BIG POP GIRLS 2022 - THE END

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58

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7.2733

HIGHEST SCORE: 10 x 5 (@CorgiCorgiCorgi, @Jersey, @Blond, @Trinu 3.0, @Heartthrob)
LOWEST SCORE: 3 x 1 (@happiestgirl)
MY SCORE: 7

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"AISLAMIENTO" is the latest to fall from MOTOMAMI's deluxe edition, leaving only "DESPECHA" as the remaining song from the reissue.

"AISLAMIENTO" is one of the softer moments on the album. It's practically a vulnerable ballad where Rosalia explains the duality of her life. On one end, she has the public persona which we know. On the other end, she has her own private life. The song is about this wall placed between us, as the audience, and her life. It's totally understandable why a celebrity would want this, but it seems that Rosalia is ashamed of doing this with the outro of the song.

It appears as such, Rosalia is framing fame as both a blessing and a curse. It's really interesting seeing this album following this theme so closely, as it comes straight after inarguably blowing up. It reminds me a lot of Billie Eilish's last album, which also touched on this tensions between celebrity, identity and privacy. It's just neat seeing how they both differ. Whereas Billie saw it as a problem for romantic relationships (with songs like "NDA"), Rosalia sees it as an issue for her relationship with her fans with songs like these.

In terms of the production, this is essentially just a drone sound filling up the space for most of the song, with some flamenco (?) inspired drums in the background coming to the forefront for the chorus. It's honestly gorgeous. I know most of the people here do not speak Spanish fluently, so the biggest denominator as to what makes her songs good are the melodies and the production. I totally understand why this song would really work for some with that in mind.

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Wasn't gonna bother defending Labyrinth because I figured we were going down in flames but now? Why not.

For all the complaints about Midnights being redundant in Taylor's discography, Labyrinth genuinely pushes her further into the synth dreamscape sound that she explored as far back as This Love. While hardly some huge sonic pivot, it refines her approach to that sound while also offering some light meta commentary on her career with the chorus hook: she's lost in search for romance once again. And I think the breakdown at the end is great! Like footage of a plane crash getting stuck on the tape right before collision.

I swear y'all want her to do something different and yet here we are with largely the most uninspired cuts from Midnights outlasting basically anything verging on adventurous because you don't have the attention span for the full album. At least throw that shit on shuffle!

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Yes I recognize there was another elimination in the meantime but I had already started typing!
 
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"Mastermind" is... perfect and the whole point is that her neuroses come not from some natural ability to be two steps ahead of everyone, but the sheer fear of lagging behind everyone. The bridge is word vomit but it's like someone calling you out on these behaviors and being forced to recognize you're not cunning but just entirely terribly damaged. The "mastermind" bit is tongue-in-cheek because the subject of affection saw through the facade the whole time.
 
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Also these should leave next because they're my only sub-6's left:

Plan B 5.5
Snow On The Beach (feat. Lana Del Rey) 5.5
Baby 5
CANDY 5
COMO UN G 5
DELIRIO DE GRANDEZA 5
Lighting 5
Vegas 5
Karma 4
SAKURA 4
 
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