BLACK GIRL DEBUT MAGIC™ - WINNER
- Thread starter Mr.Arroz
- Start date
Perhaps I should have been a 10/10 troll and saved some of these tracks for the top 50?
Well bring on the next round of results I say!
Well bring on the next round of results I say!
Mr.Arroz
Staff member
he/him/his
#56
Tug of War
7.936
Highest score: 10 x 4 (@Kuhleezi, @lalaclairi_, @LE0Night, @Petty Mayonnaise)
Lowest scores: 6 x 1 (@soratami)
5.5 x 1 (@Sanctuary)
5 x 2 (@BML, @happiestgirl)
My score: 7.5
Track background: Produced by…..
The Fisticuffs (Brian Warfield and Mac Robinson) - both serving as a welcome departure from Druski's regular input, "Tug of War" is Goldenheart’s tenth track, and was written solely by Dawn herself. No much else to find on the track on the Interwebz to supplement the write-up, my sweets.
My thoughts: I’ve always loved the production on this one - it definitely fits the album’s overall mood/soundscape despite featuring production from someone other than the LP's main collaborator. The thing tho, is that it never really explodes. Like, if anything, it should be an interlude with the energy that it conjures, which isn’t…a whole lot... well, of anything. Should’ve called Kelela to help in the editing process… especially with how abrupt its ending is. Cute, I guess.
Your thoughts:
@TRAVVV (7.5) - Hot.
@Jwentz (8.5) - Bop
@digitalkaiser (9) - I love this. Sing along in the best ways, with incredible glitchy production to boot!
@Bangers&Bops (8) - That outer space tense sex jam that I am here for.
@KingBruno (9.5) - Let yourself go, queen.
@ohnostalgia (7.5) - Dawn serving operatic realness. I just wish the rest of the track was truly worthy of her adlibs.
@constantino (7) - Never one of my favourites on the album sonically, although I love the sense of defiance in the lyrics.
@Remorque (6.5) - The first song that's kind of a miss for me... It sets out to prove something, yet never quite gets there for me and instead just kinda plods along...
@Solenciennes (9) - I love the recurrent theme of overcoming an insurmountable obstacle Dawn’s deployed across several tracks, it’s satisfying in how well it unifies things.
@Trouble in Paradise (6.5) - More personality in this song, production is solid but with repeated listens the chorus starts to fall flat.
Live performance(s):
:(
Mr.Arroz
Staff member
he/him/his
And another one. Besos.
#55
JFK (feat. Theophilus London)
7.962
Highest score: 9.5 x 2 (@digitalkaiser, @Bangers&Bops)
Lowest scores: 6 x 1 (@CorgiCorgiCorgi)
My score: 8.5
Track background: “JFK” is BWET’s fourth song, written by Kevin James, Azealia herself, and Theophilus London, who joins her as a feature on the track. “JFK”’s production is lifted directly from Boddika’s track “Breezin” (2011), who is listed as the track’s main producer.
See Azealia describe the song here:
My thoughts: Her flow is so fucking slick here (as it usually always is tho, honestly), and then her vocals when it comes to singing?
Such a smooth groove, especially with how well produced it is. One of my favorites, but I can definitely see why it’s already leaving us now, especially with it receiving not a single 10 (!).
Your thoughts:
@Sprockrooster (8) - P.R.O.D.U.C.T.I.O.N.
@TRAVVV (7) - Ya shorty looking gorg … Lyrically, this feels like the lost sister of Esta Noche to me. Makes me wanna put on my pearls and cause a little drama. I love Theophilus as well. Certain bits of the production are a bit grating, but the lyrics always make me come back to this one.
@Bangers&Bops (9.5) - This hauntingly house song with that middle 8 gets me every time.
@He (8) - I do not come back to this as much, but it is still kind of great? I love the chorus. It’s one of the lesser tracks in this album, but that is because it is staked amongst so many 10s.
@ohnostalgia (8.5) - A royal march scored to robotic glitches, pulsating synths, cold bars. A crystalline siren song: “I’ll teach you how to allure.” Every queer girl’s echoing question: do I want to be her or be with her? We put on our finest emeralds and draw closer, drowning on her rocks.
@constantino (7) - Theophilus <3 I might be alone here but I adore the sparsity of this track; Zee doesn’t need dense, booming production to make an impact.
@Solenciennes (8.5) - Pretty great collaboration.
@Trouble in Paradise (6.5) - This song has the classic Azealia Banks sound but lacks any clear hooks. Her voice sounds nice in the hook but London doesn’t work here for me
Live performance(s):
#55
JFK (feat. Theophilus London)
7.962
Highest score: 9.5 x 2 (@digitalkaiser, @Bangers&Bops)
Lowest scores: 6 x 1 (@CorgiCorgiCorgi)
My score: 8.5
Track background: “JFK” is BWET’s fourth song, written by Kevin James, Azealia herself, and Theophilus London, who joins her as a feature on the track. “JFK”’s production is lifted directly from Boddika’s track “Breezin” (2011), who is listed as the track’s main producer.
See Azealia describe the song here:
My thoughts: Her flow is so fucking slick here (as it usually always is tho, honestly), and then her vocals when it comes to singing?
Such a smooth groove, especially with how well produced it is. One of my favorites, but I can definitely see why it’s already leaving us now, especially with it receiving not a single 10 (!).
Your thoughts:
@Sprockrooster (8) - P.R.O.D.U.C.T.I.O.N.
@TRAVVV (7) - Ya shorty looking gorg … Lyrically, this feels like the lost sister of Esta Noche to me. Makes me wanna put on my pearls and cause a little drama. I love Theophilus as well. Certain bits of the production are a bit grating, but the lyrics always make me come back to this one.
@Bangers&Bops (9.5) - This hauntingly house song with that middle 8 gets me every time.
@He (8) - I do not come back to this as much, but it is still kind of great? I love the chorus. It’s one of the lesser tracks in this album, but that is because it is staked amongst so many 10s.
@ohnostalgia (8.5) - A royal march scored to robotic glitches, pulsating synths, cold bars. A crystalline siren song: “I’ll teach you how to allure.” Every queer girl’s echoing question: do I want to be her or be with her? We put on our finest emeralds and draw closer, drowning on her rocks.
@constantino (7) - Theophilus <3 I might be alone here but I adore the sparsity of this track; Zee doesn’t need dense, booming production to make an impact.
@Solenciennes (8.5) - Pretty great collaboration.
@Trouble in Paradise (6.5) - This song has the classic Azealia Banks sound but lacks any clear hooks. Her voice sounds nice in the hook but London doesn’t work here for me
Live performance(s):
JFK?! Get taste girls!
I'm going to need to be more specific on that, I see.
Azealia's a fantastic artist and we all love her album (as we should), but there's Miss Camaraderie that needs to fuck off at this point.
Is it opposite day? Did I miss a memo?
I love it as a happy ending for the album but seeing as how Vulnerable by Tinashe was brutally tossed aside, I can't take anything for granted here.
Miss Camaraderie slander, on my Popjustice?
Miss Camaraderie gets a 10 alone for sounding like a rave in space before the world's about to end. GypjaQ and Azealia sing so perfectly together on the "I’ve been looking for someone sir, I'd've sworn you were on a journey searching for my amour too" line, it's an album highlight. Me being transported to another dimension when the Horn section starts in what is the best album closer in this rate by a clear margin.
Miss Camaraderie gets a 10 alone for sounding like a rave in space before the world's about to end. GypjaQ and Azealia sing so perfectly together on the "I’ve been looking for someone sir, I'd've sworn you were on a journey searching for my amour too" line, it's an album highlight. Me being transported to another dimension when the Horn section starts in what is the best album closer in this rate by a clear margin.
Mr.Arroz
Staff member
he/him/his
Say it louder for the girls in the back sisMiss Camaraderie slander, on my Popjustice?
Miss Camaraderie gets a 10 alone for sounding like a rave in space before the world's about to end. GypjaQ and Azealia sing so perfectly together on the "I’ve been looking for someone sir, I'd've sworn you were on a journey searching for my amour too" line, it's an album highlight. Me being transported to another dimension when the Horn section starts in what is the best album closer in this rate by a clear margin.
Mr.Arroz
Staff member
he/him/his
Thank you for the likes, boo.
YOU ARE A ROTTED GUTTED GILA MONSTER.
Opinions can change! But Chasing Time is still a bit boring to me.
Mr.Arroz
Staff member
he/him/his
ANYWAY
#53
Nude Beach a Go-Go
7.987
Highest score: 10 x 4 (@He, @soratami, @theelusivechanteuse, @Sanctuary)
Lowest scores: 6 x 3 (@Trouble in Paradise, @inevitable, @ufint)
5 x 2 (@BML, @Kuhleezi)
My score: 9
Track background: A sample/almost-complete-ish cover of Ariel Pink’s track of the same name, “Nude Beach a Go-Go” is a 60’s pastiche, which serves as what may be considered BWET’s most sonically-unexpected surprise. Azealia provides her own commentary here:
My thoughts: I did have a post buried somewhere in 2014/2015 PJ in either an Azealia or Iggy thread (thus explaining the throwback likes many of y'all have received today), but essentially, this song to me has always been ironic take/commentary on cultural appropriation, especially when taking note of the lines "Black girls' attraction/all the white girls join in the action", which for me, effectively points a finger at the Itchy Areolas of the world. Many times, in becoming "urban/hip", white artists will go through their so-called rebellious stage, starting to twerk, get cornrows, use an affected "Blaccent", and then, in some special cases, get plastic surgery to give them features (lips/booty) that are traditionally used as a pathway to be viewed as more authentic in "urban" (*cough* Black *cough*) spaces. Here, for me, Azealia flips that on its head, proclaiming that she has to do none of that to do her chosen genre any justice. There is no "whiteface", there is no blonde wig, no blue contacts.... all there is to be found is an unmistakable musical integrity, ability, as well as her message. It's literally one of my favorite things she's done simply for how subversive it can be read to be. But also... it's a fucking bop! I can, nevertheless, understand it leaving where it has, especially in contention with so much of the music that remains with us here. Funnily enough... it's actually playing as I'm writing this little post now :)
Now, let's see who gets it and who... flails around like a fish out of water. Your thoughts:
@Sprockrooster (9) - This feels so out of place on this album sonically, but therefore proves to be a such a breath of fresh air.
@TRAVVV (7.5) - The fuck?
@Bangers&Bops (8) - Azealia goes Becky for a minute. Such a fun bop that my friend once described as Beach Boys mixed with a commercial Christmas jingle. I’m here for that tbh.
@soratami (10) - I just know this is going to be done wrong, but it remains amazing
@ufint (6) - What the fuck is going on in here on this day?
@KingBruno (7.5) - Huh.
@Kuhleezi (5) - This is the most difficult song for me to rate in here. I still remember the jump I made the first time, and out of everything Azealia has served us this is still what I won't forgive her for (jk, this is me being a little extra). But still.
@He (10) - Apparently this was done to troll? But it’s amazing? Go Verona! Such a ridiculous change of pace and so greatly realised too.
@AshleyKerwin (9) - Misunderstood.
@ohnostalgia (8) - This is so proto surf punk and the haters will just have to deal!!!
@constantino (8) - For a while I couldn’t tell if I loved or hated this but the verdict is in and...I hate it ddd. It’s just so corny and awkward, especially sandwiched between two of her best tracks. EDIT: DDD WAIT I CHANGED MY MIND HA.
@Solenciennes (9.5) - B52s who? Beach Boys whomst? 60s when? Feels like I’m in a hippie minivan with Azealia, Daphne, Velma and the gang.
@Trouble in Paradise (6) - Really don't know how I feel about this. Her voice sounds great, but it feels too purposefully nostalgic and gimmicky in a way that "Lights Out" doesn't.
Live performances:
The instrumental:
#53
Nude Beach a Go-Go
7.987
Highest score: 10 x 4 (@He, @soratami, @theelusivechanteuse, @Sanctuary)
Lowest scores: 6 x 3 (@Trouble in Paradise, @inevitable, @ufint)
5 x 2 (@BML, @Kuhleezi)
My score: 9
Track background: A sample/almost-complete-ish cover of Ariel Pink’s track of the same name, “Nude Beach a Go-Go” is a 60’s pastiche, which serves as what may be considered BWET’s most sonically-unexpected surprise. Azealia provides her own commentary here:
My thoughts: I did have a post buried somewhere in 2014/2015 PJ in either an Azealia or Iggy thread (thus explaining the throwback likes many of y'all have received today), but essentially, this song to me has always been ironic take/commentary on cultural appropriation, especially when taking note of the lines "Black girls' attraction/all the white girls join in the action", which for me, effectively points a finger at the Itchy Areolas of the world. Many times, in becoming "urban/hip", white artists will go through their so-called rebellious stage, starting to twerk, get cornrows, use an affected "Blaccent", and then, in some special cases, get plastic surgery to give them features (lips/booty) that are traditionally used as a pathway to be viewed as more authentic in "urban" (*cough* Black *cough*) spaces. Here, for me, Azealia flips that on its head, proclaiming that she has to do none of that to do her chosen genre any justice. There is no "whiteface", there is no blonde wig, no blue contacts.... all there is to be found is an unmistakable musical integrity, ability, as well as her message. It's literally one of my favorite things she's done simply for how subversive it can be read to be. But also... it's a fucking bop! I can, nevertheless, understand it leaving where it has, especially in contention with so much of the music that remains with us here. Funnily enough... it's actually playing as I'm writing this little post now :)
Now, let's see who gets it and who... flails around like a fish out of water. Your thoughts:
@Sprockrooster (9) - This feels so out of place on this album sonically, but therefore proves to be a such a breath of fresh air.
@TRAVVV (7.5) - The fuck?
@Bangers&Bops (8) - Azealia goes Becky for a minute. Such a fun bop that my friend once described as Beach Boys mixed with a commercial Christmas jingle. I’m here for that tbh.
@soratami (10) - I just know this is going to be done wrong, but it remains amazing
@ufint (6) - What the fuck is going on in here on this day?
@KingBruno (7.5) - Huh.
@Kuhleezi (5) - This is the most difficult song for me to rate in here. I still remember the jump I made the first time, and out of everything Azealia has served us this is still what I won't forgive her for (jk, this is me being a little extra). But still.
@He (10) - Apparently this was done to troll? But it’s amazing? Go Verona! Such a ridiculous change of pace and so greatly realised too.
@AshleyKerwin (9) - Misunderstood.
@ohnostalgia (8) - This is so proto surf punk and the haters will just have to deal!!!
@constantino (8) - For a while I couldn’t tell if I loved or hated this but the verdict is in and...I hate it ddd. It’s just so corny and awkward, especially sandwiched between two of her best tracks. EDIT: DDD WAIT I CHANGED MY MIND HA.
@Solenciennes (9.5) - B52s who? Beach Boys whomst? 60s when? Feels like I’m in a hippie minivan with Azealia, Daphne, Velma and the gang.
@Trouble in Paradise (6) - Really don't know how I feel about this. Her voice sounds great, but it feels too purposefully nostalgic and gimmicky in a way that "Lights Out" doesn't.
Live performances:
The instrumental:
Last edited:
Mr.Arroz
Staff member
he/him/his
And part two of our tie for the day!
#53
Wallace
7.987
Highest score: 10 x 3 (@BML, @KingBruno, @LE0Night, @theelusivechanteuse, @Sanctuary)
Lowest scores: 5.5 x 1 (@A&E)
4 x 1 (@Trouble in Paradise)
My score: 9
Track background: From Genius:
"Wallace" was produced by Filip Nikolic & Young Skeety, and written additionally by Trevor McFedries, Kevin James, Filip Nikolic & Azealia herself. It is the album's sixth track, and was first premiered by Azealia during her tour in Glasgow, Scotland, on September 16, 2014 (video below!). See Azealia discuss the song HERE and HERE.
My thoughts: This just be the most un-pop track on the album? Either way, it speaks to the R&B/hip-hop side of me, I love the drums on the tracks as well as her vocals, but her flow on the second verse? Another jaw-dropping moment for me, especially the line "Ya lick the left one ya gotta lick the right one too, nigga", which is quite possibly my favorite on the album.
Your thoughts:
@Bangers&Bops (8) - This is the song you'll put on while licking someone special... and maybe swallowing?
@soratami (8) - This being picked as a single was such a strange choice
@KingBruno 10) - Her songwriting skills are very special, aren’t they?
@He (8.5) - Another one of the “lesser” tracks, and still a great one. Azealia can write choruses, huh?
@ohnostalgia (8) - Lava. Searing, visceral, transformative, deadly. Azealia. Beam her up, set the trap, destroy men. “You die as you sink into the molten rock and the heat overwhelms your organs. If they haven’t shut down due to stress, then the lava will pour in and physically eat away at them.” Scorch them all, leave your mark.
@constantino (9) - The hooks, the HOOKS on this track. Will my follicles ever recover? I just don’t know.
@Solenciennes (8) - Hot lava? Hot lover?
@Trouble in Paradise (4) - Clunky production, the beat really works against Azealia's flow and any momentum in the song.
Live performance(s) / video(s) :
(I was there!!!)
Two more songs out a little later today! Keep your eyes peeled :)
#53
Wallace
7.987
Highest score: 10 x 3 (@BML, @KingBruno, @LE0Night, @theelusivechanteuse, @Sanctuary)
Lowest scores: 5.5 x 1 (@A&E)
4 x 1 (@Trouble in Paradise)
My score: 9
Track background: From Genius:
"Wallace" was produced by Filip Nikolic & Young Skeety, and written additionally by Trevor McFedries, Kevin James, Filip Nikolic & Azealia herself. It is the album's sixth track, and was first premiered by Azealia during her tour in Glasgow, Scotland, on September 16, 2014 (video below!). See Azealia discuss the song HERE and HERE.
My thoughts: This just be the most un-pop track on the album? Either way, it speaks to the R&B/hip-hop side of me, I love the drums on the tracks as well as her vocals, but her flow on the second verse? Another jaw-dropping moment for me, especially the line "Ya lick the left one ya gotta lick the right one too, nigga", which is quite possibly my favorite on the album.
Your thoughts:
@Bangers&Bops (8) - This is the song you'll put on while licking someone special... and maybe swallowing?
@soratami (8) - This being picked as a single was such a strange choice
@KingBruno 10) - Her songwriting skills are very special, aren’t they?
@He (8.5) - Another one of the “lesser” tracks, and still a great one. Azealia can write choruses, huh?
@ohnostalgia (8) - Lava. Searing, visceral, transformative, deadly. Azealia. Beam her up, set the trap, destroy men. “You die as you sink into the molten rock and the heat overwhelms your organs. If they haven’t shut down due to stress, then the lava will pour in and physically eat away at them.” Scorch them all, leave your mark.
@constantino (9) - The hooks, the HOOKS on this track. Will my follicles ever recover? I just don’t know.
@Solenciennes (8) - Hot lava? Hot lover?
@Trouble in Paradise (4) - Clunky production, the beat really works against Azealia's flow and any momentum in the song.
Live performance(s) / video(s) :
(I was there!!!)
Two more songs out a little later today! Keep your eyes peeled :)
Last edited:
Mr.Arroz
Staff member
he/him/his
he/him
Y'ALL AIN'T SHIT !!!
I was expecting to lose Nude Beach, but Wallace??
I think Wallace is one of my most played songs ever with over 400 plays ddd. It's just... a musical journey from start to finish with her groove on the track. It's her most wordsmith track and just how she plays with words and rhymes and flow is iconic. "You lick the left one, you gotta lick the right one too" had me gagged when I first heard.
Other lyrical highlights:
Friar flyer, I’m the Nostra-dyme and I say, say I says how do ya?
I cloud all day and night, outta sight
I’m miss “so-high” so I wore some eye wears and tie-dye
Alright, young blood, nice to know ya
Should I give my name, if I think ya knew it already?
What a brave design, what a time
Ay, Monsieur I’m so live and so worldwide
He said it's just me Miss Miss Bank$ a.k.a. Nestlé
A.k.a. best he, ever had sex he
Ever got licked, but he never got swallowed
Yeah, I'm styling a starlet a scene
Carve a diamond tiara, pour tea
One time for senora cherry, oh yeah
Yeah, I'm lilac and laurel a tease
You’re a giant, I saw all your teeth
Rottweiler, let’s barter, let’s see, let's see, oh yeah
I was expecting to lose Nude Beach, but Wallace??
I think Wallace is one of my most played songs ever with over 400 plays ddd. It's just... a musical journey from start to finish with her groove on the track. It's her most wordsmith track and just how she plays with words and rhymes and flow is iconic. "You lick the left one, you gotta lick the right one too" had me gagged when I first heard.
Other lyrical highlights:
Friar flyer, I’m the Nostra-dyme and I say, say I says how do ya?
I cloud all day and night, outta sight
I’m miss “so-high” so I wore some eye wears and tie-dye
Alright, young blood, nice to know ya
Should I give my name, if I think ya knew it already?
What a brave design, what a time
Ay, Monsieur I’m so live and so worldwide
He said it's just me Miss Miss Bank$ a.k.a. Nestlé
A.k.a. best he, ever had sex he
Ever got licked, but he never got swallowed
Yeah, I'm styling a starlet a scene
Carve a diamond tiara, pour tea
One time for senora cherry, oh yeah
Yeah, I'm lilac and laurel a tease
You’re a giant, I saw all your teeth
Rottweiler, let’s barter, let’s see, let's see, oh yeah