Discussion in 'Charts, rates etc' started by eatyourself, Nov 22, 2021.
Sweet. Now we just need u-2 in the top 5 for the perfect contrast.
Y’all did u-1 dirty.
I expected this one - although I'm glad it it eventually got redeemed through the KRONOLOGI version of u.
I agree Anywhere i Roam should be up soon. I suspect one of the lowest main singles might be summer never ended which I expect will be reasonably soon too.
My early prediction is that t will be #1.
Happy new year! Let us kick it off with something that matters:
So you prefer this to u-1 huh.
raise our voices,
hum until their walls
MATTERS (feat. Zola Jesus)
released: may 2019 | artist: ionnalee | album: REMEMBER THE FUTURE
8.50 @sfmartin @Zdarlight @lob0to
4.00 @Wild Man. @huntypoo
eatyourself’s score: 6.00
MATTERS is track #4 on ionnalee's album REMEMBER THE FUTURE. when i saw jonna was releasing something with zola jesus i thought 'hey, cool! two extremely creative, forward-thinking girlbosses coming together to heighten their slayage! but the result was underwhelming to say the least. the melodies are very pretty, there's a cute vibe, but six minutes and fourty seconds might have been a wrong choice for this one. this is what jonna has to say about the song on her bandcamp profile:
"MATTERS is about knowing your importance and ability to make a change, even-though one may seem insignificant in a bigger perspective. It stems from us as independent female artists fighting to be able to exist in our field, but also from us as beings through lows and hi’s – aiming to encourage ourselves and others to take control when society is rapidly evolving into extremes."
Glitterizer’s score: 5.25
a massive slog. i don't care for this one at all.
@kal (9) “a mood”
@sfmartin (8.5) “this is actually pretty stunning for one of her more softer moments. i just wish it was less sparse and a bit fuller in it’s production. zola jesus sounds divine.”
@andru (7) “i preferred how it sounded live after it was performed during the remember the future tour before the album was released. the studio version lacks the same energy, but that might be difficult to re-create since it's studio vs live, and it does feel a bit aimless too. the video is cute with some behind the scenes footage on stage and with fans though!”
@cleosnatchra (3) “sooo plodding and dissonant; remarkably unexciting melody; annoying blaring instrumental. probably my least favorite of everything on here.”
@babyblue (6.25) “this one doesn't really do it for me.”
Bye, Zola. As for u-1, okay, but no way it would have beaten u-2, the The Music and the Mirror of synthpop interlude BANGERS!!!
Surprised this one's so low, with some of what's to come - and I reckon RTF is gonna be criminally underrated in its entirety. I can see i Keep and Mysteries of Love coming up shortly after this.
Y'all are sick, Matters is EPIC. I see you did Remember the Future dirty!
These eliminations (apart from u-1 and RACE AGAINST) are disappointing. Where is the taste?
"we are the boys, we are the big boys
we're so strong, we're so pure
we know we are, we know we are"
released: may 2020 | artist: ionnalee | album: KRONOLOGI
8.50 @Glitterizer @andru @TéléDex
1.00 @sfmartin @LE0Night
5.00 @Wild Man. @clowezra
eatyourself’s score: 10.00
violent playground is track #7 on KRONOLOGI. jonna had released a version of this song in 2009 (with claes on piano) for the album there’s a razzia going on volume 2, a various artist album by her old label razzia. the original song is by the british band nitzer ebb. i tried looking for the reason why they went for a new version for this in 2019, but it might ultimately be because KRONOLOGI is a "greatest hits" of sorts and this might be a little nod to her pre-iam days.
as i knew the version from 2009 quite early on i have lots of feelings about this song, and i don't really get why it's out so early! she's giving a different energy here than in most of her songs, i like it when she's able to be more playful/theatrical.
Glitterizer’s score: 8.50
this is fun and i definitely don’t understand why this is out so fast. this probably won’t make sense to anyone else but to me it kinda feels like jonna’s version of those early pre-the fame gaga tracks, the “electro cabaret” ones. idk i like it!
@kal (8) “I feel like the sparse production lets it down a bit. A nice cover overall.”
@sfmartin (1) “I'm staying inside.”
@andru (8.5) “After discovering Jonna's acoustic version of the song back in 2010, and learning that there was also an electronic version thanks to an interview she did with a Nitzer Ebb fansite, I was excited to finally hear this alternate recording! I like it, but after imagining how an electronic version could sound for so long it didn't quite meet the expectation I'd built in my mind. If there are other versions I hope we hear them one day too!”
Ok but sfmartin‘s scores are a mess! Cancel this rate.
KFC, hi! how are you? are you hiring today?
oh, great, i will be down in a momentarily to fill- huh?
"leave a little mark, a contribution
as you get down on your knees
while we're in the dark
you know how to use me"
telesvar / ; john b
released: june 2011 / may 2020 | artist: iamamiwhoami | album: KRONOLOGI
9.00 @huntypoo @kal @S_BX @Wild Man.
1.00 @Ana Raquel
Glitterizer’s score: 9.25
i see the fuckery with my favorites already started, huh? ok!
telesvar is a song from the bounty era that remained technically-unreleased for the better part of the last decade. if you think cassette/vinyl-exclusive bonus tracks are annoying... this one was only available in phone call format, for a limited time, as part of the promotion for iamamiwhoami's very first live appearance (at the 2011 edition of the Way Out West festival).
back then it had been registered with the title ; john b, confirming a connection that was already evidenced by the promotional visuals and the fact that the ; john video ends in a phone call. the song was also performed live in the festival (jonna smoking a fag on the toilet paper bed is iconic), but it only finally saw the light of day in clear, crisp studio quality with the new title telesvar ("answering machine" in swedish) in 2020 with the release of the KRONOLOGI playlist and album.
as for the actual song itself, it's again more of a transitional, interlude-like moment in the bounty era (like u-1), but i can't help but love it, and i kept falling more in love with it the more i listened to it during the rating period. the song has a lovely melody and vocal performance by itself and would work fine as a completely acapella number, but what really makes it pop for me is the constant hypnotic dialing tone. it's comforting and a bit chilling at the same time, like you dialed a number from an alternate dimension and are listening to this weird little hymn you're not supposed to... except the lyrics are once again just about fucking!
eatyourself’s score: 10.00
i remember when this was 'out there', someone had recorded their phone call and people were trying to make out the lyrics, including me! i never succeeded though, but it's nice to have on streaming a relic from the time they were just starting to give their first cryptic interviews.
@kal (9) “i remember being bemused at everyone going mad over the little snippet we got - i couldn't appreciate it back then. thankfully we got the full song, and it's a triumph.”
@sfmartin (1,5) “not much to say about this. it’s pretty uneventful and boring.”
@MisterNovem (9,5) “so unsettling, but romantic and sad.”
@andru (8) “alongside the kronologi version of shadowshow, it really feels like kronologi helped complete the bounty era for fans. i've always loved the lyrics, and think building the song round the sound of a telephone was a clever idea given the context of how it was originally presented, but i do feel like there's so much more they could have done with it too.”
@DinahLee (2) “this is a phone call with DDD 11” (akfdnfkfdng the way i screamed reading this. for the non-brazilians, the 11 area code in a phone call is for the são paulo region, but if you live anywhere else and get one of those it usually means it's a call center or some inmate calling from one of the big prisons trying to scam you)
@babyblue (8,25) “i don't listen to this one enough, but it's beautiful. glad that this rate as made me realize.”
@Ana Raquel (1) “i mean... ok?”
Ok Matters getting knocked out early is deserved. Talk about a dirge.
Violent Playground and telesvar seem fair enough. I love love LOVE when ionna gets industrial so I feel like a lot of my favs are going to be slashed judging by some of the in due order talk already. VP just seemed like a treat for fans though, so I never listened too critically.
Telesvar isn't a career highlight, but it's weird-ass performance elevates it. It's pure nostalgia for me and I'm so glad we got a studio version. Plus the phone line shit is the kind of thing that makes ionna/iam so special.
Those extremely low scores are a bit suspect now.
Still hoping she takes this route at some point.
I would not be surprised if that's where she heads at some point. Machinee definitely fits that mold.
Expect some more of them fff
But really it's just that we all have different criteria, for some people "this is kinda boring and doesn't give me anything" means a 5 (like me), for others it means a 1. I don't think there's any ill intention involved. And @Ana Raquel is just a notorious ballad hater across all rates ddd
In better news, we aren't even out of the Bottom 10 yet and the next song is already above a 7.00 average! Which is difficult to get, not every rate has that!
This was around the time we got this iconic picture:
I didn’t mean her though, ddd.
Oh, I realize that. I was explaining the two different low scorers haha
@sfmartin gave almost half of the song list a 9+ score, their ballot is fine.
On the brighter side, all my 3- scores are already out!!!
I've never seen any performances of this so I imagine it might sound better live. In studio version, I just found it... nothing? And it's not the beige kind of nothing (which would get around 4/5 from me) but the ??????????? why does this exist kind of nothing.
Separate names with a comma.