COMPLETE - The Indie/Alt Pop/Not-quite-'Mainstream'-but-still-accessible Girls 2017 Rate!!1
- Thread starter constantino
- Start date
He/Him
Sorry if this is super delayed but is it really that wrong for people to put off by that incredibly affected way of singing? Like there's probably people in this very rate who’ll say “YAS ICONIC pronunciation queer legends!!!1!”
It was by far my biggest hurdle to falling in love with the album - which I have since - and getting into them as artists - I stan. The melodies are tight, the hooks are plentiful, the lyrics are powerful, and the production helps tie everything together cohesively.
Katie has a strong, beautiful, expressive voice.......when she sings straight and cuts the bullshit. There are certain portions on the album where she literally sounds like the “Indie Girl introduced her kitchen” vine .
If Halsey can take the (deserved) criticism, then so can Muna/Katie,
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Glad to see that the superior MUNA song is the last standing.
Checked my score for I Know A Place, poor it.
Is there a remote possibility you are, by any means or chance, home of phobic?Checked my score for I Know A Place, poor it.
Dddd I know you've always stanned sis but it was my only MUNA score below a 7.
Y’all want the tea? Although I pretended to like it, I really didn’t get this one at first first and so I can identify with the low scorers. But one day...it all clicked with me in a BIG way...
I have looooooooooooooooooost a hero
I have looooooooooooooooooost a friend
But for yooooou, darling
I'd do it aaaall again
I have looooooooooooooooooost a hero
I have looooooooooooooooooosta friend
But for yooooou, darling
I'd do it aaaall again
9. St Vincent - New York
Average: 8.75
High: 11 x 2 (@Cassava @JamesJupiter) 10 x 19 (@enjoy @Trouble in Paradise @JapaneseJesus @Serg. @LE0Night @Bangers&Bops @Animalia @MiChiMadNesS @Lila @Remorque @soratami @NecessaryVoodoo @Euphoria @Remyky22 @Stradiwhovius @Heaven on Earth @Slice of Life @A&E)
Low: 5 x 2 (@Bolton @tylerc904)
My score: 10
10 voters in: 8
20 voters in: 7
30 voters in: 23
40 voters in: 14
50 voters in: 13
60 voters in: 10
WHEW! I don't know which journey I found more engaging: the sudden discovery of my love and adoration for this track or watching this fight itself back into the top 10 after plunging into the mid-20s. Honestly, this little piano ditty surviving this long is a bit iconic, especially since I thought it might only scrape the top 30 at best. The Annie cull that we witness from the top 50 to the top 30 was brutal, but worth it considering that she still managed to get two songs (the rightful two, at that) comfortably into the top 10. Talent always wins, y'all!
The first single from Masseduction, New York was first performed a year prior at a benefit concert in...you guessed it...New York City, without a chorus or the meatier production flourishes. The song was met with a warm, albeit somewhat tame response, especially compared to the fan reaction to 'Los Ageless' and 'Pills'. In fact, New York in many ways could be seen as the antithetical sister to the Los Ageless. Aside from the East Coast/West Coast polarity, the wilder, longer, explosivity of Los Ageless”is sharply contrasted by the shorter, sweeter, subtlety of New York. The ying-and-yang-ness of it all is exactly why these two tracks both making the top 10 fills me with joy - they are both absolutely essential.
This is just...so pure? Sonically, it harks to the show tunes sounds that she toyed with on the self-titled, mainly the wonderful ‘Severed Crossed Fingers.’ On an album full of hidden meanings and deception, New York is a sweet little ditty in which Annie pays homage to her favourite city and actually talks about a relationship that seems fairly healthy - her adorable and highly shippable relationship with Cara Delevingne (RIP Cannie). If years of stanning Annie have taught me anything, it is that she is a closed book and would much rather leave things to the listener's imagination instead of putting it all out there. I therefore I cannot even fathom how difficult it must've been becoming 'Cara Delevingne's musician fiancé' as her music career neared the mainstream gaze, with details of their relationship becoming gossip column content.
Thankfully, there was no 'Hiddleswift' nonsense to be found here, and despite them eventually spitting up, this song remains a stunning tribute to their beautiful relationship and now friendship. Rather than give an entire thesis (like I have oop), Annie shared the following about the inspiration behind the track:
“‘New York’ is really a composite for me. It’s everybody I love in that song. It’s everybody I love and it’s everybody in New York. It’s my whole life in a song.”
Even Ella stans!
o wow sfmartin (5) cancelled: Not here for the quieter moments album unfortunately. No desire to listen to this more than once.
Happiestgirl (6)...was always cancelled so w/e: 'This song kind of killed the hype for the new album for me, but thankfully Los Ageless revived it. There’s nothing wrong with it, and the lyrics are lovely, it’s just not really anything special.' But...this is like the DEFINITION of special??
Fantasy (7) was fairly complementary but a 7 is too low to let pass so yes, you are also cancelled: I thought this was going to be a piano ballad the whole way through but I was pleasantly surprised when the drum parts came. This is a really simple but beautiful song, especially the lyrics about losing someone and how empty the places you made memories with that person can feel once you no longer have them with you.
Masseduction HATER slaybellz (8) has a question...that I already answered because we STAN a bit of proactivity: 'Oh is this what Lorde’s tweet was about?' Yes.
AshleyKerwin (8) bravely outs themself as a Theatre Queen: I didn't like this first as a ballad, but I think I read somewhere that she was inspired by showtunes and suddenly this song made more sense.
Bleedingheart80 (8) also stans The Big Apple, it seems: Songs about New York are always a plus. This was short and sweet.
I kinda love that mokitsu (9) is still a shady binch in his commentary for a song he gave A NINE to: ‘A disappointing lead single, but a great song. It's chill and pleasant, but not super impacting.’ So what's the truth...
Michael17 (9) agrees with the lead single point, but is otherwise FAR more complementary...as if he actually, you know, likes the damn song: The muted piano reminds me of Melodrama. Simple and very elegant. Holds a very intense sadness yet it is still an almost-bop. Wrong choice for a lead single, but it’s an impressive work of art.
Kalonite (9.5) has me feeling very attacked: The only thing I don't like here is that it's too short.
Ufint (9.5): 'Amazing. “You’re the only motherfucker in this city who can handle me” is iconic already.' It sure is! [see Lorde tweet]
Like me, it doesn’t take much for Annie to please Slice of Life (10): I would've been okay with a straight up piano ballad. But the end product of this song is much, much more gorgeous.
Enjoy (10) 'was so happy to hear this as the first single of the era as i was becoming a bit tired of this "rock goddess and makes music with David Bryne" persona. A nice palette cleaner after all that with a brilliant and evocative video accompanying it. Also i can't at heterosexuals claiming Annie started to be problematic because she sang "motherfucker" and how that turned them off. They fucking make no sense.' Wait WHERE, I want names, bitch.
Bangers&Bops (10), a fellow city boy, gives me the full fantasy: Clark takes the city head-on with "New York," a melancholy, string-swept, lonely melody that serves as the antithesis to the brighter, upbeat "Los Ageless." The song pulls at listeners' heartstrings throughout with croons about loss, but nothing can prepare for the most heartbreaking, home-hitting lyric of all -- "You're the only motherfucker in this city / who can handle me." As a city boy, this one always hits close to home.
Trouble in Paradise (10) has clearly done his homework because he correctly references some of Annie’s biggest inspirations in his commentary: I’m so happy this was used as the lead single since it really does speak to what St Vincent is doing with this album. Her lyrics, her ideas, and her voice are center stage on this album. Yes, she can destroy on guitar, but she's more than that. I also appreciate the illusion to lost heroes since we did lose such important voices like Prince and David Bowie who ultimately made pop music like St Vincent.
We'll close with this beautiful piece of commentary from Cassava (10), in which he confronts his inner saboteur, and I'm so proud to see it: I lived in New York for 2 of the darkest years of my life and always immediately delete songs that prominently feature New York in the lyrics because I find the memories so hard to stomach. I assumed the same would happen with this, but it swirls in my head. Everyone has that motherfucker.
I have looooooooooooooooooost a hero
I have looooooooooooooooooost a friend
But for yooooou, darling
I'd do it aaaall again
I have looooooooooooooooooost a hero
I have looooooooooooooooooosta friend
But for yooooou, darling
I'd do it aaaall again
9. St Vincent - New York
Average: 8.75
High: 11 x 2 (@Cassava @JamesJupiter) 10 x 19 (@enjoy @Trouble in Paradise @JapaneseJesus @Serg. @LE0Night @Bangers&Bops @Animalia @MiChiMadNesS @Lila @Remorque @soratami @NecessaryVoodoo @Euphoria @Remyky22 @Stradiwhovius @Heaven on Earth @Slice of Life @A&E)
Low: 5 x 2 (@Bolton @tylerc904)
My score: 10
10 voters in: 8
20 voters in: 7
30 voters in: 23
40 voters in: 14
50 voters in: 13
60 voters in: 10
WHEW! I don't know which journey I found more engaging: the sudden discovery of my love and adoration for this track or watching this fight itself back into the top 10 after plunging into the mid-20s. Honestly, this little piano ditty surviving this long is a bit iconic, especially since I thought it might only scrape the top 30 at best. The Annie cull that we witness from the top 50 to the top 30 was brutal, but worth it considering that she still managed to get two songs (the rightful two, at that) comfortably into the top 10. Talent always wins, y'all!
The first single from Masseduction, New York was first performed a year prior at a benefit concert in...you guessed it...New York City, without a chorus or the meatier production flourishes. The song was met with a warm, albeit somewhat tame response, especially compared to the fan reaction to 'Los Ageless' and 'Pills'. In fact, New York in many ways could be seen as the antithetical sister to the Los Ageless. Aside from the East Coast/West Coast polarity, the wilder, longer, explosivity of Los Ageless”is sharply contrasted by the shorter, sweeter, subtlety of New York. The ying-and-yang-ness of it all is exactly why these two tracks both making the top 10 fills me with joy - they are both absolutely essential.
This is just...so pure? Sonically, it harks to the show tunes sounds that she toyed with on the self-titled, mainly the wonderful ‘Severed Crossed Fingers.’ On an album full of hidden meanings and deception, New York is a sweet little ditty in which Annie pays homage to her favourite city and actually talks about a relationship that seems fairly healthy - her adorable and highly shippable relationship with Cara Delevingne (RIP Cannie). If years of stanning Annie have taught me anything, it is that she is a closed book and would much rather leave things to the listener's imagination instead of putting it all out there. I therefore I cannot even fathom how difficult it must've been becoming 'Cara Delevingne's musician fiancé' as her music career neared the mainstream gaze, with details of their relationship becoming gossip column content.
Thankfully, there was no 'Hiddleswift' nonsense to be found here, and despite them eventually spitting up, this song remains a stunning tribute to their beautiful relationship and now friendship. Rather than give an entire thesis (like I have oop), Annie shared the following about the inspiration behind the track:
“‘New York’ is really a composite for me. It’s everybody I love in that song. It’s everybody I love and it’s everybody in New York. It’s my whole life in a song.”
Even Ella stans!
o wow sfmartin (5) cancelled: Not here for the quieter moments album unfortunately. No desire to listen to this more than once.
Happiestgirl (6)...was always cancelled so w/e: 'This song kind of killed the hype for the new album for me, but thankfully Los Ageless revived it. There’s nothing wrong with it, and the lyrics are lovely, it’s just not really anything special.' But...this is like the DEFINITION of special??
Fantasy (7) was fairly complementary but a 7 is too low to let pass so yes, you are also cancelled: I thought this was going to be a piano ballad the whole way through but I was pleasantly surprised when the drum parts came. This is a really simple but beautiful song, especially the lyrics about losing someone and how empty the places you made memories with that person can feel once you no longer have them with you.
Masseduction HATER slaybellz (8) has a question...that I already answered because we STAN a bit of proactivity: 'Oh is this what Lorde’s tweet was about?' Yes.
AshleyKerwin (8) bravely outs themself as a Theatre Queen: I didn't like this first as a ballad, but I think I read somewhere that she was inspired by showtunes and suddenly this song made more sense.
Bleedingheart80 (8) also stans The Big Apple, it seems: Songs about New York are always a plus. This was short and sweet.
I kinda love that mokitsu (9) is still a shady binch in his commentary for a song he gave A NINE to: ‘A disappointing lead single, but a great song. It's chill and pleasant, but not super impacting.’ So what's the truth...
Michael17 (9) agrees with the lead single point, but is otherwise FAR more complementary...as if he actually, you know, likes the damn song: The muted piano reminds me of Melodrama. Simple and very elegant. Holds a very intense sadness yet it is still an almost-bop. Wrong choice for a lead single, but it’s an impressive work of art.
Kalonite (9.5) has me feeling very attacked: The only thing I don't like here is that it's too short.
Ufint (9.5): 'Amazing. “You’re the only motherfucker in this city who can handle me” is iconic already.' It sure is! [see Lorde tweet]
Like me, it doesn’t take much for Annie to please Slice of Life (10): I would've been okay with a straight up piano ballad. But the end product of this song is much, much more gorgeous.
Enjoy (10) 'was so happy to hear this as the first single of the era as i was becoming a bit tired of this "rock goddess and makes music with David Bryne" persona. A nice palette cleaner after all that with a brilliant and evocative video accompanying it. Also i can't at heterosexuals claiming Annie started to be problematic because she sang "motherfucker" and how that turned them off. They fucking make no sense.' Wait WHERE, I want names, bitch.
Bangers&Bops (10), a fellow city boy, gives me the full fantasy: Clark takes the city head-on with "New York," a melancholy, string-swept, lonely melody that serves as the antithesis to the brighter, upbeat "Los Ageless." The song pulls at listeners' heartstrings throughout with croons about loss, but nothing can prepare for the most heartbreaking, home-hitting lyric of all -- "You're the only motherfucker in this city / who can handle me." As a city boy, this one always hits close to home.
Trouble in Paradise (10) has clearly done his homework because he correctly references some of Annie’s biggest inspirations in his commentary: I’m so happy this was used as the lead single since it really does speak to what St Vincent is doing with this album. Her lyrics, her ideas, and her voice are center stage on this album. Yes, she can destroy on guitar, but she's more than that. I also appreciate the illusion to lost heroes since we did lose such important voices like Prince and David Bowie who ultimately made pop music like St Vincent.
We'll close with this beautiful piece of commentary from Cassava (10), in which he confronts his inner saboteur, and I'm so proud to see it: I lived in New York for 2 of the darkest years of my life and always immediately delete songs that prominently feature New York in the lyrics because I find the memories so hard to stomach. I assumed the same would happen with this, but it swirls in my head. Everyone has that motherfucker.
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My first love moved to New York a year ago, right around the time this song came out. It hit me hard, even though the lyrics don't entirely match up with our situation (I never lived in NY, but I can relate to walking around those familiar areas where you made your best memories). It's always bittersweet, because we've both moved on, but he was a huge part of my college years & I know a part of me will always love him.
New York, for me, was the perfect mix of nostalgia, loss, introspection, & humanizing slight humor ('motherfucker') I needed to really process & get over it. I'll always have a soft spot for this song.
New York, for me, was the perfect mix of nostalgia, loss, introspection, & humanizing slight humor ('motherfucker') I needed to really process & get over it. I'll always have a soft spot for this song.
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On the one hand, I knew it was going to bow out in the bottom half of the Top 10 but at the same time, it's still a shame to see it go. I'm very happy that it made it this far and that we managed to get one of Annie's more tender songs into the Top 10. That in itself is a victory so, at the end of the day, I guess the glass really is half full....of emptiness.
My poor 9's evaporating...
Just my 10's and 11to root for now!
Just my 10's and 11to root for now!
Well you only guessed that after Crying on the Bathroom Floor had already been eliminated though ddd
he/him
But will @Euphoria's Cosmic Collins era continue?
Take off, take off
Take off all your clothes
Take off, take off
Take off all your clothes
Take off, take off
Take off all of your clothes
8. Lana Del Rey - Lust For Life (featuring The Weeknd)
Average: 8.83
High: 11 x 1 (@Jonathan27) 10 x 23 (@MollieSwift21 @Petty Mayonnaise @haps @Bangers&Bops @Joe. @Jwentz @Sprockrooster @sfmartin @ufint @tylerc904 @Kuhleezi @ohnostalgia @Lindsay Lohan @Aester @Remorque @soratami @Oleander @kalonite @Remyky22 @Daniel! @HeartSwells @Slice of Life)
Low: 4 x 1 (@mokitsu)
My score: 10
10 voters in: 27
20 voters in: 19
30 voters in: 12
40 voters in: 10
50 voters in: 9
60 voters in: 8
The good sis Lizzy joins Annie in the 'one song left club', as the second single from the Lust For Life era bows out at a respectable 8th place, far higher than I expected. As you can see, this started rather weak; it's first score was it's lowest - a 4 from @mokitsu - and it didn't get its first 10 until the 11th voter. However, it climbed the leaderboard like Lana climbed up the H...on the Hollywood sign, to reach the top 10 in the second half of voting. As much as I would've preferred having Get Free in the top 10, I am more than happy to see this join Love in such an esteemed group of songs.
This is...massive, what an absolute BEAST of a song. Stylistically, this is far from new territory for Lana, but the production just makes this feel so much grander and visceral than the songs from the last two Lana albums. As much as I adore High By The Beach and West Coast, this and Love manage to capture the moment-factor of Video Games, which I didn't think would be possible. After the song was registered back in March, she teased the collaboration on March 26, when she tweeted The Weeknd's signature 'XO' logo, and later included the same 'XO' logo in the Lust for Life album trailer. The song was officially released worldwide on April 19, 2017, shortly after being premiered worldwide on BBC Radio 1.The song serves as the fourth collaboration between Lana and The Weeknd, the first three being his tracks, 'Prisoner', 'Party Monster', and 'Stargirl Interlude'. In fact, 'Lust for Life' was the first track she released that features another artist.
Nothing but respect for MY parents.
In an interview with Courtney Love for Dazed magazine, Lana opened up about writing 'Lust for Life', revealing that it was the first song she wrote for the album - apt considering it's the title track. She loved the song but felt "it wasn't right", so while in process of finishing the song, she flew to Sweden to meet with the one and only Max Martin, who advised her to turn what had previously been a verse into the song's chorus. When she had returned to her main producer Rick Nowels, she felt like she really wanted Abel to sing the chorus. He "rewrote a little bit of it" but she still felt like it was missing something, so she "went back for a fourth time and layered it up with harmonies", and felt that she was finally happy with the song. Nowels called the original version of the song "a beautiful art song, it’s quite touching". *Waits for the demo to leak*
Yet more blasphemy from mokitsu (4) ‘Another fan favorite that I can't like. It tries to be anthemic like "Love" but it falls short. Both Lana and Abel try to do the high notes in the chorus and it's super grating.’
Bleedingheart80 (6) CLEARLY didn't pay attention in music class: Why does it sound like The Weeknd's voice is higher than Lana's? (C: seriously, what the fuck) This is kinda boring...
Jackarywoo (6) makes at least one good point here: 'Meh. The Weeknd sounds fucking sexy though.' I can only agree with the second half but fucking hell, yeah.
Trouble in Paradise (6) insists that we don’t have to take our clothes off to have a good time (oh no): This song is pleasant, but complete background to me. The Weeknd doesn’t add much at all and “take of all your clothes” feels too hollow a lyric to keep repeating.
I wanna know what kinda FUCKED UP lullabies Cassava (7) was sung as a child: The take of your clothes bits sound like a lullaby, so an extra point for being creepy enough to make me pay attention when this comes on.
GimmeWork thinks the best album on Lust For Life is only worth an 8: 'The lush production works really well for Lana here. Definitely the best song on the album for me.' Congrats on being wrong on not one but two counts, sis.
Michael17 (8) likes that this 'has a nice, fuzzy bossa-nova feel. Pleasant and atmospheric. The Weeknd’s vocals are too high for the chorus, and I’d rather this just be a solo. Good, but not great.'
CorgiCorgiCorgi (9): ‘Their voices work so well together!’ They sure do!
Happiestgirl (9), like me, ‘had this on repeat for days after it came out’, adding that ‘The Weeknd sounds pretty good and their voices sound sweet together’.
Kuhleezi (9.5) found the light...eventually: At first I didn't really get the fuss, but I quickly got there. If she descends to the depths of hell in 'In My Feelings', in the chorus here she soars to the upper echelons of heaven.
Kalonite (10) stans: 'I'm one of those Born to Die Lana stans, so this character development floored me. I LOVE this.' Well you know what they say - there's nothing more sexy than a bit of character development...
Slice of Life (10) and I are sisters, apparently: 'Easily Stargirl and Starboy's best collab. This is also my pick for duet of the year. Nothing but respect for MY parents.' Shame I'm their favourite, eh?
Jwentz (10) ‘thought it was a bit boring at first, but this low key ear worm weaseled it's way into one of my most played songs this year and has become a career highlight for me.’
Sprockrooster (10) describes this, rather aptly, as ‘a collision between the soft street swag from the Weeknd and the angelic, husky whispers from Lana proving this is their best joint record and making me hungry for more.’
SPOILER ALERT for those eagerly awaiting the reveal of soratami’s 11…'I love a good duet, their voices fit each other so perfectly. And this is also easily the best Weeknd song ever. I was really torn between giving my 11 to this or to Love.'
sfmartin (10) hails it 'an astoundingly catchy song. A plus melodies and just sublime hook after hook. Their voices go together perfectly, but we knew that from Star Girl. I just adore the 60s Girl Band vibes and the "shut up, shut up" at the back of the verses. A triumph.'
As @Jonathan27 was too busy taking off his clothes and being a thot to submit commentary for his 11, we'll close with Bangers&Bops (10): The sumptuous, unapologetically poppy track sees both of these gloomy heartbreakers brooding to, and about, each other, but in the hopeful tone of lovers with a future. They sing “They say only the good die young / That just ain’t right / ‘Cause we’re having too much fun” and the lust––for life and otherwise––is palpable. Starboy and Stargirl are reunited at the top of the Hollywood Sign, and the world couldn’t be better.
Take off all your clothes
Take off, take off
Take off all your clothes
Take off, take off
Take off all of your clothes
8. Lana Del Rey - Lust For Life (featuring The Weeknd)
Average: 8.83
High: 11 x 1 (@Jonathan27) 10 x 23 (@MollieSwift21 @Petty Mayonnaise @haps @Bangers&Bops @Joe. @Jwentz @Sprockrooster @sfmartin @ufint @tylerc904 @Kuhleezi @ohnostalgia @Lindsay Lohan @Aester @Remorque @soratami @Oleander @kalonite @Remyky22 @Daniel! @HeartSwells @Slice of Life)
Low: 4 x 1 (@mokitsu)
My score: 10
10 voters in: 27
20 voters in: 19
30 voters in: 12
40 voters in: 10
50 voters in: 9
60 voters in: 8
The good sis Lizzy joins Annie in the 'one song left club', as the second single from the Lust For Life era bows out at a respectable 8th place, far higher than I expected. As you can see, this started rather weak; it's first score was it's lowest - a 4 from @mokitsu - and it didn't get its first 10 until the 11th voter. However, it climbed the leaderboard like Lana climbed up the H...on the Hollywood sign, to reach the top 10 in the second half of voting. As much as I would've preferred having Get Free in the top 10, I am more than happy to see this join Love in such an esteemed group of songs.
This is...massive, what an absolute BEAST of a song. Stylistically, this is far from new territory for Lana, but the production just makes this feel so much grander and visceral than the songs from the last two Lana albums. As much as I adore High By The Beach and West Coast, this and Love manage to capture the moment-factor of Video Games, which I didn't think would be possible. After the song was registered back in March, she teased the collaboration on March 26, when she tweeted The Weeknd's signature 'XO' logo, and later included the same 'XO' logo in the Lust for Life album trailer. The song was officially released worldwide on April 19, 2017, shortly after being premiered worldwide on BBC Radio 1.The song serves as the fourth collaboration between Lana and The Weeknd, the first three being his tracks, 'Prisoner', 'Party Monster', and 'Stargirl Interlude'. In fact, 'Lust for Life' was the first track she released that features another artist.
Nothing but respect for MY parents.
In an interview with Courtney Love for Dazed magazine, Lana opened up about writing 'Lust for Life', revealing that it was the first song she wrote for the album - apt considering it's the title track. She loved the song but felt "it wasn't right", so while in process of finishing the song, she flew to Sweden to meet with the one and only Max Martin, who advised her to turn what had previously been a verse into the song's chorus. When she had returned to her main producer Rick Nowels, she felt like she really wanted Abel to sing the chorus. He "rewrote a little bit of it" but she still felt like it was missing something, so she "went back for a fourth time and layered it up with harmonies", and felt that she was finally happy with the song. Nowels called the original version of the song "a beautiful art song, it’s quite touching". *Waits for the demo to leak*
Yet more blasphemy from mokitsu (4) ‘Another fan favorite that I can't like. It tries to be anthemic like "Love" but it falls short. Both Lana and Abel try to do the high notes in the chorus and it's super grating.’
Bleedingheart80 (6) CLEARLY didn't pay attention in music class: Why does it sound like The Weeknd's voice is higher than Lana's? (C: seriously, what the fuck) This is kinda boring...
Jackarywoo (6) makes at least one good point here: 'Meh. The Weeknd sounds fucking sexy though.' I can only agree with the second half but fucking hell, yeah.
Trouble in Paradise (6) insists that we don’t have to take our clothes off to have a good time (oh no): This song is pleasant, but complete background to me. The Weeknd doesn’t add much at all and “take of all your clothes” feels too hollow a lyric to keep repeating.
I wanna know what kinda FUCKED UP lullabies Cassava (7) was sung as a child: The take of your clothes bits sound like a lullaby, so an extra point for being creepy enough to make me pay attention when this comes on.
GimmeWork thinks the best album on Lust For Life is only worth an 8: 'The lush production works really well for Lana here. Definitely the best song on the album for me.' Congrats on being wrong on not one but two counts, sis.
Michael17 (8) likes that this 'has a nice, fuzzy bossa-nova feel. Pleasant and atmospheric. The Weeknd’s vocals are too high for the chorus, and I’d rather this just be a solo. Good, but not great.'
CorgiCorgiCorgi (9): ‘Their voices work so well together!’ They sure do!
Happiestgirl (9), like me, ‘had this on repeat for days after it came out’, adding that ‘The Weeknd sounds pretty good and their voices sound sweet together’.
Kuhleezi (9.5) found the light...eventually: At first I didn't really get the fuss, but I quickly got there. If she descends to the depths of hell in 'In My Feelings', in the chorus here she soars to the upper echelons of heaven.
Kalonite (10) stans: 'I'm one of those Born to Die Lana stans, so this character development floored me. I LOVE this.' Well you know what they say - there's nothing more sexy than a bit of character development...
Slice of Life (10) and I are sisters, apparently: 'Easily Stargirl and Starboy's best collab. This is also my pick for duet of the year. Nothing but respect for MY parents.' Shame I'm their favourite, eh?
Jwentz (10) ‘thought it was a bit boring at first, but this low key ear worm weaseled it's way into one of my most played songs this year and has become a career highlight for me.’
Sprockrooster (10) describes this, rather aptly, as ‘a collision between the soft street swag from the Weeknd and the angelic, husky whispers from Lana proving this is their best joint record and making me hungry for more.’
SPOILER ALERT for those eagerly awaiting the reveal of soratami’s 11…'I love a good duet, their voices fit each other so perfectly. And this is also easily the best Weeknd song ever. I was really torn between giving my 11 to this or to Love.'
sfmartin (10) hails it 'an astoundingly catchy song. A plus melodies and just sublime hook after hook. Their voices go together perfectly, but we knew that from Star Girl. I just adore the 60s Girl Band vibes and the "shut up, shut up" at the back of the verses. A triumph.'
As @Jonathan27 was too busy taking off his clothes and being a thot to submit commentary for his 11, we'll close with Bangers&Bops (10): The sumptuous, unapologetically poppy track sees both of these gloomy heartbreakers brooding to, and about, each other, but in the hopeful tone of lovers with a future. They sing “They say only the good die young / That just ain’t right / ‘Cause we’re having too much fun” and the lust––for life and otherwise––is palpable. Starboy and Stargirl are reunited at the top of the Hollywood Sign, and the world couldn’t be better.