COMPLETE - The Indie/Alt Pop/Not-quite-'Mainstream'-but-still-accessible Girls 2017 Rate!!1
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64. Charli XCX - Babygirl (featuring Uffie)
Average: 7.28
High: 10 x 6 (@2014 @slaybellz @Joe. @Jwentz @RUNAWAY @Slice of Life)
Low: 1 x 2 (@Stradiwhovius)
My score: 6.5
10 voters in: 47
20 voters in: 65
30 voters in: 55
40 voters in: 60
50 voters in: 64
60 voters in: 65
Finally, we kiss goodbye to the worst song on Number One Angel! Well done everyone, we got there eventually. I must say, I'm impressed with how long this held on for, and for outlasting 3 better tracks from the mixtape. At first, this sat fairly comfortably in the top 50...before gradually settling in the mid-60s. In hindsight, a 6.5 was way harsh [Ty] and I probably should've at least given it a 7 because I do really like the production. In fact, if I increased my score by just 0.5, it would've moved up a place, but I adore the song that's out next and gave it a 10 so I'm glad I didn't. The thing that lets it down massively is the chorus, which is lazy and repetitive for an artist who I hold to a very high standard when crafting choruses; it's easily the weakest on the EP and possibly one of the worst she's ever done. Oh, and I'm not an Uffie fan at all, but her feature is the highlight of the track for me, her marmite delivery works a treat here.
Like Roll With Me (RIP), A.G. Cook didn't actually have a hand in the production of this one, and yet the good sis still wrote about it on his track-by-track, complete with some hilarious Uffie shade.
Another one I wasn't involved in, but I'm glad to have it on the mixtape. It was produced by John Hill, an LA-based guy with a chill Santa Monica studio that very much suits this track. It was also written with two great topliners, Sarah Hudson and MNDR, who write super fun & pure pop music that really crosses over with what Charli and PC Music have been doing.
Charli and I were really excited to have Uffie on the mixtape too! Uffie's music was (for separate reasons) quite important to both of us. For me, I really enjoyed how effortlessly she 'owned' the amateur style of her voice/lyrics on tracks like Pop The Glock and F1rst Love (C: was that a read?). Then, a bit after that, I felt like it was taken to another level on some of the crazier tracks she did with Mr. Oizo - like MCs Can Kiss and Steroids - where both the production and her delivery are really fun, almost shamelessly so. Uffie's presence on Babygirl definitely has that same quality, where it completely pierces the song's flow, but still feels confident & relaxed enough to feel like a party soundtrack.
There's also a very satisfying narrative loop that's created by Uffie being on a track made by true LA pop songwriters. Waaaay too long to explain here... but the story involves Kesha's vocal production, the influence of Ed Banger on EDM pop, the rise & fall of the 'Femme Fatale' production universe, and then a second generation of writers (possibly represented by Charli & PC) who listened to both Britney and Ed Banger as teens before arriving in LA to write pop music... just as pop is trying to sound 'authentic' again...
Here's what you lot had to say:
Fantasy (3) shares some of my initial criticisms of the track: This is seriously underwhelming in comparison to some of the other tracks on the album. It’s very bubblegum and I should love it, but it just doesn’t go anywhere.
Trouble in Paradise (6) makes an interesting comparison: This song immediately has personality and what a beat! Loving Uffie, she’s giving me MIA vibes. In the sense that neither of them can actually rap? Yeah I see it!
kalonite (6.5) continues the Uffie Roast: Charli's lower register is really nice, so I enjoy the verses here. And Uffie though. 2010 was a weird time. Sure was.
Fellow Uffie hater CorgiCorgiCorgi (7) was pleasantly surprised: I saw “feat. Uffie” and braced for the worst, but this really isn’t that bad? DDD.
Cassava (8) brings up one of Charles' biggest inspirations and I'm sure she'd be elated: You could have slipped this to my 10 y/o Spice World loving self and I would have adored it (a compliment).
Mokitsu (8) also hates Uffie, you heard it here first, girls! ‘I...don't think I've ever heard this? Did I delete it accidentally? It's pretty cute, feels very 90s teen pop. The feature is really bad though.’
happiestgirl (8) takes it up a notch by calling it ‘cute and sexy’. High praise from our resident Lana stan.
Michael17 (8) has come around to the feature: Ironic slumber party pop. Great vocals from Chuck. Props to her for getting Uffie off the couch. Uffie’s part made my stomach turn at first, but it has grown on me a lot. Still, a bit off the mark. Could have been so much better, but it’s still a good effort.
sfmartin (9) continues the Uffie redemption: Bouncy pop perfection. So god damn catchy. Uffie's verse is brilliant even if it is a very short feature.
Bangers&Bops (9) rather accurately describes it as 'a decades-fusing song with refreshing new raps from Uffie. It continues the album's pop trend, and it's sugary sweet while maintaining Number 1 Angel's no-cares-given attitude. The best moment for me is time and time again, the sultry, sweet pre-chorus crooning of "think about us, we could burn up the second we fuck."'
Jwentz (10) has a confession: ‘Don't @ me but Uffie's bit is my favorite part of this whole album.’ No judgement, it’s great by her standards.
Slice of Life (10) seems...confused: COME BACK TO US, LA ROUX. I mean, I agree but please explain the relevance of everyone’s favourite dormant ginger synthpop chanteuse to a Charli XCX//Uffie collab?
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She still has the most songs in the rate (I think).
She sure does! In fact, here's a handy list:
1. Lana - 13 tracks remaining
2. St Vincent - 12 tracks remaining*
3. Lorde - 11 tracks remaining*
4. MUNA - 10 tracks remaining
5. Charli - 6 tracks remaining
6. HAIM - 3 tracks remaining
*all tracks remaining
Good, let's cut a few more then.
Ellie from Big Brother looks good!
he/him
Here for a record-breaking 13 consecutive eliminations and for Lana to miss the Top 50 entirely.
You cracked the code, sis
65. Lana Del Rey - Tomorrow Never Came (featuring Sean Ono Lennon)
I love this image so much
Average: 7.25
High: 11 x 3 (@happiestgirl @Oleander @rdp)
10 x 5 (@dylanaber @ufint @Euphoria @Remyky22 @Slice of Life)
Low: 1 x 1 (@Cassava)
My score: 8
10 voters in: 66
20 voters in: 69
30 voters in: 61
40 voters in: 59
50 voters in: 70
60 voters in: 67
As you can see, this track received the highest number of 11s so far, which was unexpected from me - I was gagged it even got one. It's not a track that I've ever seen in people's top 5 favourite Lust For Life so I assumed it would be the first Lana song out first along with Coachella, but I was pleasantly surprised. I mean, it was an odd choice of 11 for that very reason; it only entered the top 60 once throughout voting, only to fall back out again soon after and claw itself back into the mid 60s. That said, a 7.25 average is very respectable for a song like this.
When the album first came out I absolutely adored this and was planning on giving it a 9/10. I found it to be so pretty and came along during a massive Weyes Blood/Mac DeMarco/Quilt momenT I was having back in the summer. What changed my mind slightly was hearing it in Costa Coffee when having a catch-up with my good Judy and it sounded...a bit more twee than I remembered it. Also, I have since taken issue with how Sean sounds permanently bunged-up - get some Vicks on ya chest, man! That said, their voices complement each other perfectly and 'now I'm singing with Seeaaaann' is an album highlight for me.
Regardless of what y'all thought, Lana seems to really love this song and back in April said that it was one of her personal top three favorite tracks from the album in an interview with BBC Radio 1. In an interview with Courtney Love for Dazed magazine, she talked about writing the song and stated:
“When I wrote it I felt like it wasn’t really for me. I kept on thinking about who this song was for or who could do it with me, and then I realized that he would be a good person. I didn’t know if I should ask him because I actually have a line in it where I say, ‘I wish we could go back to your country house and put on the radio and listen to our favourite song by Lennon and Yoko.’ I didn’t want him to think I was asking him because I was namechecking them. Actually, I had listened to his records over the years and I did think it was his vibe, so I played it for him and he liked it. He rewrote his verse and had extensive notes, down to the mix. And that was the last thing I did, decision-wise. I haven’t mixed the record, but the fact that "Love" just came out and Sean kind of finished up the record, it felt very meant-to-be. Because that whole concept of peace and love really is in his veins and in his family”.
In an interview for Flaunt magazine, Lana stated that the track explores John Lennon and Yoko Ono. She talked to Sean Lennon via phone and sent him a very simple version of the song consisting of her vocals, a guitar and an organ. However, she felt that the song belonged to someone else and not to her. Flaunt also asked Sean Lennon about the making of the song and he said: "I’ll never forget when she called me after I sent her what I did and her first words were ‘It’s perfect!’ I almost cried with joy because I honestly don’t think anyone has ever said that to me about anything I’ve ever done. It was a very good feeling". Cute, huh?
Cassava (1) does...a lot: I had to force myself listen to this. I kept psyching myself like ‘you got this Cass, you’re going to finish this’ and then she would sing the ‘singing with Sean’ line and I would tap out of this already awful song every time with only seconds to spare. Okay but 'now I'm singing with Sean' is a genius moment of meta 4th-wall smashing and the gays are still loving it.
Jackarywoo (2) really goes for the jugular: Sean sounds like a cheap Paul McCartney act. And yes, she IS a bitch, B-I-C-T-H.
slaybellz (4.5) decides to throw a little shade at Nicola Roberts to be real cute: The "wa wa wa wa's" are so annoying as is Sean Lennon's voice. The only person whining her is YOU you little hoe.
Kalonite (6) was 'not into Sean's voice on this' ...I mean...same?
Stradiwhovius (6) calls it 'sweet, if a bit unremarkable.'
Bleedingheart80 (6) continues to miss the point of track-by-track rate commentary and keep up the RIVETING continuity of commenting on the album as a whole as she listens to it: I see we're back to the boring songs, eh?
I have no clue what Trouble in Paradise (7) is on about but work! A pretty, throwback tune. Fits well alongside a lot of Laurel Canyon 70’s folk rock.
sfmartin (7) shows fairness and restraint where other users only came to read: Not terrible by any means but definitely my least favourite on the album. The chorus is gentle and lovely. Not the greatest fan of the feature.
mokitsu (7.5) is nice...for once: ‘Really nice and pleasant. Sean sounds great and I love their vocals in this.’
Bangers&Bops (8) won't let poor Sean step out of his dad's shadow...These two show off their musical chops and their deep emotional ties to an era of American music so many think is dead. “I adored you / And I just wanted things to be the same,” they sing to each other amid soft guitar and Beatles-esque production that would bring the most stone-hearted doubters to tears.
...and neither does Michael17 (8.5)! The bridge is very Beatles and very lush. A very pretty song. That guitar twang is heart-melting. God, Sean takes after his father so much. About a minute too long, though.
ufint (10), however, focuses on just the song at hand: That chorus and those delicious harmonies are angelic and nearly perfect. 'Nearly' perfect, and yet it still gets a perfect score.
I don’t know what Slice of Life is on about but it sounds fabulous: SCREAM WHY AM I THROWING SO MUCH 10S AT LANA??? This is gorgeous. I want to slow dance to this wearing my most eleganza pajama.
As I said earlier, this is an odd choice for an 11, but happiestgirl does a great job in justifying why, take it away!
This has my 11 solely for the ‘NOW I’M SINGING WITH SEAAAAAAAN’ part which I just find so breathtaking and heartwarming. The song itself is quite sad and melancholy, but when she gets to that part it just becomes so hopeful. I love the way her voice just lifts like she’s a bird taking flight. Finally we see a Lana who is happy with the way her life has turned out. Also it’s meta and I adore that. Also Sean Lennon’s voice is lovely.
Well this is a lovely late Christmas present, isn't it? Thank you all so very much!
In all honesty I saw this coming since people kept calling for its head. Good thing I'm on some pain meds right now because this hurts less than I expected it to.
Looking at people's reactions to the song I guess it could be seen as a strange choice for an 11 but that says more about the low scorers than it does about me or the song. I'd recommend a hearing exam for all the haters cause there's clearly something wrong.
Moving on, I'd love to go on one of my long rants/analyses about why this song demanded my 11 but assembling my thoughts is a bit hard right now. There are multiple reasons it got my 11, however. One of them being that it is just a gorgeous and hypnotizing song. Every time I listen to it I get transported to this dreamy world/state of mind and I can visualize the story told by the lyrics. Kind of like a dream which is appropriate given all the Beatles connections the song has. The other big reason I love it is because more so than any other song on the record, it perfectly embodies all the unified yet conflicting emotions that are displayed across the record. It might sound pretty and sweet at first, but then you realize the story is sad only to still feel the hope imbued in it. Oh and there is happiness too, one of the signs being the breaking of the fourth wall she does. The only sonic element missing from it is some sort of beat but that would have ruined the whole thing. At the end of the day not every song needs a beat nor does it need to be a 175 bpm bop. Songs that go in the opposite direction can be just as powerful and in certain cases even more powerful. This song is an alluring and emotional number that really truly gets me. Plus, it's a great song to listen to if you need to sulk after being dumped or ghosted. Basically it's a multipurpose song and Lana is such a generous queen for giving it to us!
I realize I said I wouldn't go on a "rant" and that's exactly what I've done but I didn't leave any commentary so I'm keeping it all in tact. That's it for me I guess. And don't worry, there's no real harsh feelings between us. I was just being playful. I wish you all peace, love, and a lust for life!
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The HAIM cull I was expecting but the Charli cuts are getting out of hand. And I really don't get the Masseduction hype.
Any/All
This is all so so true! She manage to create a world so heartbreaking and vivid that it completely overwhelms you with sadness. All the images of empty benches, pouring rain, waiting for someone, they hit you deeply because they are the usual tropes of love affair gone wrong, and we all know this world well. And then the bridge comes, and she literally BREAKS this world apart when she says "Now that I'm singing with Seaaaaan" and exposes that it's fabricated, that it's being created at that very moment in the studio, but then, without giving you a second to wrap your head around it, TAKES YOU BACK TO THE CHORUS, and suddenly you're in this world again, enjoying every second even though you no longer see it as something autobiographical that you may relate to. I mean, it's what music as such does - we all presuppose a level of documentary quality in the song's lyrics, but they could never equate to the real-life experience and they will therefore always be removed from the truth to a certain degree. Which, of course, does not mean we cannot be utterly taken aback and dragged by our weaves when encountering this world. Honestly, Tomorrow Never Came is among her best material. Ever.
I'm supposed to be visiting family in outer London today so you may or may not be getting 3 cuts. I really want to get into the top 60 now tho so let's make it work. Although, I'm not sure if y'all deserve this after making me cut this...
Go on and say it
Was my love too much for you to take?
I guess you never knew what was good for you
Don't keep me waiting
Say the words that you're too scared to say
I guess you never knew what was good for you
I need to hear you say it
Was my love too much for you to take?
I guess you never knew what was good for you
Don't keep me waiting
Say the words that you're too scared to say
I guess you never knew what was good for you
Me being comforted by the like...4~ HAIM fans in the rate
63. HAIM - You Never Knew
Average: 7.29
High: 10 x 8 (@mokitsu @2014 @slaybellz @Sanctuary @bleedingheart80 @Remorque @HeartSwells)
Low: 2.5 x 1 (@Serg.)
My score: 10
10 voters in: 25 *cries*
20 voters in: 54
30 voters in: 67
40 voters in: 70
50 voters in: 67
60 voters in: 64
Y'all really have no respect, do you? NO RESPECT. Like, way to cut the second best song on the album before the top 40. I guess y'all really didn't know what was good for you. I like Little of Your Love, but it is not better than this. Funnily enough, this got more 10s than Little of Your Love, and yet the barrage of middling scores was what stopped it from getting the top 40 placement it deserves. What hurt the most was seeing crash out of the top 30 after the first 10 voters and then watching it struggle to claw its way back into the top 60.
Dev Hynes’ involvement in the track's production alone makes it too good not to make the top 60 at the very least. Guys, it's as if Dev produced a Fleetwood Mac song, especially with the use of backing vocals. Even as a fan of Something To Tell You, I can acknowledge the gap in quality between this and Want You Back above the rest of the album. This has just that bit more...magic(?) that the rest of the album; it's soft, breezy and catchy, sure, but also...present? It actually feels like a progression from their debut sound and something more realised than the experimental sounds on Days Are Gone. The only reason I could think why this didn't do all that well was guilt by association - many voters didn't approach this with an open mind and assumed that it wouldn't be worthy of the time and so didn't pay attention. That's sad, huh? I hope the insight into the lyrics of the song provided by the interview snippet will bring a few of you around; the sentiment of the importance of self-care should resonate with many, if not all, of you. Add in the element of sisterhood AND being women in music and you have the most touching song on the album - it's a really powerful moment hidden within what feels chilled and light.
You should know what the rule is by now: If @HeartSwells and I agree on something, it’s objectively correct and that’s just the tea. I recently had an absolute moment to this when I was perusing the Harrods Christmas section (ddd THE most bougie anecdote) and I noticed all the transportive powers this song has, I was absorbed by the soundscapes.
Here's what the girls had to say about this gorgeous little song:
Interviewer: You wrote this one with Dev Hynes. How did that come together?
Danielle: Ariel has worked on a lot of his music, so when Dev was in town, Ariel was like, “Hey, we’re working, if you want to come over.” He’s got an open-door policy.
Alana: So we did the bare bones of this song, because Dev was only in L.A. for a day.
Danielle: We wrote it in an hour. He’s so easy to write with. We were all just spit-firing ideas. There’s a lot of guitar noodling on this one, too.
Alana: This song is a little heavy, but we’re three women in a band that tours a lot. Being women in a power position, touring all the time, doing it for ourselves—when you leave, you’re branded with using the tour as an exit strategy. It’s really fun in the beginning, but then you’re like, “Cool, I have to leave now. Not for days, but for months.” Sometimes I’m gone for a year! But that’s my job, I love what I do, and I’m not going to give that up for anyone. You have to accept me for me, and I come with this. It’s hard.
Since none of those who scored this below a 6, so lemme name and shame them because I’m not letting y’all get away with it that easily…
@Serg. (2.5)
@enjoy (3)
@Bolton (3)
@Jackarywoo (4)
@haps (4.5)
@Cassava (5)
@Rem (5)
@LE0Night (5) I was rooting for you, we were all rooting for you, etc
@Lila (5.5)
@Heaven on Earth (5.5)
Okay, now let's here from some people how had a modicum of taste:
Perhaps sfmartin (6) SKIPPING the damn song explains why maybe the song didn't click: Pleasant but like most of the album I skip it. A bit too retro.
Fantasy (6) references some flop who I don't have the time nor will to google: Why do I get Lucie Silvas ‘Breathe In’ teas from this? This plods along nicely, but that’s just it, it’s nice. Maybe it’s a grower?
Trouble In Paradise (6) was similarly underwhelmed: Similar to “Ready For You” this is a pleasant Haim song that never does anything to standout. How DARE you compare this to Ready For You??
Sprockrooster’s trick ass really thought he could get away with a sub-zero score, smh: This probably was a score below zero if it was not for that typical production elements from Dev Hynes. He gave the track a 6.
For once, happiestgirl (7) looks a bit generous considering how harsh she was elsewhere: Another forgettable bop that kind of meanders around and goes nowhere. And yet you gave it a respectable 7?
Bangers&Bops (7) comments on the simplicity of the song's formula: About 75% of “You Never Knew” is just the hook, which in itself is only two couplets repeated, while even semi-winning tracks like “Little of You Love” succumb to a little predictability, especially when the music cuts out ahead of its crowd-pleasing chorus.
kalonite (7.5) tries to come for the chorus A.K.A the best part of the song: I really like the verses in this - especially the little "But lately it's been such a mess" aside in the first one, but the chorus brings it down. The repetition's just too heavy.
And now, GimmeWork (8) - someone who finally gets it: This disco lite groove is one of the highlights of this album for me.
I don’t know what the hell Slice of Life (8) is talking about, but he’s paying the track a complement so lemme keep it cute: Reminds me of a song off Leighton Meester's Heartstring album so naturally, I stan.
Stradiwhovius (9): I like this song a lot but I still don't have much to say about it. Fair enough.
With Michael17 (9.5), we finally have a stan: Gorgeous harmonies and lush AM-rock vibe. Excellent. Like a Rumours album track.
mokitsu (10) [Stevie] nicks my comments! ‘This track is gorgeous. The country twang, the subtle but catchy chorus, the background vocals. Reminds me of Fleetwood Mac!’.
slaybellz (10) also references the incestuous folk rock-pop legends: Very Fleetwood Mac. Very breezy. Britney 'very cool and very interesting' teas.
Bleedingheart80 joins the party: ‘I'm giving this one a 10 just for all the Fleetwood Mac goodness this song evokes.’ Great minds and all that.
Go on and say it
Was my love too much for you to take?
I guess you never knew what was good for you
Don't keep me waiting
Say the words that you're too scared to say
I guess you never knew what was good for you
I need to hear you say it
Was my love too much for you to take?
I guess you never knew what was good for you
Don't keep me waiting
Say the words that you're too scared to say
I guess you never knew what was good for you
Me being comforted by the like...4~ HAIM fans in the rate
63. HAIM - You Never Knew
Average: 7.29
High: 10 x 8 (@mokitsu @2014 @slaybellz @Sanctuary @bleedingheart80 @Remorque @HeartSwells)
Low: 2.5 x 1 (@Serg.)
My score: 10
10 voters in: 25 *cries*
20 voters in: 54
30 voters in: 67
40 voters in: 70
50 voters in: 67
60 voters in: 64
Y'all really have no respect, do you? NO RESPECT. Like, way to cut the second best song on the album before the top 40. I guess y'all really didn't know what was good for you. I like Little of Your Love, but it is not better than this. Funnily enough, this got more 10s than Little of Your Love, and yet the barrage of middling scores was what stopped it from getting the top 40 placement it deserves. What hurt the most was seeing crash out of the top 30 after the first 10 voters and then watching it struggle to claw its way back into the top 60.
Dev Hynes’ involvement in the track's production alone makes it too good not to make the top 60 at the very least. Guys, it's as if Dev produced a Fleetwood Mac song, especially with the use of backing vocals. Even as a fan of Something To Tell You, I can acknowledge the gap in quality between this and Want You Back above the rest of the album. This has just that bit more...magic(?) that the rest of the album; it's soft, breezy and catchy, sure, but also...present? It actually feels like a progression from their debut sound and something more realised than the experimental sounds on Days Are Gone. The only reason I could think why this didn't do all that well was guilt by association - many voters didn't approach this with an open mind and assumed that it wouldn't be worthy of the time and so didn't pay attention. That's sad, huh? I hope the insight into the lyrics of the song provided by the interview snippet will bring a few of you around; the sentiment of the importance of self-care should resonate with many, if not all, of you. Add in the element of sisterhood AND being women in music and you have the most touching song on the album - it's a really powerful moment hidden within what feels chilled and light.
You should know what the rule is by now: If @HeartSwells and I agree on something, it’s objectively correct and that’s just the tea. I recently had an absolute moment to this when I was perusing the Harrods Christmas section (ddd THE most bougie anecdote) and I noticed all the transportive powers this song has, I was absorbed by the soundscapes.
Here's what the girls had to say about this gorgeous little song:
Interviewer: You wrote this one with Dev Hynes. How did that come together?
Danielle: Ariel has worked on a lot of his music, so when Dev was in town, Ariel was like, “Hey, we’re working, if you want to come over.” He’s got an open-door policy.
Alana: So we did the bare bones of this song, because Dev was only in L.A. for a day.
Danielle: We wrote it in an hour. He’s so easy to write with. We were all just spit-firing ideas. There’s a lot of guitar noodling on this one, too.
Alana: This song is a little heavy, but we’re three women in a band that tours a lot. Being women in a power position, touring all the time, doing it for ourselves—when you leave, you’re branded with using the tour as an exit strategy. It’s really fun in the beginning, but then you’re like, “Cool, I have to leave now. Not for days, but for months.” Sometimes I’m gone for a year! But that’s my job, I love what I do, and I’m not going to give that up for anyone. You have to accept me for me, and I come with this. It’s hard.
Since none of those who scored this below a 6, so lemme name and shame them because I’m not letting y’all get away with it that easily…
@Serg. (2.5)
@enjoy (3)
@Bolton (3)
@Jackarywoo (4)
@haps (4.5)
@Cassava (5)
@Rem (5)
@LE0Night (5) I was rooting for you, we were all rooting for you, etc
@Lila (5.5)
@Heaven on Earth (5.5)
Okay, now let's here from some people how had a modicum of taste:
Perhaps sfmartin (6) SKIPPING the damn song explains why maybe the song didn't click: Pleasant but like most of the album I skip it. A bit too retro.
Fantasy (6) references some flop who I don't have the time nor will to google: Why do I get Lucie Silvas ‘Breathe In’ teas from this? This plods along nicely, but that’s just it, it’s nice. Maybe it’s a grower?
Trouble In Paradise (6) was similarly underwhelmed: Similar to “Ready For You” this is a pleasant Haim song that never does anything to standout. How DARE you compare this to Ready For You??
Sprockrooster’s trick ass really thought he could get away with a sub-zero score, smh: This probably was a score below zero if it was not for that typical production elements from Dev Hynes. He gave the track a 6.
For once, happiestgirl (7) looks a bit generous considering how harsh she was elsewhere: Another forgettable bop that kind of meanders around and goes nowhere. And yet you gave it a respectable 7?
Bangers&Bops (7) comments on the simplicity of the song's formula: About 75% of “You Never Knew” is just the hook, which in itself is only two couplets repeated, while even semi-winning tracks like “Little of You Love” succumb to a little predictability, especially when the music cuts out ahead of its crowd-pleasing chorus.
kalonite (7.5) tries to come for the chorus A.K.A the best part of the song: I really like the verses in this - especially the little "But lately it's been such a mess" aside in the first one, but the chorus brings it down. The repetition's just too heavy.
And now, GimmeWork (8) - someone who finally gets it: This disco lite groove is one of the highlights of this album for me.
I don’t know what the hell Slice of Life (8) is talking about, but he’s paying the track a complement so lemme keep it cute: Reminds me of a song off Leighton Meester's Heartstring album so naturally, I stan.
Stradiwhovius (9): I like this song a lot but I still don't have much to say about it. Fair enough.
With Michael17 (9.5), we finally have a stan: Gorgeous harmonies and lush AM-rock vibe. Excellent. Like a Rumours album track.
mokitsu (10) [Stevie] nicks my comments! ‘This track is gorgeous. The country twang, the subtle but catchy chorus, the background vocals. Reminds me of Fleetwood Mac!’.
slaybellz (10) also references the incestuous folk rock-pop legends: Very Fleetwood Mac. Very breezy. Britney 'very cool and very interesting' teas.
Bleedingheart80 joins the party: ‘I'm giving this one a 10 just for all the Fleetwood Mac goodness this song evokes.’ Great minds and all that.
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We really need to lose a few St. Vincent songs. Not masterpieces like Los Ageless or Pills, but the ones at the end of the album that sound like her wailing over drone noises.
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I don't think anything is off limits to her. I think she could make political music, activist music..etc that is beautiful. I just wish she would really go for it!