmonic thing and this whammy bar thing. I knew it was from something. It makes me feel good that I was mistakenly referencing something that's widely known."


57. Schoolboy Q “Break the Bank”
Even if the title of the song wasn't "Break the Bank," the music already sounds suspenseful enough to soundtrack the perfect heist. You know how every time you watch the movie Heat, you're like "I wanna do that!" You just wanna be runnin' down Main Street with an AK47 screaming "WHERE'S THE VAN? THE VAN WAS SUPPOSED TO BE HERE." That guy on the computer is like "Gimme a minute. Dude, I need one more minute to hack into the mainframe." There's always that guy on the team who's a last minute replacement. He's not one of the original gang, but one of the other guys vouches for him. "Dude, trust me. This guy's cool. He's solid and he's cool." But he's not cool. He doesn't really say anything ever, and then at one point he's like "Let's kill these bitches." (This is a way better bit than we remembered.)
https://www.youtube.com/watch?v=rc-Vqcud32I

56. Dej Loaf “Try Me”
Viral-crossover jams are injecting a freshness into hiphop stations unlike any other point throughout the 2010s. Radio programming hasn't felt this adventurous in at least a decade, even pushing a song as weird as OG Maco's "U Guessed It" to #90 on the Hot 100. Does every generation of hiphop radio get the "Funk Dat" it deserves? And should we expect more of them to sound like a prank from the OFWGKTA kids?

Hailing from the freshly non-bankrupt mean streets of Detroit, Dej Loaf ultimately became the most beloved of the 2014 crossovers, even encouraging Buddyhead (of all places) to reserve some web space for expressing their appreciation. Aside from Pharrell and Pusha T, it's the only hiphop review they've written in almost two years. (The website's not quite as active as it was 10 years ago, but honestly we're just pumped it's still around.) The review's actually pretty informative. Apparently, "Try Me" was discovered after Drake quoted a line on his insta, ultimately leading Dej Loaf to a multi-million dollar deal with Columbia Records, enabling her to quit her job as a janitor at "the Chrysler plant." Dream big.
https://www.youtube.com/watch?v=j1T_NGBlr0Q

55. Aphex Twin "minipops 67 [120.2] [source field mix]"
This is the song that gets stuck in the heads of every character in David O'Reilly's The External World, including the enormous penis that ejects from the fax machine. It sounds like little anthropomorphic dudes being bizarre and very matter-of-factly, as if it's the way things should be. A few noted the '90s-ness of Syro, which can really only be attributed to how strongly RDJ's music is connected to that era despite resting outside of the range of decade-association; "Girl/Boy Song" is somehow both a distinct product of 1996 while also otherworldly enough to leave a blurred timestamp. "minipops 67" might sound ok on an album sequence alongside "Ventolin" or "Come to Daddy," but it just wouldn't be the same. There's one part in this that sounds like "Love Bites" by Def Leppard.
https://www.youtube.com/watch?v=RUAJ8KLGqis

54. Katy Perry featuring Juicy J “Dark Horse”
In August 2013, two lead singles from two of the music's biggest names debuted very nearby each other. Accordingly, a PR strategy involving friendly competition was set in motion, including performances of Katy Perry's "Roar" and Lady Gaga's "Applause" at the 2013 VMAs. A few weeks later, the numbers returned with Katy hitting #1 while Gaga stalled at #4. This marked the start of a solid year where Katy found herself alone at the top with no actual competition, crowned with the heavyweight title of "biggest U.S. Top 40 singer" (up until she was dethroned in August 2014 when "Shake It Off" conveniently coincided with the the end of Prism's promo cycle). Katy Perry is now the only artist who's had the biggest song in the country at least once a year since 2010.

Despite Gaga's commendably tireless edginess, "Applause" exemplified a disappointing deficit of freshness that casual fans might have been expecting after Artpop failed to ride the momentum of her earlier megahits. Her efforts to set trends were never as sure of a bet as riding those that had already been set in motion, a large part of the formula that Max Martin and Dr. Luke have exploited to help ensure Katy's success for the past 7 years. She's not a chameleon so much as a conformist. She's all things to all people. Her hits are never behind nor ahead of the curve, frequently hitting while their trending elements are about 70% through their shelf life.

So now we're imagining a hypothetical scenario where Teenage Dream was released in 2008 and Prism in 2010. If the writing and production techniques on these albums were far less tired in those days, would these records be considered critical favorites? Would the hits from these albums have performed nearly as well 3 years earlier? Are we wrong to suggest that their success can be entirely attributed to timeliness? Is it possible that the success of these songs has anything to do with listeners growing accustomed to ephemeral trends?

Regarding that last question: It's entirely plausible that Dr. Luke and Benny Blanco collaborated on Ke$ha's "Tik Tok" right around the same time as what was considered its sister-jam, Katy's "California Gurls." And yes, Katy got stuck as the scapegoat. "Tik Tok" was released first to test the waters and also to introduce Ke$ha to the world with a fresh-sounding single, hitting #1 at the very beginning of 2010, while "California Gurls" hit #1 six months later. If "Tik Tok" hadn't been a success, "California Gurls" might not have been the album's lead single.

This special combination of safeness and freshness leads the list of reasons why "Dark Horse" was the quintessential 2014 pop song, molded by the cookie cutter of the year's trends more than any other. The minimal trap beat - sonically resembling Mike Will Made It - frames a robotic and lush chord progression in a minor key, vaguely resembling recent hits from Drake, M83 and Rihanna's "Diamonds" (another Benny Blanco hit from months prior). Juicy J was summoned for a cameo not long after the 8-minute "Bands a Make Her Dance (Chopped & Screwed)" went viral. This familiar combination of elements may have played a part in why "Dark Horse" has started to feel like it's been lingering around Top 40 and hiphop stations for the past 3 or 4 years.

These elements - the "safe" and timely ones - are actually not why it's one of the best songs of 2014. "Part of [Max Martin's] genius is knowing that little thing that takes a song from 80 percent to 100 percent." "Dark Horse" is all about the subtleties, the moments that revealed themselves months after the song's debut. Some of these occur within the vocal performance - tiny inflections that were probably not an accident, but could have been. The vocals in the verses are accompanied by little more than drums and a 4-note keyboard melody, leaving the chord structure to to the imagination of the listener, a technique that Jermaine Dupri used in Ghost Town DJs' "My Boo." These deep glimmering moments form the basis of the song's transcendence, outliving the shelf life of its trendy sheen.
https://www.youtube.com/watch?v=0KSOMA3QBU0

53. Charli XCX “Gold Coins”

Ohhhh, we get it now. Gold coins as a METAPHOR, like when Waka Flocka says "I'm so hood rich" - although probably not as rich as that distorted acoustic guitar tone. Scrooge McDuck probably likes this song and pumps it while he goes for a dip in the money bin. Check out her Nardwuar interview: Adorable.
https://www.youtube.com/watch?v=t7G3I_-IrBQ

52. YG featuring Kendrick Lamar “Really Be (Smokin N Drinkin)”

We haven't seen YG in a Hot Mix since like 2010's "Toot It and Boot It," and he's still got those horrifying body tats. The "James Bond segue" chord makes an appearance (on what might be a Fender Rhodes), assisting the mysterious noiresque production in the verses. It sounds like Portishead's best impression of a Dirty South or a Ludacris beat.
https://www.youtube.com/watch?v=uIHr_RX5tTY

51. Guerilla Toss “367 Equalizer”
G-Toss played about six bands before the close of SUNY Purchase's Culture Shock concert back in April, prior to both Lil B and Lightning Bolt. About 5 minutes into their set, it seemed like the majority of the audience had just started peaking on molly or some combination of uppers and hallucinogens. And without warning, shit got fucking INSANE. We don't remember if they played "367 Equalizer" at this show, but it's likely since it premiered online only a few weeks later. Either way, it exemplifies the effect they had over everyone in that enormous room, encouraging movement from all 5 senses at once, potentially inducing convulsions and wild fits. They are a 10-speed blender, and their favorite margarita mixes the first Liars album with the PCP freakouts from Black Dice's Repo. Whereas hot jams like "TV Spell" and "Smack the Brick" are on the smoothie or shake setting, "367 Equalizer" chops up the tiny ice cubes for the frozen drink setting. (We're not sure what this means, but we're leaving it.)


| Hot Mix 2014 on Spotify |

| #100 - 91 | #90 - 81 | #80 - 71 | #70 - 61 | #60 - 51 |
| #50 - 41 | #40 - 31 | #30 - 21 | #20 - 11 | #10 - 1 |

Wednesday, January 7, 2015

Hot Mix 2014: #80 - 71

The first real week of the year might be the toughest. Page 3 of Hot Mix will help you get over the hump. Maybe.

| Hot Mix 2014 on Spotify |

| #100 - 91 | #90 - 81 | #80 - 71 | #70 - 61 | #60 - 51 |
| #50 - 41 | #40 - 31 | #30 - 21 | #20 - 11 | #10 - 1 |

80. Rae Sremmurd “No Type”
Adolescent-sounding voices + "going viral" = one way ticket to one hit wonder (usually). It's not like Y.N.Rich Kids, California Swag District or New Boyz weren't fun and awesome. The world of pop craves ephemeral, while hiphop heads value authentic (or like "the next Illmatic" or whatever). So it was no big surprise when hiphop writers assumed Rae Sremmurd would earn a similarly brief shelf life, even though they sang one of the most addictive songs of 2014. We were hooked on "No Flex Zone" for months, pining for more Rae. This was no "Hot Cheetos & Takis." And then one day, "No Type" just showed up on Spotify without warning. It was time to see what the Sremmurd had up their sleeves. Catchy hook? Check. Playful fun singalong lyrics? "I ain't livin' right (yup)." That's a double check. Sounds good while driving around with the windows down? Fuck yeah it does. "I be livin' life (ye) like I live twice."
https://www.youtube.com/watch?v=wzMrK-aGCug

79. Mac Demarco "Chamber of Reflection"

Dreamy slow-moving mist surrounds meditations within solitude. Levitation is optional.
https://www.youtube.com/watch?v=NY8IS0ssnXQ

78. Sloan “You've Got a Lot On Your Mind/Three Sisters”
We had to combine these because #1 they flow together within the album context, and because #2 both songs sound like composites of about a half-dozen '70s AM Gold hits. Some might scoff at us for suggesting where sounds might have been borrowed, but Sloan are no plagiarists. Plus, cracking the code yields fun puzzle times. Our case begins as we skim through about 10 reviews of Commonwealth, ultimately revealing two interviews with Jay Ferguson regarding the former. He cites Phoenix, Wings, ABBA and Fleetwood Mac. From our end, we're also hearing ELO, "The Night Chicago Died," and the "wooo-hoo" from "Don't Go Breakin' My Heart." “Three Sisters” is a bit tougher to nail though, seeming to mesh “The Great Gig In The Sky” with solo McCartney and Harrison (with a hint of Ween's White Pepper). There's probably more. We'll figure it out later.
Mind: https://www.youtube.com/watch?v=Zy62TmrSPGk
Sisters: https://www.youtube.com/watch?v=qYGyW5IonVI

77. Ex Hex “New Kid”
The thrashing garage-rock energy of "New Kid" immediately struck us as one of the standout jams on Ex Hex's Rips LP. We simply had to know more, and so we tracked down everyone in the band for our wild n' crazy TMK exclusive:
Laura Harris (drums): "'New Kid' is real fun to play. It's my favorite one. And it's fast!"
Betsy Wright (bass): "Yeah, it's my favorite one. It's a fast punk-rocker."
Mary Timony (guitar/vox/writer): "It's about bullies and fighting back. It's like Revenge of the Nerds, basically. Getting revenge against the bullies."
So now we're envisioning this song playing during the moments of anticipation leading up to the final brawl. The big bully walks up to the nerd and is all like, "Shut up, punk. I'm gonna love kickin' your ass." And then the nerd just fucks him up without any warning.
https://www.youtube.com/watch?v=UeKu2U61QMM

76. Big Ups “Wool”
Meeting somewhere between Damaged and End Hits, "Wool's" ominous guitars and near-whispered sing-speak vocals exemplify the monotony and boredom of after-school detention. "Daylight savings and pencil shavings." Damn yo, that's fuckin' bored. All the while, buried tension is building, ultimately surfacing for an appropriately brief climactic explosion. Seeing it live and in person is even better. Highly recommended. Note: "Wool" also placed on Hot Mix 2013 (past #100 due to late-discovery) because at the time we hadn't realized that the album was pushed back to a Jan 2014 release. Fair game, yo!


75. Swans “Oxygen”
Consider this one sort of an unofficial three-way-tying of the 8-minute To Be Kind jams. (We weren't really into the rest of this album nearly as much. Sorry.) "A Little God In My Hands" is the cartoonish nightmare that reminds us of the haunted mansion at Disneyworld. Its sister jam "Screen Shot" seems to be commenting on all the paranoia in the wake of the Snapchat scare. It's not like people didn't already have the ability to screen cap all those the dick pics and nip slips. However, "Oxygen" beat out both of these, coming closest to resembling a warped and mentally unstable ass-kicking expected from Nick Cave or Flipper. It's the one that "rocks" the most out of these three.


74. Priests "Right Wing" / Priests "Doctor"
Damnit, we really didn't want this one to be a tie. But we would have been kicking ourselves hard had we neglected "Doctor," a punk moment so authentic that it might be tough to decipher whether or not it's a lost relic from the early '80s. "You put your fingers in other people's mouths all day." Priests' cathartic blasts make up the majority of their live set, but it was the invitingly catchy refrain of "Right Wing" that perplexed us most, playing in our heads as we woke up at least a dozen times this past year. Maybe it's the beer talking, but this kinda beats Sleater-Kinney's new stuff.



73. Nicki Minaj “Four Door Aventador”
Thank you to whoever correctly noted how uncannily she aligns with Biggie on this one. To whoever said she was going for a Lil' Kim impersonation, keep in mind that Biggie spent 2 years ghostwriting for Kim. Better luck next time.
https://www.youtube.com/watch?v=MbrmCcdO6Jo

72. Avey Tare's Slasher Flicks "Strange Colores"

A natural extension from Animal Collective's Centipede Hz, "Strange Colores" is centered around a tight enough drum loop that any adventurous rappers might still be able to benefit on future mixtapes. Awesome chorus too. Prolly the best AC-related party jam since "Brother Sport."
https://www.youtube.com/watch?v=J_nHgrlZMCs

71. Schoolboy Q featuring BJ The Chicago Kid "Studio"
"I'm just sittin' in the studio just tryna get to you, baby / But this song so fuckin' dope, girl, it's harder not for me to blaze it / To tell the truth, wish it was you in this booth that I was blazin." Alright, we're confused. This could mean "The faster I'm done with this dope track, the faster I'll get back to you." Or possibly, "Sitting in the studio trying to get everything down and solid so that you can understand me." Or wait, we thought of another possibility too, but we just lost it. Fuck. The tape slows down in the last 10-seconds, sort of suggesting defeat. Schoolboy Q was unable to reach his lady baby, and we're left witnessing the song collapse onto itself despite his best efforts. We're actually kind of feelin' this ambiguity and would rather not consult Rap Genius with this one.
https://www.youtube.com/watch?v=8zo9VTJUVWc

| Hot Mix 2014 on Spotify |

| #100 - 91 | #90 - 81 | #80 - 71 | #70 - 61 | #60 - 51 |
| #50 - 41 | #40 - 31 | #30 - 21 | #20 - 11 | #10 - 1 |