The "CRASH is beneath her" argument is dismissive and reductive. The girls noticed there were no PC music blink blonks this time around and went "not intellectual enough for my earbuds". CRASH brought Eurodance (which seems to be the next big thing for the coming years), garage beats (same thing), Janet references, jackswing, a Cherrelle sample... it is anything but lazy and uninspired. You girls shit on CRASH while simping for Carly Rae and literally any woman who puts a garage/jungle beat on top of their vocals, try to show your bias less! But yeah, maybe the blonde horse girl with her 5th grade lyrics notebook and an exemplar of My First Vocoder at the church meeting was the one to be done wrong in this rate.

But sis both Crash and Midnights are reductive and lazy, it's really not an either/or question! The only difference is that Midnights actually has a ten or two tucked in the depths of its monstrous deluxe edition, while Crash brought all of the things you mentioned and still ended up sounding vapid, lazy and, for an album that tries bopping so hard, rather boring! No one wants more hyperpop (the genre peaked with Pop2 anyway and it's finally time for it to die so we don't get any more Unholy attempts at forcefully squeezing its bone-dry udders) from Charli, but what I do want from her is fun music, that's like the bare minimum that she always did, even at her absolute worst... until Car Crash.

But I'm glad you mentioned an artist who ISN'T reductive! What we shan't be doing is dragging Lord Jepsus into this discussion, for she is the best example that you can indeed keep doing the same brand of pop music for more than 10 years and make it sound fresh every time! And her latest effort would hold its own comfortably in this rate.
Me enjoying the fights and draggings while being happy I can listen to albums from one of the best BPG rates of the last 10 years.





10 x 16 (@CorgiCorgiCorgi, @Dijah, @Attis, @daninternational, @Maria, @godspeed, @Robert, @nikkysan, @Laurence, @Gabeee9292, @Artemisia, @Trinu 3.0, @Music Is Life & Death, @Isobel, @Petty Mayonnaise, @Trouble in Paradise)
LOWEST SCORE: 2 x 1 (@Serg.)

"Sakura is the flower of the cherry, which is a flower that I adore and I find it very beautiful, but it's that it doesn't last for very long and, in some moments, some situations in life [...] they feel like this".

That was Rosalia on the meaning of this song. "SAKURA" sounds like it was recorded live, in concert. In part, that already says a lot about this song. It speaks about the ephemerality of success and life in general. The song is Rosalia essentially saying that she will not always be a pop star. That she's going to be so happy in the future, when she looks back to the past and remembers this moment in time.

This is such a gorgeous song, because it explains a lot of Rosalia's ethos. One of the lines in the end essentially translates to "If you don't take risks, then what's the point". And truly, this has been her career in a lot of ways. She took a dive switching from being an established flamenco singer to a pop star. It's payed off, clearly, but it's a crazy risk.

The song is technically a flamenco song, being carried mostly by Rosalia's vocals and very minimal production. It's in this cases where I don't think anyone else but Rosalia could carry a song like this. If Rosalia's voice doesn't soar, then the song wouldn't strike the nerve it does... but thankfully, I think we can all agree she knew exactly what she was doing here.

Perhaps I underscored this, it is beautiful, but I just don't see myself returning to this often away from the album.

Considering the severe case of ballodophobia most of the voters in this rate suffer from, I'm not too surprised about this elimination but it's still very disappointing to see it.
"SAKURA" would've very likely been my 11 in this rate - easily one of the most touching moments, alongside those gorgeous vocals and stunning melodies, there's really something soul-stirring about it. A perfect way to end the album.