he/him
Top 20 on that album, maybe (dd)
BIG POP GIRLS 2024
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he/him/basic cishomo
Pawsibilities
He/Him/His
Let's boot Guilty Pleasure
Let's boot Guilty Pleasure
Seriously though. Easily the worst non-interlude song in the entire rate for me and it's honesty baffling how it's already survived over thirty eliminations. Almost makes me regret not giving it a 0.
My high marks for Chappell's album contributing to her songs floating a little too long for @soratami to handle and driving her closer to madness <3
I'll shut up about Chappell once G**lty Pl**s*r* finally goes as I doubt any of her other songs will be eliminated anytime soon, but at least I can rest easy knowing my scores will help keep the two other remaining clunkers from her album from doing too well
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He/him
Oh we're not touching the Billie album before some of the unnecessary BLOAT in this rate is eradicated!
He/Him/His
No The Diner can go
Me after that scene in Mulholland Drive:
I finally took the time to read through last night's eliminations and I have some thoughts on "Fresh Out the Slammer" and TTPD in general. "Fresh" is a clear standout with it's Western-ala-Lana style opening chords and stellar opening line. Everything moves along swimmingly until it hits that bridge/outro. The production gets weird and not in an interesting or exciting way (in fact, paired with the "girl of his American dreams" line it kind of gives "Star Spangled Banner" energy -- which, I dunno, might be the point, but it doesn't work for me at all). The track as a whole is still good, but this left turn really tempers my enjoyment of it. Honestly, for an artist who often gets lauded for her bridges, I find this to be a recurring problem on the album where the middle 8s often drag their songs down.
Ultimately, with one or two exceptions, even my favourite songs from the album have issues with them that prevent me from loving and fully embracing them (hence, the 7-range scores I gave most of my personal "highlights" from it). Thus, the lack of editing isn't only an issue in terms of the gargantuan tracklists that have become standard for Taylor at this point, but with the tracks themselves (not so much the track lengths, but rather the underwhelming production choices and overwrought word salad that have resulted in an increasing number of lyrical clunkers that let down some of the otherwise promising ideas on the album).
Ultimately, with one or two exceptions, even my favourite songs from the album have issues with them that prevent me from loving and fully embracing them (hence, the 7-range scores I gave most of my personal "highlights" from it). Thus, the lack of editing isn't only an issue in terms of the gargantuan tracklists that have become standard for Taylor at this point, but with the tracks themselves (not so much the track lengths, but rather the underwhelming production choices and overwrought word salad that have resulted in an increasing number of lyrical clunkers that let down some of the otherwise promising ideas on the album).
He/Him
Billie's ooky spooky bops being the sole continuum across her albums, always reminding us she's a green-haired woman with tarantulas in her mouth at heart. A girl can't help but love and appreciate them!
I love her spooky bops when they don't get circusy, like Crown or NDA, but when it veers into clownery like Therefore I Am, she can keep them!Billie's ooky spooky bops being the sole continuum across her albums, always reminding us she's a green-haired woman with tarantulas in her mouth at heart. A girl can't help but love and appreciate them!