Discussion in 'Pop & Justice' started by Noir, Nov 27, 2014.
I *think the initial demo of Don't Forget is from 2016.
I don't think it's fair to say she's just been sitting on these songs doing nothing for years. Yes, the demo may date back to 2016 but she's been funding sessions and changing production and mixing and mastering up until literally two months ago. She definitely takes her music seriously.
Stereogum's post said the final version of Don't Forget was only recorded in 2020 so if that's true, she must have gone through a few versions before that.
To be fair a lot of artists have been sitting on new music because of Covid, so it’s not exclusively Sky, my favourite bands new album was ready to go at the beginning of 2020 and it’s only just been released. And it’s completely understandable because they want to be able to tour the album etc.
Plus we all know Sky has had issues with her label etc, I was just curious when this song first came about.
Dd, I was about to post this. I’d love to know why she rerecorded the whole thing in 2020 since it sounded like it was finished and ready to go around the time of Downhill Lullaby’s release.
Didn't she say in her most recent Instagram post about Don't Forget that it went through a ton of different iterations?
(I'm also taking it as a positive sign that she explicitly said the words "the album is real" in the same post.)
This is fantastic. The first listen was very much “that can’t be the chorus?” but on subsequent listens the whole song just clicks. Her vocal is out of this world and the production is so crunchy and deliciously messy in a nicely orchestrated way. The way everything builds and expands at 2:16 - so good. Also it leaves you wanting more in a clever way.
I fucking love her.
The distorted guitar/synth/whatever sound during the verses is crazyyyy
Pitchfork didn’t care for the song, which is a little surprising but also not, considering the score they gave Hatchie a few weeks ago
Pitchfork back to pissing me off after aptly dragging Jack Harlow, it seems.
This is transcendent, it feels like a homecoming but shaded in vengeance.
There's something so ominous about "I don't forgive" with that industrial guitar (?) cutting underneath it. It's been said but she really does not miss.
@SuePark if I see you in the streets it's over.
I already feel like this song perfectly encapsulates my musical tastes, what a fucking home run. I want to live in this song.
This gorgeous song is gorgeous. End.
Sue Park also poorly reviewed the new Uffie album. She won't be descending.
Panning Uffie and Sky on the same day… Sue Park is a homophobe!
I'm not surprised Pitchfork turned on her after she scammed an entire cover story out of them with 2.5 songs though.
Nobody cares about or reads Pitchfork but stans nowadays so let's luxuriate in its irrelevance.
Between this snotty review and the weird dressing down they gave the phenomenal Ethel Cain album after praising her for a solid year, I'm so fucking over Pitchfork.
That Pitchfork writer realizing she could say the song was forgettable despite the title being Don’t Forget
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