Alt Pop 2020 Rate | #38 Higher than a motherfucker, dreaming of you as my lover
- Thread starter Cutlery
- Start date
Ah Lilacs is lovely, I really didn't expect it to go this soon!
I heard you lot would rather stay inside?
88
HIGH 10 (@Ana Raquel), 9.25 (@Oleander)
LOW 2 (@Hurricane Drunk), 3 (@sfmartin)
This bustling empowerment anthem on the deluxe side of SAWAYAMA serves a noughties inspiration that at this point is a frequent reference in Rina's palette. With a strong performance, she powers through the voices of authority and oppression with a collected demeanor, and in the outro is joined by the shouting from the rest of us. Or, judging by how poorly the track has done here, maybe only like 5-6 of us ddd. I love the little switch-up and the melodic rage aspect of the lyrics and how it feels complete as a bite-sized package, which ceratinly isn't the case with Bees & Honey as we've seen before. It's easily my favorite from the tacked-on material in the album, so I'm a little disappointed this didn't resonate more.
We Out Here sounds like a lost and remixed b-side from the Britney era, in a way. However, @R27 (7.5) clocks a different source of inspo: "If someone told me this was Ariana Grande I think I’d believe it". I don't hear her as too different from her usual voice, but I'm seeing this as a compliment on her vocals, in any case. And @Ana Raquel (10) is seeing the precedent: "This has the Take Me As I Am vibe. which was the song that made me a fan of hers. Of course. I stan!". Now that's a song!
And finally, @godspeed brought up a clear disadvantage (5): "Maybe it is its unfortunate bonus track status or late placing in the tracklisting, but it feels like I’ve heard this song 5 times already and I am getting a bit tired of it". Maybe if it was in here replacing Chosen Family on the tracklist the people would've stanned more, but alas we'll never know.
88
HIGH 10 (@Ana Raquel), 9.25 (@Oleander)
LOW 2 (@Hurricane Drunk), 3 (@sfmartin)
This bustling empowerment anthem on the deluxe side of SAWAYAMA serves a noughties inspiration that at this point is a frequent reference in Rina's palette. With a strong performance, she powers through the voices of authority and oppression with a collected demeanor, and in the outro is joined by the shouting from the rest of us. Or, judging by how poorly the track has done here, maybe only like 5-6 of us ddd. I love the little switch-up and the melodic rage aspect of the lyrics and how it feels complete as a bite-sized package, which ceratinly isn't the case with Bees & Honey as we've seen before. It's easily my favorite from the tacked-on material in the album, so I'm a little disappointed this didn't resonate more.
We Out Here sounds like a lost and remixed b-side from the Britney era, in a way. However, @R27 (7.5) clocks a different source of inspo: "If someone told me this was Ariana Grande I think I’d believe it". I don't hear her as too different from her usual voice, but I'm seeing this as a compliment on her vocals, in any case. And @Ana Raquel (10) is seeing the precedent: "This has the Take Me As I Am vibe. which was the song that made me a fan of hers. Of course. I stan!". Now that's a song!
And finally, @godspeed brought up a clear disadvantage (5): "Maybe it is its unfortunate bonus track status or late placing in the tracklisting, but it feels like I’ve heard this song 5 times already and I am getting a bit tired of it". Maybe if it was in here replacing Chosen Family on the tracklist the people would've stanned more, but alas we'll never know.
she/her
A 10 of mine leaving and my favorite Madonna song in the title? Who should I sue
I don't have a hint for this next HAIM song,
87
HIGH 9 (@Attis), 8.5 (@Hurricane Drunk)
LOW 2 (@Ana Raquel), 4 (@Phonetics Girl)
The folk leaning part of Women in Music takes a hit now. Perhaps the sound was both its blessing and curse, as I for example can't take it too much. Despite the pick of this flavor of acoustic scenery, the lyrics to Leaning on You have a big heart behind them.
In the first verse, Danielle tells us of her faults and how her partner complements her by loving her with care and being able to fill gaps through their relationships that she percieves she's leaving. The chorus is a plea to know herself as an equal, that they struggle too and need to lean on her shoulder every once in a while, too. It's a warming feeling to want to know yourself as reliable when the other person has been with you, too. @R27 is having emotions akin to mine (8): "This is so cozy sounding".
Then on the second verse, the fear of being alone is portrayed by Danielle in the self-doubt of whether your own past can mean that you're not tough enough to handle your present. She doesn't end up reaching a clear cut conclusion but the lines do have the effect of being reassuring, in a way. However, rather than running away from home, @Ana Raquel (2) is running away from this song: "Woah nevermind me shading the album before. I'd rather see them going bland/inoffensive than tedious". Well! An ah cuss thick hater like you will hate, and that's totally okay! I'm not a huge fan of the sound either, and actually wish I did because I am fond of the themes dealt with.
I admit I'm ignorant on this group, but let's hear it from @godspeed (6.5) bringing them up: "This always reminded me of Fleetwood Mac’s 'Never Going Back Again' for some reason". Oh wow you can tell when listening to this surprisingly short track, clocking in under two and a half minutes, that the chord progression was definitely based upon the track from Rumours. That guitar is simply distinctive. Someone else who also caught onto the reference while offering a view on the reception towards the song too is @Trouble in Paradise (8): "Honestly a Fleetwood Mac song channeled by Haim for better or worse". I'll be leaning towards worse, but I do prefer the song that was highlighted right before your comment, let's hear it:
87
HIGH 9 (@Attis), 8.5 (@Hurricane Drunk)
LOW 2 (@Ana Raquel), 4 (@Phonetics Girl)
The folk leaning part of Women in Music takes a hit now. Perhaps the sound was both its blessing and curse, as I for example can't take it too much. Despite the pick of this flavor of acoustic scenery, the lyrics to Leaning on You have a big heart behind them.
In the first verse, Danielle tells us of her faults and how her partner complements her by loving her with care and being able to fill gaps through their relationships that she percieves she's leaving. The chorus is a plea to know herself as an equal, that they struggle too and need to lean on her shoulder every once in a while, too. It's a warming feeling to want to know yourself as reliable when the other person has been with you, too. @R27 is having emotions akin to mine (8): "This is so cozy sounding".
Then on the second verse, the fear of being alone is portrayed by Danielle in the self-doubt of whether your own past can mean that you're not tough enough to handle your present. She doesn't end up reaching a clear cut conclusion but the lines do have the effect of being reassuring, in a way. However, rather than running away from home, @Ana Raquel (2) is running away from this song: "Woah nevermind me shading the album before. I'd rather see them going bland/inoffensive than tedious". Well! An ah cuss thick hater like you will hate, and that's totally okay! I'm not a huge fan of the sound either, and actually wish I did because I am fond of the themes dealt with.
I admit I'm ignorant on this group, but let's hear it from @godspeed (6.5) bringing them up: "This always reminded me of Fleetwood Mac’s 'Never Going Back Again' for some reason". Oh wow you can tell when listening to this surprisingly short track, clocking in under two and a half minutes, that the chord progression was definitely based upon the track from Rumours. That guitar is simply distinctive. Someone else who also caught onto the reference while offering a view on the reception towards the song too is @Trouble in Paradise (8): "Honestly a Fleetwood Mac song channeled by Haim for better or worse". I'll be leaning towards worse, but I do prefer the song that was highlighted right before your comment, let's hear it:
she/her
Yeah, it happens sometimes. Sadly, if I don't like the melody, not even lyrics written by the reincarnation of William Shakespeare would be able to make me enjoy the song. That's basically the case with... 99,9% of the acoustic songs - not that it's shocking at this point but still.
Meanwhile, melodies that I love make up for appalling lyrics (hello, Bratt Sinclaire!!!)
Thanks! I was going for Mario Kart 8 course selection screen but Pokémon works tooThis is very random, but this rate's (fantastic) headers really remind me of the Pokémon battle screens, I think it's the white shapes and their placement
Some people will be very happy about the elimination of this controversial song
Hmmm
No
86
HIGH 10 (@TéléDex @sfmartin @Cotton Park @Remorque @CorgiCorgiCorgi), 9 (@slaybellz @BubblegumBoy @Ana Raquel)
LOW 0 (@Jonathan27), 2 (@godspeed)
Honestly? A Chromatica re-enactment was kind of a foreshadowing for the deluxe reissue of SAWAYAMA, and @godspeed's (2) comment is in line with this: "This is grating and goes nowhere. It kind of sounds like a Chromatica reject". Mostly a bunch of subpar tracks in comparison to the main album; but hey at least it gave us two good to great remixes and a gorgeous 2x LP vinyl pressing!
LUCID is a song that wants to enter the pantheon of masturbation jams and anthems, and we do love that moment of self-gratification for the women we stan, but it just doesn't have the range, unfortunately. Even the stans, @BubblegumBoy (9) and @Ana Raquel (9) are aware of the compromised quality, with comments like "It's basic but I still love it" and "I know it's basic but I don't mind going back for a style of song I like (and I don't think it should be that disliked among the fandom)". Well it did fare better than a whooping 3 other songs from the album, so... let's celebrate that? What should definitely not be celebrated is Bloodpop's decision/persuasion to drag out the non-choruses in these songs to tedious lengths.
The things about the production are, once again, a little shameful as the lyrics would suggest a much better, earwormy pop track that did make a statement. @R27 (7) is of the idea that: "This really isn’t nearly as bad as people make it out to be. Sure the drop is basic, but the rest of the song bops along pleasantly and is a bit of an earworm". But @Trouble in Paradise (3), in true 20QueerTeen host fashion, is here for the representation only: "Most of the points are for 'hey girl'". I think? Or am I misinterpreting ddd do you like the delivery of the line that much? Enlighten us if you may, please.
Lest we forget, one of the best tracks of the Gattaca era was released when Rina and longtime co-writer/producer Clarence Clarity took the wheel of Free Woman and repackaged it into the sound of Born This Way warped to 2021 in the best way possible. All this to say that Rina has performed a bit of LUCID live only to transition into her Free Woman remix for what I'm sure is a highlight of the tour!! Listen below in the only quality I could find it:
Hmmm
No
86
HIGH 10 (@TéléDex @sfmartin @Cotton Park @Remorque @CorgiCorgiCorgi), 9 (@slaybellz @BubblegumBoy @Ana Raquel)
LOW 0 (@Jonathan27), 2 (@godspeed)
Honestly? A Chromatica re-enactment was kind of a foreshadowing for the deluxe reissue of SAWAYAMA, and @godspeed's (2) comment is in line with this: "This is grating and goes nowhere. It kind of sounds like a Chromatica reject". Mostly a bunch of subpar tracks in comparison to the main album; but hey at least it gave us two good to great remixes and a gorgeous 2x LP vinyl pressing!
LUCID is a song that wants to enter the pantheon of masturbation jams and anthems, and we do love that moment of self-gratification for the women we stan, but it just doesn't have the range, unfortunately. Even the stans, @BubblegumBoy (9) and @Ana Raquel (9) are aware of the compromised quality, with comments like "It's basic but I still love it" and "I know it's basic but I don't mind going back for a style of song I like (and I don't think it should be that disliked among the fandom)". Well it did fare better than a whooping 3 other songs from the album, so... let's celebrate that? What should definitely not be celebrated is Bloodpop's decision/persuasion to drag out the non-choruses in these songs to tedious lengths.
The things about the production are, once again, a little shameful as the lyrics would suggest a much better, earwormy pop track that did make a statement. @R27 (7) is of the idea that: "This really isn’t nearly as bad as people make it out to be. Sure the drop is basic, but the rest of the song bops along pleasantly and is a bit of an earworm". But @Trouble in Paradise (3), in true 20QueerTeen host fashion, is here for the representation only: "Most of the points are for 'hey girl'". I think? Or am I misinterpreting ddd do you like the delivery of the line that much? Enlighten us if you may, please.
Lest we forget, one of the best tracks of the Gattaca era was released when Rina and longtime co-writer/producer Clarence Clarity took the wheel of Free Woman and repackaged it into the sound of Born This Way warped to 2021 in the best way possible. All this to say that Rina has performed a bit of LUCID live only to transition into her Free Woman remix for what I'm sure is a highlight of the tour!! Listen below in the only quality I could find it:
He/Him
Some people will be very happy about the elimination of this controversial song
Hmmm
No
86
HIGH 10 (@TéléDex @sfmartin @Cotton Park @Remorque @CorgiCorgiCorgi), 9 (@slaybellz @BubblegumBoy @Ana Raquel)
LOW 0 (@Jonathan27), 2 (@godspeed)
Honestly? A Chromatica re-enactment was kind of a foreshadowing for the deluxe reissue of SAWAYAMA, and @godspeed's (2) comment is in line with this: "This is grating and goes nowhere. It kind of sounds like a Chromatica reject". Mostly a bunch of subpar tracks in comparison to the main album; but hey at least it gave us two good to great remixes and a gorgeous 2x LP vinyl pressing!
LUCID is a song that wants to enter the pantheon of masturbation jams and anthems, and we do love that moment of self-gratification for the women we stan, but it just doesn't have the range, unfortunately. Even the stans, @BubblegumBoy (9) and @Ana Raquel (9) are aware of the compromised quality, with comments like "It's basic but I still love it" and "I know it's basic but I don't mind going back for a style of song I like (and I don't think it should be that disliked among the fandom)". Well it did fare better than a whooping 3 other songs from the album, so... let's celebrate that? What should definitely not be celebrated is Bloodpop's decision/persuasion to drag out the non-choruses in these songs to tedious lengths.
The things about the production are, once again, a little shameful as the lyrics would suggest a much better, earwormy pop track that did make a statement. @R27 (7) is of the idea that: "This really isn’t nearly as bad as people make it out to be. Sure the drop is basic, but the rest of the song bops along pleasantly and is a bit of an earworm". But @Trouble in Paradise (3), in true 20QueerTeen host fashion, is here for the representation only: "Most of the points are for 'hey girl'". I think? Or am I misinterpreting ddd do you like the delivery of the line that much? Enlighten us if you may, please.
Lest we forget, one of the best tracks of the Gattaca era was released when Rina and longtime co-writer/producer Clarence Clarity took the wheel of Free Woman and repackaged it into the sound of Born This Way warped to 2021 in the best way possible. All this to say that Rina has performed a bit of LUCID live only to transition into her Free Woman remix for what I'm sure is a highlight of the tour!! Listen below in the only quality I could find it:
You know me so well my valiant host of the 20BiTeen Rate! I really am just here for a basic bop with seemless representation for those inclined
The last under a 7.00 average!
Plus the debut of a main artist we've yet to see....
Phoebe? Charli? or Chris?
85
HIGH 9 (@slaybellz @Dijah.), 8.5 (@BubblegumBoy)
LOW 2 (@Jonathan27), 3.5 (@Phonetics Girl)
Much like the HAIM rate, coinciding with the first loss from Charli's album (this is making me realize @2014 has been hosting eliminations for two of the discographies in this rate, how come?? You're going Infinity Stones collection on us and I fear I'll be next) is c2.0, one of the many songs in the rate that encapsulates the stream of consciousness on quarantining and being physically away from our closest friends for many months to come, mostly in soundwave form.
A remixed pitched up vocal from Charli (2019) favorite Click[citation needed] opens the track as it suddenly dissolves into a choir of click-click-clicks lending itself to Charli singing about the memories of a good summer spent with her best friends and all of that seeming uncertain in the present. What's it like to have a rainbow in your mind though? No clue but it's relatable. So while being a glorified remix with an added verse it wasn't exactly going to set the ranks on fire, people like @godspeed (7.5) found something to like in c2.0's simple offering: "Maybe not next level but definitely so legit".
@Trouble in Paradise (6) remains unfazed at large but gives credit where due: "She’s a risky girl and its not quite for me, but I’d say overall she pulls it off!". The original is an easy banger so stripping it off from its two great features, and keeping that 100 gecs-style breakdown at the start while making something that sounds a lot more tender, yet less melodic, I do think it was a risk to experiment with. Perhaps its case wasn't aided by the way party 4 u follows it, using quite a similar sonic palette on the less aggressive side of c2.0 to better, more agreeable results. But still, I like Charli indulging into the sentiment here and there in small doses.
Plus the debut of a main artist we've yet to see....
Phoebe? Charli? or Chris?
85
HIGH 9 (@slaybellz @Dijah.), 8.5 (@BubblegumBoy)
LOW 2 (@Jonathan27), 3.5 (@Phonetics Girl)
Much like the HAIM rate, coinciding with the first loss from Charli's album (this is making me realize @2014 has been hosting eliminations for two of the discographies in this rate, how come?? You're going Infinity Stones collection on us and I fear I'll be next) is c2.0, one of the many songs in the rate that encapsulates the stream of consciousness on quarantining and being physically away from our closest friends for many months to come, mostly in soundwave form.
A remixed pitched up vocal from Charli (2019) favorite Click[citation needed] opens the track as it suddenly dissolves into a choir of click-click-clicks lending itself to Charli singing about the memories of a good summer spent with her best friends and all of that seeming uncertain in the present. What's it like to have a rainbow in your mind though? No clue but it's relatable. So while being a glorified remix with an added verse it wasn't exactly going to set the ranks on fire, people like @godspeed (7.5) found something to like in c2.0's simple offering: "Maybe not next level but definitely so legit".
@Trouble in Paradise (6) remains unfazed at large but gives credit where due: "She’s a risky girl and its not quite for me, but I’d say overall she pulls it off!". The original is an easy banger so stripping it off from its two great features, and keeping that 100 gecs-style breakdown at the start while making something that sounds a lot more tender, yet less melodic, I do think it was a risk to experiment with. Perhaps its case wasn't aided by the way party 4 u follows it, using quite a similar sonic palette on the less aggressive side of c2.0 to better, more agreeable results. But still, I like Charli indulging into the sentiment here and there in small doses.
c2.0 is one of my least played tracks from how i'm feeling now because I felt I'd already rinsed Click but I found it really affecting when I revisited the album. I really like it as a sonically and lyrically sunnier counterpart to Click's hedonistic nocturnal vibe - I wouldn't mind and I wouldn't be surprised if A. G. Cook remixed an entire Charli album eventually.
LUCID is a banger too (and better than most of Chromatica at this point for me) but I was expecting a worse result for it.
LUCID is a banger too (and better than most of Chromatica at this point for me) but I was expecting a worse result for it.
2014
Staff member
@Jonathan27 didn’t come to play.
He/Him
Far from the first Charli song I'd wanna see out!