Discussion in 'Charts, rates etc' started by constantino, Oct 23, 2017.
Wow. Lipgloss is better than at least ten of the tracks that are left.
Just taking notes if I catch any of you in my xcx rate
As much as I love St. Vincent, Young Lover can go next.
I love my Top 20
Lust for Life
I Know a Place
Crying on the Bathroom Floor
We were in Paris, the Eiffel was shining
All that I wanted was lyin' on tilin'
I heard the robins and thought they were sirens
Wake up, young lover, I thought you were DYIIIIIIIIIIIIIIIIIIIEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEN'
30. St Vincent - Young Lover
High: 11 x 3 (@dylanaber @enjoy @Remyky22)
10 x 13 (@JapaneseJesus @LE0Night @Petty Mayonnaise @Animalia @CorgiCorgiCorgi @Kuhleezi @digitalkaiser @NecessaryVoodoo @Michael17 @kalonite @Rem @Slice of Life)
Low: 2 x 1 (@slaybellz)
My score: 10
10 voters in: 40
20 voters in: 34
30 voters in: 35
40 voters in: 36
50 voters in: 31
60 voters in: 31
After safely sneaking just four tracks into the top 30, Annie loses another track! Cruel.mp3! This is not just ANY song, it's a track that got THREE 11s, which is a huge deal considering how spread out the 11s were in this rate. For context, 11s were so spread out that only 5 songs got more 11s than this in the entire rate! In fact, the song that ends up at number 2 only got two 11s! So getting three is special, y'all, not everyone has that! Despite never leaving the top 40 during voting, this struggled; it was pretty bizarre seeing this only scraping the top 40 after the first 10 voters, considering that it got its first two 11s by that point. You can blame that witch @slaybellz for that. But guess what? We didn't let hate win and this ended up in a justified and respectable position.
This is a fucking weird song. This is especially weird within the context of Annie's discography; this is easily the most bombastic and manic track she has ever made. Like, even 'Bring Me Your Loves' and 'Regret' have some kind of roboticness to them. I think the closest thing in her back catalogue to this is the incredible 'Northern Lights', but even that one wouldn't trigger all the dogs a one mile radius like this. I mean, that fucking whistle note tho, Annie well and truly SNAPPED’T.
Structurally, this is one of the most interesting cuts from the album; it darker the more manic it gets, manifesting into literal screams of anguish towards the climax. Lyrically, there is a fiery sense of sexuality and passion weaving through this track, with lyrics such as 'I miss the taste of your tongue' offsetting the graphic imagery that was to follow. It's an odd balance of Annie being a bit of a Top Dom but also being genuinely concerned for this dude's wellbeing. I mean, the prick ends up spoiling what seemed like a lovely and expensive Parisian city break; no wonder she screamed - that security deposit is GONE, hunny.
The track-by-track interview for this song gave an interesting perspective into Annie's approach to songwriting
Here’s another track that sounds upbeat but is lyrically quite dark—there are images of someone lying on a bathroom floor, close to death, following a drug overdose. Beyond the literal truth of the song in relation to your life, do you ever worry about this kind of material being misinterpreted?
My general philosophy is that once the record is out, it’s for everybody else. It’s not for me. I have exactly zero qualms about being quote-unquote misunderstood. However people want to Swiss Army knife this music into their lives, or not, is completely fine with me. The only thing that I would feel horrified by being misunderstood about is if someone was like, “In this song, it sounds like she’s a Nazi sympathizer.” But aside from egregious crimes against humanity, it’s not for me anymore, and I feel liberated by the fractal quality of that dispensation.
happiestgirl (5) is BITTER that they don’t have the range to sing along to this and takes it out on Annie: No clear melody, which might be interesting to some, but I’m simple and want to sing along.
Haps (6) calls it 'a little annoying.' You know what’s REALLY annoying? Your Masseduction scores.
Bleedingheart80 (7) was 'not too sure about all the wailing/shouting. Not a fan of that.'
Clearly the whistle note Miss Annie hits went straight over mokitsu’s (7) head: ‘It's a good song, but I can definitely sense a drop in quality from the previous songs.’ NOT when this directly follows Fear The Future!
'That middle 8 and outro are simply amazing.' And that's simply ufint (8) xx
sfmartin (8) calls it 'epic with many layers. A real journey. Can't listen to it over and over again though.'
Stradiwhovius (9): 'Almost a 10 but that whistle register triggers my dog.' Your dog is WEAK.
Sprockrooster (9) is ‘loving the buildup a lot. That climax doesnot disappoint. I love a good screech into an echoing distance #AnastaciaStan’. At least you’re self-aware...
Trouble in Paradise (9) actually enjoys the lyrical references to a horrific drug overdose: There is a frantic energy in this song that perfectly matches the lyrical content. Obviously those high notes are a serious moment, but I also love the quick sketch of a Parisian morning gone wrong.
Bangers&Bops (9), too, got right down into the lyrical meat beneath the shiny veneer: "Young Lover" may be danceable and upbeat on the ears, but its lyrics reveal a darker subject: the song opens on a "young lover" passed out in the bathtub, presumably of drug overdose, while Clark pleads him or her to wake up. Here, Clark seems to almost complete the somber outro of "Pills," following the theme of medicated existence to a bleak end.
Slice of Life (10) joins my wig as it orbits over Asia: OMG THOSE HIGH NOTES. The range.
CorgiCorgiCorgi (10) calls it ‘brilliant and heartbreaking. I’m just hoping this makes it into the top 10, but it would be a deserving (though unlikely) winner.’
Michael17 (10) has...some words: 'Epic and almost operatic. Heart-pounding. Stunning. That high note is everything.' Because who needs coherent sentences when discussing talent?
One of the many 11-givers, enjoy sums up why this is so damn special: Oh wow she did this. An introspective look to a relationship with a lover who is addicted to prescribed medicines and how living with the fear and added responsibilities can fuck up the things you should have enjoyed. I love how it is very upbeat and guitar heavy when the lyrics are devastating. And Annie going for the whistle note ? I have died and gone to the alt gay heaven. RIP in peace, bitch.
This reverse Swiftian expedition.
Yeah, this one is a capital L Loss.
Young Lover is among the best songs Annie has ever done. There were quite a few contenders for my 11 in this rate, including The Louvre, Green Light and Love, and some of them may objectively be better than Young Lover. But then that final minute comes and she never fails to absolutely obliterate me while having that heavenly death-driven orgasm on the mic and I just don't know. This rate has showed me one thing for certain, and that is that not many people really get Masseduction. This might sound very snobbish, but it really isn't, it's just that people keep trying to make this album into something that it's not. It's not personal. It's not naked. It's Masseduction. We're in the asylum and she's the dominatrix. She's not relating to her fans on Sugarboy, that's why she deadpans the chorus, that's why, when asked about that song specifically, she speaks of her concerts as battlefields. She's not giving fucking social commentary. She uses the tropes we all know and love, she's playing to our weaknesses, both sonically and lyrically, hitting us in all the right spots. And just when you think that she's here to comfort you, to understand you, that she feels exactly the same, she inverts the whole thing upside down. When you think she is "a lot like you," she turns the whole thing into a clusterfuck of noise in which she erases all the boundaries, gender ones included. When you think she might still love mysterious Johnny, asking questions about him, when she literally breaks the fourth wall to make it sound more personal, she ends the story without an apparent resolution. And on this beautiful song, when you hear the contrast of the dark lyrics and the uplifting production, with her vocal delivery verging between euphoria and hysteria during the last minute, taking you through the apparently traumatic event with relentlessness unparalleled by any other song of hers, yet not giving you anything you could pinpoint as "happy" or "sad," blurring the lines between emotions, you are left to music and music itself, you are seduced and slurping every tone, and there's nothing to do but keep listening, because that's what Masseduction is all about. I can't turn off what turns me on.
In any case, anyone who gave it those ridiculous scores should seriously reconsider their taste. Except @slaybellz, that's a lost cause.
On the other hand, I seriously did not expect this one to outlast Pills or Sugarboy, and I'm really proud it managed to break into the top 30, no matter how much better it is than 80% of the tracks left in the rate. The little song that could!
GET HAIM OUT this beyond ludicrous now.
Hell Charli can get lost too. What injustice. Not Young Lovers at 30. What the hell.
Young Lover might just be my favorite song on Masseduction. So anthemic and yet melancholy and Annie serves vocals on it. Massive.
Want You Back should've dropped outside the top 40, so the single effect that's keeping it afloat can fuck off.
Surely it's Lorde's time to start losing more tracks.
I was in a meeting today with a woman who looked exactly like Marry Me era St. Vincent, that has to mean something...
A complete joke.
Just because I feel like I didn't prepare y'all adequately last time, another 11 is falling next...
It's a doozy
Ok, I will take the loss of this 8, but I don't understand it... and I mean this next bit from a genuine and not bitchy place. I tried really hard with the Lana album. I actually listened to that album more than most of the others because I did not intentionally want to tank anyone (which is why I accidentally ended up leaving the most commentary there).
All of the songs I hate from her are gone. But also all of the songs I liked are gone...why is why my average for the remaining Lana songs is 5.4. (5 for me = I liked it but won't probably seek it out much).
So in all honestly, tell me what it is about Love, 13 Beaches, and Get Free that make them faves. Because I honestly don't get it but I'm willing to listen again and learn. I understand it more when a song I actively dislike makes a mark with someone else because of the dichotomy, but when something doesn't make a mark for me but resonates so strongly with others it makes me curious.
Just because a song is popular doesn't make it objectively good. I personally don't understand how someone cannot see the artistic merit in Love and Get Free, but that's what opinions are - they differ and are innately subjective.
Maybe wait and read their respective elimination posts if you want to ~get~ why pretty much everyone else in the rate loves them?
Separate names with a comma.