Discussion in 'Charts, rates etc' started by Phonetics Boy, Apr 27, 2020.
I agree with @godspeed, her music was not what I expected based on her aesthetic.
I'm ready to lose some Florence.
You've been sleeping with one eye open
'Cause he always could come back, ya know?
And you've been walking these streets unguarded
Waiting for any man to explode
Highest: 10x3 @Phonetics Boy @Oleander @Music Is Life
Lowest: 6x3 @finito @Crisp X @Cutlery
#5: 50 (8.0)
#10: 55 (7.86)
#15: 65 (7.73)
#20: 70 (7.68)
#25: 59 (7.845)
#28: 68 (7.85869565)
Why her? Yesterday, I was scrolling reddit and there was an advice I read: if you’re a single woman looking for a flat, don’t pick one on the ground floor. It’s easier to gain access to through a window. Gee, thanks! Another item in my paranoia’s shopping cart is exactly what I need! And all I wanted was an existence without the burden of femininity! Unlikely? At least I’m not from the USA, where the onus is on you to get a gun/spray/taser to protect yourself from assault.
Ugh, soz 'bout this incoherent digression. I'm just tired of failing to put my thoughts into writing and relatives have been doing their darndest to talk me out of my sanity. I've been working on this post half a day, so I'm determined to do the bare minum just to get it out.
*clears throat nervously*
Shall we get back to talking the amazing song we have at hand?
The structure is the best thing about “Velvet 4 Sale.” Starts off with haunting gasps against the background of a foreboding instrumental (how many times have I said this already in this rate ddd), then the bluesy verses where Meghan sweetly sells you on the idea of getting a firearm “cause he always could come back” (ain’t that right, sis! an order of protection won’t get a dedicated stalker off you back!) Finally, the chorus explodes into the leftfield, beyond the reach of my musical reference points, all I know is the arrangement “rises” in tune with the thrill that takes over the victim turning into the predator at long last.
Today's a constantino & Trouble In Paradise special, so I'll leave them to it:
@constantino (8.5): "This song makes me feel like I’m in a 60s spy flick...I live!"
@Trouble in Paradise (9): "Basia Bulat, AKA Horse Girl, introduced me to U.S. Girls and it was a real gift."
I won't forget, so why should I forgive?
Supply me with one reason why, boy?
Highest: 10x3 @Phonetics Boy @fatyoshi @Music Is Life
Lowest: 3x2 @Crisp X @Cutlery
#5: 11 (9.125)
#10: 33 (8.44)
#15: 33 (8.32)
#20: 56 (7.97)
#25: 52 (8.0)
#28: 67 (7.86956522)
M.A.H. is a song written about the man who single-handedly stopped the Bernie Sanders’ movement.... jk, I don’t intend to get too political in here! Let’s just praise U.S. Girls for being ahead of her time, singing about how Dems ain’t shit three years ago.
This is the track whose performance made me very what'snotcklicking.gif. It tumbled down the leaderboard after practically being tied for #10 at first, which, to say the least, disappointed me. I mean, you got Meghan Remy, Kylie's vocal deadringer, serving us a campy Baccara-esque romp. How tf can you deny it?
We won't find out from the evening's double act:
@constantino (9): "If I wasn’t an abolitionist, I would enjoy how this sounds like the theme song of a 70s NYC-based cop comedy."
@Trouble in Paradise (8.5): "U.S. Girls really crushes updating a classic 70s sound for contemporary listeners. It’s interesting to me cause her vocal tone is not my typical cup of tea but she really makes it work within her soundscape."
Hey @Crisp X
I couldn't get past the vocals. Sorry. Something clicked with Rosebud though. Either way, the lyrics to these two songs are great to read
The Kylie vocal reference was like a brain blast moment!! Also feel free to get political and vent!! It’s what our witches would want!
I knew Hana from 'we appreciate power', so i was expecting something more like it. As for U.S. Girls, i'm kinda surprised, i really though it would fare better... oh well~
I'm back after having my scalp tugged at by Black Is King last night!
"What a nice coincidence," I thought, opening the spreadsheet to look at the songs we're seeing off today.
Someone's walking over my grave
Sudden shiver, taking a dip in a river in winter
Cold breeze caressing frozen cheeks
Highest: 10x1 @constantino
Lowest: 5.5x1 @Stradiwhovius
#5: 67 (7.7)
#10: 49 (7.925)
#15: 51 (7.916)
#20: 59 (7.9125)
#25: 61 (7.83)
#28: 66 (7.875)
"Lu actually coined her own term for her particular style of music: ‘Luthereal’.
‘Luthereal stems from the word ethereal, which means extremely delicate and light in a way that seems not to be of this world,’ she explained to Vogue. ‘When I perform, I feel like I'm tapping into things unseen. Good music is not of this world and yet, it is in it.’
Out of all the songs on the album, "Atlantic" fits this description the best, I feel. In hindsight, my 9.5 might not have been enough for it. As I'm listening to "Atlantic" in isolation, it reveals itself quite a bit and makes me think I would have given it more attention if it was anywhere before "Poor Fake" on the tracklist. Still, it's easily a stand-out of the second half, which perhaps houses one too many interludes for my taste...
...which swiftly segues [email protected]'s (8.5) comment: "The way this builds into "Down2ridE" which then builds into "Blood" is what I call a finale. Bewitching music that makes you want to jump into the Atlantic." At this point in the album, I'm like "how many more instrumentals can you cram in the back half of this alberm, sis??"
@Trouble in Paradise (9) proves that Florence stans will be Florence stans: "I love me some ocean themes!"
Meanwhile, @constantino (10) brings up some white mediocrity; idon'tknowher.gif, etc.: "The grandeur! Kate Winslet, eat your heart out."
Blood is written in the law
Nothing's hidden after all
Someone’s missing all our calls
And I'm trying to get through
Bodies written in the law
Bodies hidden in the floor
History has taught us hope
Hope is the answer
Yes, it is
Highest: 10x4 @constantino @aux @godspeed @Music Is Life
Lowest: 5x1 @Sprockrooster
#5: 77 (7.2)
#10: 67 (7.625)
#15: 77 (7.36)
#20: 76 (7.5225)
#25: 65 (7.798)
#28: 65 (7.89107143)
“Blood is something that we are universally bound to as a source of life. It’s also a very visual word. When you hear it a colour comes to mind; red is a powerful colour. There’s a fear in blood, there’s a fear of the unknown of blood – if you’re walking somewhere and you see blood on the ground, you immediately want to know what happened. Despite this, the last track on the album which is called Blood, is ultimately a message of hope. An observation of history and the ways in which it hasn’t been kind to black bodies. Hope is one of the most valuable perspectives for black people, it’s what we have survived on for centuries. For young people, especially young black people, hope means wanting a life worth living, being something that either they have not been told that they could be or that they’ve been told they can’t be, just a will to live.”
A real beautiful quote from Kelsey Lu herself is what I want to leave you with for today.
Also, pour some out for constantino, who just lost two of his 10s at once!
@constantino (10): "This is Joanna Newsom tier. I’m not sure if a bigger complement exists than that."
@Cutlery (8.5): "a closer! musically, it’s undoubtedly a little disney, but lyrically, lu just makes her statement of what hope is to her and it’s as brilliant as she goes." Speaking of Disney, Black Is King wishes it had this instead of "Spirit" as the closer!
@Trouble in Paradise (9.5) manages to mention the F word yet again: "I love how Kelsey gives her voice and lyrics center stage here. It’s crazy to realize this is her debut and she came out with such a clear vision and voice. I would kill to hear Florence cover this, but at the same time Kelsey staked her claim in it. She’s taken so many influences but distilled it to her sound. From the lilting harps to the “drop-drop-dropping to the floor” I can try to pick out each reference point, but when you are listening it all just sounds like Kelsey Lu."
I love how @godspeed (10) provides a sparknotes run down of Blood throughout his commentary for the title track: "There's no need to beat around the bush for too long: this is simply utterly gorgeous. I love how Blood opens on a couple of folky songs before revealing more ambitious and extravagant productions. And then, after "I'm Not In Love," the production sort of goes back to the organic and folky sound of the first few tracks while still remaining complex, layered and including sonorities Kelsey Lu experimented with earlier on the album. It feels like there is an evolution throughout Blood. As Kelsey Lu explained herself, the beginning of the record is her looking back to the past, reflecting on her life and her childhood. The middle of the album is her living in the present and having fun and experimenting, being truly free with her music and herself. And finally the end is her looking towards the future, what is going to come next, unsure and yet embracing change and what life may bring. Blood is such a stunning album and the closing title track does it justice. It's so full of hope without ever sounding too idealistic. "Jazz ain't dead, it's in us all/History has taught us hope/Hope is the answer/Yes, it is." What a powerful way to close an already powerful album. It's the definition of "ethereal." Or Luthereal, as she puts it, ha!
I'm going to proceed with 1 elim per day until we get to the 8s at #55.
From then on, things get... explosive.
Now that would've been a song.
Blood (track) was done a bit dirty!
I knew "Atlantic" wouldn't be long for this rate, but @Cutlery is right, "Blood" was done wrong and reading Kesley's quote makes me wish I bumped it up to a 10!
also sorry I'm such a rabid Flo stan,,,,
These two-at-a-time losses for specific artists are both brutal, but also appealing to my love of pairs. So, there's that.
The Kelsey songs were not two of my highest scores for her, but I still enjoy them both. I don't know about her losing two back-to-back like that. I really liked both write-ups & commentary, though. I only know a little bit about her, so it's great getting some more insight.
All in good fun x
A sincere thank you for providing commentary for all the songs, if I haven't yet! Always makes a write-up fuller and better (and so do others' contributions, even if less frequent xoxo).
It's rare that just a gif reaction makes me laugh out loud but that was perfect
Hopefully the three 10s I gave her do far much better than this.
There's one artist from the extras section who I am pleasantly surprised hasn't lost a song (ok, EXCITED!), but I am scared to mention her by name for fear of jinxing.
black hole - 8.5 Just realized this standalone sounds a lot like early Lights. Might explain why it took me back to 2009.
mad as hell - 3 The vocals feel oddly grating on purpose and this has the pastiche-y disco sound of the latest Arcade Fire album. Hard pass.
Samesies, I did like her other songs much more though.
And I wanted to tell you what you wanted to hear
But you told me to let it all out, dear
Highest: 10x1 @Joli Chat
Lowest: 4.5x1 @Hurricane Drunk
#5: 33 (8.375)
#10: 35 (8.388)
#15: 53 (7.91)
#20: 57 (7.93)
#25: 64 (7.81)
#28: 64 (7.91304348)
“I wrote this song after I got in a fight with my partner. It was like domestic stuff, like, “You didn’t fold the laundry!”, or something, you know, and a song about forgiveness, like, “Let’s not be mad about the stupid stuff.”
Why her? At the end of the last year I barely knew Sharon Van Etten by name. It was @AshleyKerwin's post in the Rates Queue, where she had been mentioned alongside Angel Olsen, Jenny Lewis and Courtney Barnett that prompted me to decide these artists absolutely must be represented. So I got to Sharon's 2019 LP, Remind Me Tomorrow, in my quest to pick out the tracks I would score highly, and besides the singles, two songs were standing out on first listen - "Hands" and "You Shadow." The latter was slightly lower-key compared to the glittery-nostalgia extravaganza of "Comeback Kid" and "Seventeen," but the former was that distorted rock stormer, fitting the angstfest theme to a T!
In the end, it survived over 20 eliminations, which makes Sharon exactly the 10th out of 20 Extras to lose a/the song. Not too shabby for a noisy downer of an album track!
@constantino (9) probably would have been pleased to see Remind Me Tomorrow included in full: "This album is so fucking good ahhhhh."
@Trouble in Paradise (9.5) highlights the topicality of it all: "Anyone who has been quarantined with their romantic partner either 100% relates to this song or is a cyborg without human emotions." Do grandmas count? (the petty arguments, not the loving relationship part)
Giving out a "hint" for what's in store tomorrow. Proceed to feel mad at your own discretion:
Either fka Twigs', Florence and the Machine's or Weyes' first Blood will be drawn.
Separate names with a comma.