Kingdom Kiis: Big Pop Gewhls 2017 VS Rate - COMPLETE | Page 179 | The Popjustice Forum
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Kingdom Kiis: Big Pop Gewhls 2017 VS Rate - COMPLETE

Discussion in 'Charts, rates etc' started by Laura Vanderbooben, Nov 26, 2017.

  1. Solenciennes

    Solenciennes Moderator

    Yeah I think it’s a fine enough album, it’s not likely going to sound dated in a couple of years because it’s generally pretty standard instrumentation, the songwriting’s not embarrassing and Pink’s obviously a talented singer and performer - it just flops on a Pop forum where experimentation is highly valued and artistry will be looked at ruthlessly and analytically. I’d argue it’s probably the third best album based on whether it succeeds at what it sets out to do, ahead of Katy, Kesha and Taylor; but all three explored new sounds and tried to evolve their images/songwriting to varying degrees of not a success which is far more interesting than just sticking to the same tried and tested formula.

    I’m sure Avril Lavigne and possibly Alicia Keys would suffer the same fate as Pink if they were ever included in this kind of comparison rate, and probably Kelly and Katy too if they’d repeated their previous albums.

    Glad I gave Beautiful Trauma a chance even if I didn’t leave with any songs I particularly liked.
     
  2. 'Barbies' and 'Better Life' should still be in, so I have no qualms about St!nk's other tracks vacating.

    A few more of Kesha's needs to go, a couple of Kelly's ('Cruel' and 'Didn't I') and fucking 'Malibu'!
     
  3. Still chuckling at this cull

    [​IMG]

    (I also finally found the gif I wanted to use)
     
    Last edited: Jan 12, 2018
  4. I tried making an Apprentice ‘triple firing’ one to express how my I laughed/gagged but gave up.
     
    stuaw likes this.
  5. My girl is hanging in there.

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  6. I want the rest of reputation to leave before Pinks title track.
     
  7. [​IMG]

    Ms Booben taking out the trash yas
     
  8. I just heard Beautiful Trauma in a charity shop and have decided it can also leave now.
     
    mseilenga likes this.
  9. Guy

    Guy

    [​IMG]
    Yikes. These results are savage. The album is not that bad. Y’all act like poor ol’ Mrs Moore offended your great ancestors and danced on their graves or something. Better her than Kesha, however.
     
  10. [​IMG]
     
  11. #PoorP!nk You'd think a white female popstar with Max Martin/Greg Kurstin produced songs would go down a storm on here, apparently not!
     
    mseilenga likes this.
  12. Secrets is a massive bop and I stand by my 10 firmly. In fact, along with 'What About Us' it is easily one of the strongest from P!nk in a decade (not that this was a difficult bar to reach), so I am keeping them! I am just partly grateful the big cull @Laura Vanderbooben forewarned wasn't Kelly or God forbid Lorde.
     
    Trouble in Paradise and Blond like this.
  13. [​IMG]
    [​IMG]

    SCORE: 6.728

    Highest Score: 10 x 10 (@Aester, @Petty Mayonnaise, @Beginner, @mattyjayy, @P'NutButter, @sexercise, @aaronhansome, @Touch, @MollieSwift21, @happiestgirl)
    Lowest Scores: 2 x 6 (@enjoy, @that boy is a monster, @KingBruno, @Terminus, @CasuallyCrazed, @Guy)

    AuthenticiTay returned for one track at the end of reputation, and you all saw right through ha games. Calculated as it may be (yas trademark those holidays), I like this one - this sort of longing, waiting-for-my-heart-to-break song is really what Taylor does best, and I think she knows it. But on a cynical collection like reputation, this stands out in an odd way; in many ways it feels like a bonus track. She was wise to put it at the end, but performing it everywhere (and sending it to country radio, her first song on that chart in four years) shows that either she has affection for it, or she knows the rest of the ~*new image~* is shaping up to be a hard sell. The song got a viral boost from an impromptu performance on Jimmy Fallon's first Tonight Show taping since his mother had died, where he coincidentally (and I do believe it was coincidental) told a story about how his mother would squeeze his hand three times as a child - "I - love - you" - right before Taylor performed.

    Jack Antonoff provided Entertainment Weekly with some insight into the creation of this track:

    Beautiful Child 2 isn't falling for it. "A weird one - all the ingredients are there for a poignant little snapshot of a moment in time and how it can frame all that came before and what will come after buuuut...it ends up feeling oddly cynical. Maybe because she's revealed herself to be a sociopathic robot with two settings - deranged self-absorption and dry, Caucasian sentimentality - over the course of the preceding 14 tracks? I just don't buy it, I don't even rent it. Lorde cleaned up after a party with more flair and authenticity." sapnu puas sees her wicked games but doesn't mind. "Taylor by numbers but I've always loved this kind of shit from her. Definitely stuck on the end to appease some of the Swifties even tho she's a bad b*tch now. Look what they made her do…" Speaking of bad bitches, aaronhansome is in his Dangerous Woman phase and don't you forget it. "Look, I don’t give a single fuck what anyone has to say about this but what a goddamn lovely song. I’m such a sucker for this shit." All that profanity! Gracious.

    "Not this getting me a bit...it’s really gorgeous," says constantino. "The production is perfect for what she’s trying to do. It’s not quite Clean-level great but it’s a wonderful closer to what is a rocky album." P'NutButter hears "Taylor finishing the album with what she does better than the other gals in this rate." Trouble in Paradise calls it a "ballad that doesn't fit the sonics of this album at all. It can't help but feel tacked on which gives it less emotional impact. Listened to on it's own, it's a rather bland ballad with some cute, if predictable lyrics." Terminus confuses New Year's Eve for New Year's Day but hey. "Twee, yawnful, who cares. Give me ABBA for that New Year bop. It's so Sheeran in sound, yet he's not involved. Ugh. Bye; what an awful way to finish the album."

    "This could be on Speak Now or Red and I wish the rest of the album sounded more like this," sayeth Blond. Bumpkin representative Beginner is all in. "This song stands out as a quiet moment on the album and in doing that it mirrors its lyrical themes. It's all about the quiet moments: being unable to find the sufficient words in the back of a taxi, the mornings spent cleaning up, about choosing to stay even it's hard. It's about the negative space that frames the big important moments in a relationship." Andy French calls it "a good track on its own and actually very pretty, but rings hollow in the context of the album itself." ericcccc says "songs like this one and 'Call It What You Want' honestly… don’t do much for me. They’re perfectly fine, but there is nothing about them that is memorable for me or would make me come back to them."

    Against all odds, LA Hallucinations is stanning. "I fucking despise acoustic pianos in songs so of course a piano song on a deeply electronic album would end up being one of my favourites." CasuallyCrazed is impressed that this is "completely forgettable and yet still remains cringe-worthy," but evilsin "got choked up listening to this for the rate. So damn touching! And those lyrics, man. Her performance on Jimmy Fallon's with the commentary from his staff afterwards doesn't really help and brings even more emotion into this one. Somehow this turned into a song, that helps coping with loss, and I'm here for it 100%."

    Solenciennes
    calls it like she sees it: "Like 'Stay' by Lisa Loeb but instead of launching into something exciting it just stays in first verse. Can't help but feel cynical about her motivations for writing a song called New Year's Day to try and pump some life into this for her rabid stanbase because she probably knows this whole album was a risk." GOD, 'Stay' is such a tune to this day innit. I met Lisa Loeb once, she was lovely! Had the glasses on too. "In a year where Lorde and St. Vincent had already served us stripped down confessional acoustic ballads produced by Jack Antonoff, 'New Year’s Day' feels more perfunctory than anything," Heartthrob appraises. "A cynical attempt at reeling back fans missing the Old Taylor. It never quite rises above 'cute'." joe_alouder nods, "It’s a bit twee ain’t it. But the ‘hold on to the memories’ part is pretty and it’s a cute closer."​





     
  14. And now, girls, a very special guest appearance from @Kuhleezi, who submitted quite an essay. It was included as commentary on 'Look What You Made Me Do' (to which he gave a 10) but also touches on 'New Year's Day,' (3) which is why I've saved it for now. Oh, K, did you think I forgot? Ha!

    ---------

    "We always say that an artist at their commercial peak is at a fascinating place, where they can release pretty much anything and still smash. The truth is hardly anybody ever does that. They're just too afraid to flop at that point and we get some same old same old reheated shit à la 'Hello'. If there's one artist I wouldn't ever trust breaking this conservative (hehe) wheel, it's Taylor Swift. Yet, that's pretty much what 'Look What You Made Me Do' is, a ridiculously divisive, untrendy anthem on the awfulness of Taylor Swift™. Considering my faves, I know a thing or two about what makes a song radio unfriendly, and this as a single is definitely what you'd call radio poison. There's a boldness in deliberately harming your mainstream popularity like this that I can't not appreciate. I admire mostly how she explicitly takes cues from electroclash, because she's not afraid to go all the way in. There's no standard Taylor chorus here to sugarcoat the fact she abandoned her guitar at the pick-up gas station. Now, my love for this song and not the album may sound hypocritical, because quite frankly we all should have expected an album like reputation ever since we heard the first chorus drop. What separates this from the rest, though, is the fact that throughout reputation Taylor is torn between channeling this overwrought villain persona and coming off as the misunderstood good girl, always too afraid to choose one and stick with it. This inevitably reflects in the music, with all the other songs feeling like lesser versions of previous tracks, dressed up in new production tricks. This is blatantly shown with the shameless, hideous decision to include 'New Year's Day,' which on the one hand is a sad attempt at pandering to her old crowd, and on the other shows that song, in all its old Taylor glory, is just a sledgehammer synth away from the rest of the bunch. 'Look' is the only song she could have never released any other time but when she did. For that reason it'll probably never become a classic, but there's a 'here and now' factor to it that only very few pop songs have to them."
     
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    stuaw likes this.
  16. Wow I did cuss a lot in the commentary for that but I knew it would be done wrong. As it had been by Taylor by even including it on the album but whatever.

    Maybe this is naivete, but I do think that the song isn't meant in a pandering way and that for all the posturing, she still enjoys making music that is made of little moments and isn't meant to accomplish anything but expressing how she feels and sure I may just be a sap but I think New Year's Day succeeds and was able to cut through the slightly exhausting journey through the album to create a moment of sincerity.
     
  17. Next up: heartbreak, horror, hurt, disappointment, regret.
     
  18. The first song I really feel left too early. Kesha had a lot of songs that could’ve gone before this.
     
  19. Solenciennes

    Solenciennes Moderator

    How did you know I was going to post?