annie in cornrows i’m DYIN’
predictably: jessie ware single very good; graceful, poised, the sense to bat for lashes’ “all your gold“‘s sensibility. not in a tizzy about benny blanco’s involvement; in slight tizzy over sheeran appearing on the album but never forget that he was also on red and that he can be easily erased if necessary
not predictably: m.o have only gone and sampled bloody “i’ll bring you flowerrrrrs in the pouring raIaIN” on their new single! not content with mining my all time favourite songs list once and appropriating rich harrison’s work on “1 thing”, evidently. competition is fucking fierce rn between them and juce for favourite new girl group; it’s almost enough to soothe the protracted dolour that is the knowledge that mks are never going to properly happen.
best bass line of all time??
This one is 1 of my favorites received thus far
when i wake up tomorrow i’m going to be able to listen to a new jessie ware song
given that the last properly new song i listened to by jessie ware was “imagine it was us” i am VERY EXCITED ABOUT WAKING UP
OK I really have to go to sleep but I do need to say something about this song briefly before I do.
My only prior acquaintance with Javiera Mena was “Luz de Piedra de Luna”, which showed up on my radar solely because of some effusive exclamations made by the contributors to the Singles Jukebox. The song is a titanic paroxysm of cowbell, rolling drums and house piano, held together by a menacing, gluteus-defining bassline, and it very quickly became one of my favourite tracks of the year; I redfacedly acknowledged that though I had missed the release of Mena, the album on which it appeared, in 2010, I was happy to take a late pass rather than miss out entirely on the thrills of Chilean disco.
In the period between 2012 end of year detritus and now, Javiera had (somehow) slowly faded from my mind. But clicking and dicking around online paid off once again, for it led me to her latest missive. “La Joya” is an emphatic, enchanting statement that as a non-hispanophone I cannot fully interpret without the aid of digital polyglots. Though I fear much has been lost in translation, it appears at first glance to be Javiera’s attempt to canonise the disco ball, which is a crusade as valiant and applause-worthy as any for a pop song to undertake.
Two observations I have about the sonics - first, the beautiful elasiticity of Javiera’s voice, which playfully elongates cadences like “na na na na na miiiiiiiii” but then cuts through authoritatively during the coda. Masterfully evocative note duration techniques and an enviable sense of rhythm. Second: there is a synth that sounds like it was crafted in Todd Terje’s womb that births itself in the middle eight and it just goes and goes and goes like a piston, mechanically manoeuvring the song to an unbelievably euphoric echelon. When I was first listening to this and getting all caught up in the Everest-like ascent that begins around 2:19 in, I thought to myself “oh I wonder if this will actually go there" and then it really did unabashedly go there, bravely ascending to beatific octaves without restraint and without regard for the hairs on the back of my neck.
This is a song that deserves to be housed on a million dancefloors and it’s a shame it would take an English version by fucking CHVRCHES or something to get it there. It could do with some handclaps, but, like, so could all songs. Perhaps my favourite single so far this year.
Paris - rue St louis en l’ile
Bastille Day 1952
this effect that sounds like a slide whistle in the last few iterations of the “west coast” chorus is fucking awful why would you put that in LDR
"i got feathers in my hair / i get high on hydroponic weed" lana girl you a mess
also sorry for not tumblring in a while, been doing like, lots of trust documents and limited recourse borrowing arrangements and orange is the new black watching