Nooooo I love Nude Beach A Go Go. Should've bumped it up to a 10.
BLACK GIRL DEBUT MAGIC™ - WINNER
- Thread starter Mr.Arroz
- Start date
SHUT UP BEFORE I EXPOSE YOU AGAIN
With such high caliber music left it was Wallace’s time to go and that’s just the tea.
Hot lava, hot lava
Hot high Lady Lucid, the city
Hot high Lady Lucid, the city
he/him
Idle Delilah is similar to Wallace so let me readjust my expectations a bit too for that.
If y'all heathens do Soda wrong....
Y'all probably overrated Ice Princess didn't y'all.
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he/him
You can't overrate a track that's objectively a 10, presh.
Apparently it's possible to underrate an objective 10 tho given that Wallace is already out.
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 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:
Yas at this fucking commentary sis!! Subversive bawp. I wouldn't have been mad if it hit Top 10 tibbs.
These Azealia scores. So....wrong. Did y'all not hear the expertly-layered, possessed chants at the end of JFK? The bizarre kelzmer/snake charmer moment on Wallace? The reverse cultural appropriation expedition of Nude Beach A-Go-Go?
Honestly this rate is just reminding me how classic Broke With Expensive Taste is. Azealia's a genius. But y'all are gonna place Ice Princess in the top half of her album, aren't you? Mess.
Honestly this rate is just reminding me how classic Broke With Expensive Taste is. Azealia's a genius. But y'all are gonna place Ice Princess in the top half of her album, aren't you? Mess.
Honestly scoring anything on Broke With Expensive Taste lower than a 7 is trolling and that's just the tea.
My brother wanted to say this for JFK getting eliminated yesterday: "JFK, blown away, what else do I have to say".
Eh, all things considered, I thought Nude Beach a Go Go would do worse, so good for it?
Eh, all things considered, I thought Nude Beach a Go Go would do worse, so good for it?
Mr.Arroz
Staff member
he/him/his
I love it when y'all fight. Ha!
#52
Gleaux
8.064
Highest score: 10 x 9 (@A&E, @ohnostalgia, @kermit_the_frog, @LE0Night, @ufint, @Remorque, @Vitamin, @constantino, @Petty Mayonnaise)
Lowest scores: 6 x 2 (@BML, @1991)
5 x 2 (@happiestgirl, @paperboyfriendd)
4.5 x 1 (@2014)
My score: 9
Track background:
Track #5 on Goldenheart, "Gleaux" was co-produced by both Druski and Deonte Rogers. Both join Dawn on writing duties.
My thoughts: One of the more instant, traditional tracks that Dawn has to offer her. The vocal production is on point as well.
Your thoughts:
@TRAVVV (9) - An extra .5 points for the faux french spelling here.
@digitalkaiser (8.5) - Her vocals sound so gorgeous here. I think this is one of my favorites on this album simply because the production is so plush and pristine and the structure of the song evolves as the song goes.
@Bangers&Bops (7.5) - The vaguely Latin-tinged pulsations are a nice touch but to me this is one of the weaker tracks.
@Kuhleezi (8.5) - I love me some stereo drum patterns. The verses leave me kinda cold, but that ending is definitely something.
@AshleyKerwin (7) - The bridge is good.
@ohnostalgia (10) - Binaural handclaps underscore haunting folktronica, pushing us to our full potential, a constellation of self-realization.
@constantino (10) - The production on this track is off the fucking chain; full of intricacies, twist, turns, light, shade…it’s just spectacular. She covers this kind of sonic ground a lot on Goldenheart but this is probably the most successful execution of these soundscapes.
@Remorque (10) - Fantastic performance. Immaculate production. The title says it all, really... Epic song.
@Solenciennes (9) - I feel like the first two thirds of Gleaux is a bit of a retread of sounds from Riot and Intro (In The Hearts Tonight), just an observation. The segue gives it a bit of an identity but maybe comes a little too late, would have been interesting for the song to have been built off of the latter section of the track.
@Trouble in Paradise (8.5) - Really dig the pulsating sense of this song, the breakdown is unexpected but beautiful. The hand clap intro sets the tone so well. Her voice has such a nice softness to it here.
Live performance(s):
#52
Gleaux
8.064
Highest score: 10 x 9 (@A&E, @ohnostalgia, @kermit_the_frog, @LE0Night, @ufint, @Remorque, @Vitamin, @constantino, @Petty Mayonnaise)
Lowest scores: 6 x 2 (@BML, @1991)
5 x 2 (@happiestgirl, @paperboyfriendd)
4.5 x 1 (@2014)
My score: 9
Track background:
Track #5 on Goldenheart, "Gleaux" was co-produced by both Druski and Deonte Rogers. Both join Dawn on writing duties.
My thoughts: One of the more instant, traditional tracks that Dawn has to offer her. The vocal production is on point as well.
Your thoughts:
@TRAVVV (9) - An extra .5 points for the faux french spelling here.
@digitalkaiser (8.5) - Her vocals sound so gorgeous here. I think this is one of my favorites on this album simply because the production is so plush and pristine and the structure of the song evolves as the song goes.
@Bangers&Bops (7.5) - The vaguely Latin-tinged pulsations are a nice touch but to me this is one of the weaker tracks.
@Kuhleezi (8.5) - I love me some stereo drum patterns. The verses leave me kinda cold, but that ending is definitely something.
@AshleyKerwin (7) - The bridge is good.
@ohnostalgia (10) - Binaural handclaps underscore haunting folktronica, pushing us to our full potential, a constellation of self-realization.
@constantino (10) - The production on this track is off the fucking chain; full of intricacies, twist, turns, light, shade…it’s just spectacular. She covers this kind of sonic ground a lot on Goldenheart but this is probably the most successful execution of these soundscapes.
@Remorque (10) - Fantastic performance. Immaculate production. The title says it all, really... Epic song.
@Solenciennes (9) - I feel like the first two thirds of Gleaux is a bit of a retread of sounds from Riot and Intro (In The Hearts Tonight), just an observation. The segue gives it a bit of an identity but maybe comes a little too late, would have been interesting for the song to have been built off of the latter section of the track.
@Trouble in Paradise (8.5) - Really dig the pulsating sense of this song, the breakdown is unexpected but beautiful. The hand clap intro sets the tone so well. Her voice has such a nice softness to it here.
Live performance(s):
ohnostalgia
Staff member
She/her
Chasing Time is the one ring to rule them all and that's the tea.
Whew
Whew
Mr.Arroz
Staff member
he/him/his
No, because Britney isn't horrible, but Kim Richards is.I think you meant this
