So we’re just five days into the New Year and it’s already clear to me that 2019 should be a better one music-wise. At least, that’s what I’d like to believe. Narrowing down my ten favourite songs for my usual end-of-year blog post proved extremely difficult this time, which is partly the reason why it took me so long to write – the other one being the fact that I welcomed 2019 in bed, riddled with the awesomeness of the flu.
It suddenly hit me; 2018 was not a good music year. Is this what songs are supposed to sound like these days or am I suddenly too busy to notice the good stuff? And does this mean it’s all going downhill from here? Who knows. For now, these are the ten songs (a few actually good and some semi-tolerable) that I would blend in with the oldies during this past year. As always, not a list, just one woman’s opinion. (No lyrics included this year, as a sign of protest.)
Continue reading “Why 2019 needs to be a better-sounding year than 2018”
Well, nothing really… Except for the fact that both have released some pretty questionable songs/ music videos today – and I couldn’t possibly stay silent!
Let’s start with Avril. I love how she’s clearly back on her feet, slowly recovering from Lyme disease and making music again. So when I read that her new single would be all about that battle, written at a time when she was certain that she was going to die, I couldn’t help but expect an epic comeback.
Yet that’s not what I got. While Head Above Water sounds really emotional and as honest as it can be, I was sort of hoping for more out of a ‘near-death experience’. But don’t listen to me; Avril’s voice is still astonishing, making up for some of the generic lyrics… And of course, the important thing is that she’s doing better.
Unlike Muse, who have been doing a lot worse, music-wise. I mean, what’s up with the band’s upcoming album? It’s been a while since I last blogged and this is the fifth single out of Simulation Theory – due in November – but don’t you ever think I haven’t been listening all this time. Quietly. In my room. Wondering.
It’s not the zombies that bother me. Or the weird sci-fi road trips. Not even the pop-sounding cheesy tunes that take me back to the ‘90s. What actually bothers me is when Muse blend all of these into one – and every – song, pretending that that’s ok! Seriously; WHAT IS UP with this record??
Is it rock? Is it pop? Is it electronic? Why do I get Little Mix vibes from the Pressure clip? Why do I see people biking in the middle of a prom night in a non-blink-182 video? So many unanswered questions, so little time… But I won’t give up just yet.
Freelancing probably means you don’t actually have that much free time to pursue other activities like blogging or going to the gym (ok, maybe the latter has more to do with my laziness and less with free time). I sure miss commenting on the highs and lows of the music industry, though, so here I go again!
I never pass on a chance to write about the Backstreet Boys, since – as you might remember – I love my ‘90s as much as a ‘00s kid loves Bieber. And speaking of Justin, it seems like the BSB have got a case of the Biebs! The boyband have now released their first single in five years and, well, it kind of has this Bieber-esque feel to it.
First of all, I know what you’re thinking and, believe me, I am, too. Who in their right minds would make a comeback with such a familiar song title like Don’t Go Breaking My Heart? Apparently, nobody but the Backstreet Boys. Elton John and Kiki Dee aside, it feels like the group is now trying to fit in an RnB mould, an attempt that is sadly nowhere near the Zayn Malik or Justin Bieber effect (and I don’t even like these people).
Pop has always been at the core of every Backstreet Boys song – old or new – and that’s what makes them special. So I’d rather it stayed that way. It’s nice experimenting and all, but I’m not sure what this is. But, hey, it got me blogging again, so there’s that.
Also, do these moves seem to match these five men? Something to think about while taking in the brilliance of the song…
What happens when punk subculture meets Black Mirror meets Wolverine meets MJ’s Thriller meets The Vampire Diaries? Muse’s music video for Thought Contagion, I guess. It’s been awhile since I last wrote a post, but, I figured, this is too ‘good’ to ignore.
The band’s new track comes several months after last spring’s one-off single, Dig Down, but it’s a clear departure from their previous work. Sure, Muse’s favourite doomsday, mind-control and machine-domination themes are still a thing, only now they’ve taken a different turn, a more zombie-like one, if you will.
Aside from the obviously weird stuff that’s going on in this clip (did we really need a modern take on the Thriller routine?), there’s that whole ‘80s vibe that doesn’t sound like Muse; and yet, at times, it does. I don’t see why the band had to go down that road, though, following the likes of many others – including Paramore with their latest After Laughter album.
Well, if this is the direction Muse are taking for their upcoming record, it should be an interesting one, if nothing else. Plus, werewolf Matt is a true sensation, don’t you think? No? Ahh… Sometimes I can’t help but miss those simpler, bliss-ful days.
It’s that time of year again, when we’re supposed to say goodbye to old habits and welcome the new and exciting things that lie ahead. 2017 was not bad at all, which secretly makes me even more hopeful for the year to come. And I say ‘secretly’ because who really dares to dream in times like these?
Still, 2017 was interesting and busy, with some equally amusing accompanying tunes. As always, here’s a (very subjective) list of my favourite songs of the year, the ones that kept me company throughout the highs and the lows. Continue reading “Looking back on 2017… in music clips!”
It’s not like I expected anything less from London Grammar, but the band’s latest clip is one true spectacle.
Non-Believer is the fourth single to be released off London Grammar’s Truth Is a Beautiful Thing album, preceded by the equally impressive Rooting for You, Big Picture and Oh Woman Oh Man. None of those came with such an amazing music video, though, and it probably comes down to its director, the inventive Jodeb.
Explaining the cinematic feel of the clip and its ambiguous character, Jodeb said, “We wanted to create a character that you would never really know if she is a good or ill-intentioned person… I was looking to create a subtle sense of paranoia all throughout the film”.
And he managed to do just that, through a series of stunning visuals and actress Karelle Tremblay’s compelling presence. Non-Believer will likely have you floating into the abyss, as you get carried away by frontwoman Hannah Reid’s soothing vocals…
Taylor Swift unveiled the clip for her latest single, Look What You Made Me Do (released on Friday) at the MTV Video Music Awards last night, and it looks like she found the perfect way to silence her haters. With the song itself being surprisingly dark for Swift, the vengeful and mostly ironic vibe of the video was, of course, to be expected.
From the get-go, we see a zombie Taylor crawling out from her reputation’s grave and what follows is even greater. Bird cages, snakes, diamonds and Swift’s personal lifeless ‘army’ (possibly a reference to her IRL squad?) are all part of Swift’s persona as perceived by the media; and what better way to fight back than by simply owning it?
The real highlight of the clip, though, is the part where she literally steps on past versions of herself (you’ll find all kinds of old Taylors in that ‘pile’ – from her You Belong With Me character to her on-stage self dressed in her Red Tour costume), with the ‘self-mockery’ reaching its peak at the very end.
I couldn’t think of a more to-the-point way to end the clip than with everyone’s favourite passive-aggressive Taylor line. You know, the one she used to respond to that Kim Snapchat post with. “I would very much like to be excluded from this narrative,” Swift’s 2009-MTV-VMAs self dares to say before all the others shout “SHUT UP!”
* Taylor Swift’s upcoming album, Reputation, is due for release on November 10.