People who only like “cool” music scoff at Britney listeners, which is essentially brushing off the idea of catchy pop. Fine, but you’re missing out.
Overall? Glory is pretty good, and all the more impressive for a pop career that started in the 90’s.
Make Me” is actually one of the more boring songs on Brit’s new album, despite being the biggest single. Some of the better deep cuts include Man on the Moon, Slumber Party, and Love Me Down.
Say what you want about Britney, but her staying power alone speaks volumes. Not many pop singers are consistently relevant for decades, and she continues her streak with this record.
This is the best album any of them (Matt Skiba, Mark Hoppus, and Travis Barker) have been a part of in 8+ years (ten for most of them). No disrespect to Tom DeLonge – no one’s claiming it’s better than Enema of the State. But it’s good; surprisingly good.
Remember 2006? This song (Me & U by Cassie) came out ten years ago. A full decade since hookah bars blasted those bubbly synths – and it’s still a fun pop song.
Fun Fact
Cassie still has almost a million monthly listeners on Spotify, even though her most recent album listed is from 2006.
So, Tegan and Sara have come out with a few new songs lately (and now album, Love You to Death). “Stop Desire” is the best single yet. It has the heart of a classic T&S song (think So Jealous or earlier) but with a modern, “we’re mature and electro-pop-ish” twist. Great 80’s drums and shimmering crystal choruses. Reverb sprinkled in all the right places. A well-crafted pop song.
Drake’s new album, Views (originally called View From the 6), was released on April 29, 2016. It’s his fourth solo album, and first in three years – though he released a mixtape If You’re Reading This It’s Too Late in 2015.
Views is expected to go platinum during the first week, through a combination of streams counting as album sales and actual purchases. Part of this is because the streams for Hotline Bling are counted due to it being a single from the album.
1. Keep the Family Close
2. 9
3. U With Me?
4. Feel No Ways
5. Hype
6. Weston Road Flows
7. Redemption
8. With You
9. Faithful
10. Still Here
11. Controlla
12. One Dance
13. Grammys
14. Childs Play
15. Pop Style
16. Too Good
17. Summers Over Interlude
18. Fire & Desire
19. Views
20. Hotline Bling (Bonus)
First of all, what a well-designed show. Starting promptly at 7:30, openers The Japanese House and Wolf Alice, who evoked a similar feeling but carved their own names in stone, captivating even the saltiest show veteran. Dazzling lights from all angles – yet, for the most part, using delicious, design-based ways of displaying light instead of the usual blaring strobe-lights that are all fluff and no real guts. Each of the opening bands sticking to exactly 30 minutes. The 1975 playing for an hour and a half. Outfits on point, beautiful venue, ending by 10:45 (why do so many bands — or show-goers, do any actually prefer this? — want to play until 1:30am?) … they got the details down.
The performances by all bands surpassed expectations. They had their shit together. It was the perfect combo between “concert” and “show.”
The 1975 projected the 80’s better than the actual 80’s. Singer Matty Healy strutted around the stage like a goth peacock, and it was fantastic. Both Adam Hann and Ross MacDonald played keyboard while also holding down guitar and bass respectively. They truly go above and beyond even the typical great guitarist or bassist with the sounds they contribute to the band; lush elements of audio color. George Daniel sat like a king banging out beats on his drum throne. Though they played many slower songs, it was worth it since they played for so long and still pulled out classics like “Heart Out.”
Powerhouse Pop Performance
It really is phenomenal how many catchy songs this band has written with their first two albums alone, and they delivered the feelings live. A big progression from even just a few years ago when they played the Fillmore in San Francisco. Despite not always knowing how to handle drugs or romance, The 1975 take their band seriously and it shows.
If you didn’t know about the Dolls’ place in history, style, and connection to punk, their self-titled debut could easily come across as classic rock ‘n roll. Which it is. All of the best punk bands have always been rooted in melody, however muddied and rolled through glass, and the New York Dolls were a perfect precursor to that – painting a rebellious sheen over a jagged box of rhythm.
It’s easy to listen to one of the less memorable songs on this album and think “Yeah, that’s pretty good” (as opposed to great). But when you think about the fact that this album came out years before The Clash, The Sex Pistols, The Ramones… so many of the key players in what would become “1977 punk” were at Dolls’ shows, and influenced to start said bands because of them. In that light, this album becomes even more impressive. Similar to an album like Raw Powerfor it’s place in history, it gets even better when you appreciate how groundbreaking it was.
People who only like “cool” music scoff at Britney listeners, which is essentially brushing off the idea of catchy pop. Fine, but you’re missing out.
