Genres are a funny little concept aren’t they?

For most of the last 50 years, country has (not so subtly) been stripped of its creativity and its rich Black history. With most songs in recent memory centering on permutations of the same chord progressions and approximately 6 subject matters (whiskey, beer, shotguns, the South, blue jeans, and Jesus), the best way to describe the genre is – I think – made for your average Joe (if your average Joe is a frat bro or middle-aged white man from Kentucky). This is, of course, an oversimplification, but….am I really wrong?

So when I heard that Beyonce was making a country album, I was admittedly worried. Not because I doubted her ability or her vocal prowess or her boundless creativity – more so because I worried that the genre would box her in. And while at times certain tracks give into tropes or feel half baked, I was being sooooo dumb. Cowboy Carter‘s intended purpose, as she told us, is not to “be country”, but rather to:

• continue her career-spanning quest to reclaim genres of music stolen from Black communities, all while continuing to put Black artists on (see: Shaboozey, Tanner Adell, Tiera Kennedy, Willie Jones)

• demonstrate her range as an artist (which any real fan knows this woman’s range – vocally & artistically – has no bounds)

• trounce on the haters (over 30 years, she has given you R&B, neo soul, ballroom, house, rap, hip-hop, ballads, pop classics, vocal acrobatics only few could ever execute, flawless choreography, stunning visuals, surprise album drops, jaw-dropping live performance spectacles, + now country better than anyone else )

And if those are the goalposts, she kicked a field goal right down the middle from her own 20 yard line.

Despite Beyonce being a “pop artist” (whatever that means), her albums of the last decade have been anything but ordinary or average or aimed at chart topping success. Instead, Beyonce, Lemonade, and Renaissance were big swings. It’s not even a leap to call these albums revolutionary. Cowboy Carter is no exception. There is no way for me, as a white woman, to articulate the nuance and rich history here fully. Instead, I’ll link some great works (podcasts, articles etc) from Black creators that give VERY IMPORTANT context to this album and her previous works. To treat Beyonce’s discography as anything less than a rich text is ignorant and short-sighted.

That said (and credit to my mom for this one), this album shouldn’t be read as Black vs. white or country vs. not country. This album (and I would say any of her last 4 albums) is taking an axe to the idea that genre should be dominated by specific spaces, races, and genders; cowboy boots are for everyone. Post Malone, Dolly Parton, Linda Martell, Miley Cyrus, and Willie Nelson all come together in the creation of a unified body of work.

“Now is the time to let love in
Together, can we stand?”

To me, Cowboy Carter is not as strong the aforementioned 3 previous works (and I will explain why in track-by-track commentary). That said, this is a phenomenal album. AOTY seems imminent. I felt it in my bones when I first heard AMERIICAN REQUIEM. Maybe it’s just my TikTok algo, but there is a particular kinetic energy & rallying around this album that has been missing from previous works. Is it because Taylor Swift has been off of tour for a month? Is it because people find the idea of a country album to be a better entry point into Beyonce (said more harshly: more “palatable” for white audiences)? Or, is it because people (even our average Joes and Karens) have realized what the Bey Hive has been screaming from the rooftops for years, “Beyonce is one of the greatest performers and artists of all time”

Thank you, Beyonce, for giving me and so many other women (and NB & men) the permission to take up space, to take risks and be bold, to be sexy and smart, to be feminine and masculine, to be silly and serious, and to be human.

Track-by-track commentary (* denotes a must listen):

• AMERIICAN REQUIEM* – a perfect album opener; the growls?? the snarls?? “a lot of taking up space”
• BLACKBIIRD
• 16 CARRIAGES* – a stunning vocal performance; the thumping drum hits drive the music forward in a really compelling way. here beyonce is successfully working within country “norms” (simple guitar riff, “lone back road”) while still making it her own and telling a truly vulnerable (RARE!) personal story. “THE LEGACY – YOU’LL REMEMBER ME” – yes ma’am we will
• PROTECTOR* – simple. masterful. a beautiful tribute to her children. makes me cry everytime.
• MY ROSE – a preview of the tight vocal harmonies to come
• TEXAS HOLD EM – obviously catchy and fun. a little too on the nose for me & some of the lyrics are a bit absurd “so park your Lexus” relatable !
• BODYGUARD – definitely vibey & sexy. song loses some steam in the back half (“start shit and pop shit” is a bit weak lyrically). an earworm that I’m sure I will be obsessed with in 2 weeks, but for now, it’s good, not great.
• JOLENE*- her voice sounds amazing (duh!) but I also love her interpretation of the song. It is a really hard thing to cover/remake a classic and I think she nailed it. the way her voice coasts over “planted sees”!!!! the unison singing at the end is magical
• DAUGHTER – LOOK WHAT YOU MADE ME DO??!! Taylor easter egg???? no but actually this one took a minute to grow on me. I think the story is intiruging and the opera in the back half is obviously impressive and gorgeous (reminiscent of RWT). it’s not a song I will revisit ton, but it is a important vehicle to tell the album’s story
• SPAGHETTII* – rappers should consider themselves lucky that Beyonce doesn’t take rapping seriously. Bey Hive has been saying this for YEARS, but Bey can rap her a$$ off and she shows that here. The beat is sick. this is so fun! LOVE
• ALLIIGATOR TEARS – this feels like it should have been an interlude. it’s not a bad song and i think the minor chords are interesting, but I probably won’t revisit.
• JUST FOR FUN – the refrain is beautiful and cleansing, but the writing on the verses is not very compelling and is quite repetitive. it sounds good, just a bit boring. of course, I love the church choir at the end
• II MOST WANTED* – they both sound SO GOOD! and so good TOGETHER which i would not expect! this is an instant classic duet for the history books. i love that they both get their big belt moment. stunning amazing 10/10
• LEVII’S JEANS – beyonce continuously brings out the best in her collaborators and this is yet another example. she highlighted Post perfectly, while delivering a sultry, fun performance of her own. “give you high fashion in a simple white tee” this song plays with country tropes and subject matters in a way that is fresh and also VERY Beyonce.
• FLAMENCO – it is really fun to hear Beyonce doing 3-part harmonies throughout this album – reminiscent of the Destiny’s Child days!
• YA YA* – YEP – for the record I claimed this one when I saw it on the track list. so fun & so creative. very Renaissance-y with all of the beat switches. umami is the only way i can describe this song. IT BANGS. AND THE LOWER REGISTER???? SING BEYONCE!!! it’s Tina Turner, it’s “Greased Lightning”, it’s Elvis Presley, it’s MOTHER FUCKING BEYONCE!!!!!!!!!!! yep.
• OH LOUISANA – not only does it sound cool, it also has a tie to the narrative arc of the album. OPB Chuck Berry
• DESERT EAGLE – give me 4 minutes of this instead of ALLIIGATOR TEARS! groovy & sexy and also I am cacklingggg at the thought of beyonce chowing down on some do-si-dos. she’s just like me !! (and yes I am aware it is a euphemism)
• RIIVERDANCE – she’s hilarious. irish jig meets hoedown meets ho anthem! and using her nails as percussion a la Dolly? cool af. it does start to slog / gets repetitive around minute 3, but the call and response in the last 20 seconds or so is nice
• II HANDS II HEAVEN* – this feels very Beyonce (Self Titled) to me in the best away. confessional & sprawling autobiography over lofi hip hop. motif of horses/stallions keeps popping up. the transition at 3:30 is great – i love the repeated chant “I’ve been waiting my whole life for you”. the repetition here feels purposeful and drives the song forward. she loves Jay Z so much it’s kinda wild but also love that for her! perfect transition to TYRANT
• TYRANT* – she continues to be hilarious. fiddle over a trap beat prod. by d.a. got that dope?? only Beyonce could do it. throughout the album, but especially here, she inserts country establishment “no-nos” (sex, drugs, promiscuity) and juxtaposes them with gospel-inspired vocals & “traditional” country elements as if to say “oh you said I couldn’t do it all? watch me”.
• SWEET HONEY BUCKIN* – this feels like a cousin to “PURE/HONEY”, which happens to be my favorite (?) song off of RENAISSANCE, so naturally I love it. it is fun, keeps you on your toes, and ties all of the sonic elements of the album together nicely.
• AMEN – the connection back to the opening track is very Broadway musical. circling back around. reminding you of the dramatic, tumultuous ride we have just been on for the last 90 minutes. it is as simple and beautiful close

“AOTY I ain’t win / I ain’t stuntin’ bout them / take that shit on the chin / come back and fuck up the pen”

Overall rating: 8.2 / 10*

*sorry i just have to say – the main reason this album scores relatively low for a rabid fan like myself is mainly because there are skips. several of them.

for context:

RENAISSANCE – 1 skip

Lemonade – 1 skip

Beyonce – 1 skip

REFERENCE MATERIALS

Commentary from Danyel Smith on MSNBC

Background on Linda Martell via CNN

“Why Haven’t We Had a Black Women Country Star?”

“Black Artists Helped Build Country Music—And Then It Left Them Behind”

Dissect podcast – entire season on Lemonade

I haven’t been motivated to write about music for a while – until now. Harry Styles’ latest album is fun, easy-listening without being so predictably bubblegum-poppy that you get bored. While there is nothing groundbreaking here, there are beautiful lyrical and sonic moments on Harry’s House that will give critics and fans plenty to chew on. The replay value is immense and I would not be surprised if it has the same staggering staying power and cultural relevance of his last album, Fine Line.

I’m not the only person who has been smiling ear-to-ear (and also crying, see: “Matilda”) while listening to Harry’s House this weekend. Styles’ rumored bae, O****a W***e, must be relishing in the fact that she 1) is dating the man of everyone’s dreams and 2) now has a masterfully crafted and highly public love letter of an album to listen to and obsess over. Jason Sudeikis and Harry Styles? She is one lucky gal.

Anyways, back to the music, I have two teensy complaints with this otherwise immensely enjoyable and well-made album:

1) lack of risk-taking – yes, there are moments where we are seeing Harry try new ideas and genres (scatting on “Sushi Restaurant”, Otis Redding/Prince/D’angelo-esque screams and ahh’s on “Cinema” and others etc.), but he is still coloring inside the lines. In other words, this sounds like a Harry Styles album (which, by the way, is not a bad thing); the genre-bending is there, but it’s limited and most of the sonics, while wonderful, are recycled or repurposed.

2) sequencing – at least in my view, the order of the album doesn’t make a ton of sense and there doesn’t seem to be much of a narrative arc other than the overarching and not-so-subtle “I’m very in love with my girlfriend” theme. I’m not terribly bothered by this, but I do think Harry is cerebral enough when it comes to album-making that you would think he would have thought about this more. Especially given how good the sequencing on Fine Line was.

All of the being said, I love this album. I love and will repeatedly listen to nearly all of these songs. It’s Harry at his peak heartthrob, denouncing toxic masculinity, strutting around in cute sequined jumpsuits, and crooning about the importance of therapy and self reflection, all with impressive vocal chops to match. And it feels, at least to me, deeply authentic and moving and wonderful and representative of everything that a cisgender white male popstar should be in 2022.

Track-by-track commentary (* denotes a must listen):

• Music for a Sushi Restaurant – a BOP; happiness summed up in a song; lyrics are pretty nonsense, but who cares. it’s so fun!! the way the song builds on itself musically from chorus to chorus is really cool
• Late Night Talking* – another BOP! incredibly groovy guitars and synths. a cute love song that will likely be the song of the summer
• Grapejuice – this is the one song on the album that I struggle with. for no other reason than it being a bit (dare I say) boring. i’m also not a huge fan of the vocal effect they have on harry’s voice. the whole song just a feels a bit like lazy yacht rock. easy to listen to and enjoyable? yes. will i skip it most of the time? also yes.
• As It Was – “it’s not the same as it was” seems like such a nothing statement in a vacuum, but given the context of the world at the time of the song’s release, it’s actually a quite poignant and resonant message. and catchy as hell. especially the bridge. I couldn’t figure out why I loved it so much until a favorite music reviewer of mine compared to early Vampire Weekend. Ah, that’ll do it.
• Daylight – the little prechorus is adorable and catchy (“..dip you in honey so i can be sticking to you”). brb DYING. you think the song is going to stay pretty one-note, but then the guitars come in and add a whole new exciting texture to the song. LOVE. side note: lots of cocaine references on this album. like an alarming amount. Is OW doing coke with Harry?!?! someone alert Jason!!
• Little Freak – another heartbreakingly adorable love song. the very autobiographical and specific imagery makes this track. Musically nothing too complex, but that’s ok. it’s cute and i like it.
• Matilda* – so..ya…i’m on listen #8 and i still cry. every time. might be in my top 5 songs this year. the clarity and vulnerability of the high note at around 3:15 is…perfection. ok – must move in or will cry again (Harry gives context for the song in yet another fabulous Zane Lowe interview – you should check it out.
• Cinema – i mean ya, the transition from Matilda to this is…clunky to say the least. but once you get over that – wow. this one is groovy and clearly borrows from Prince/MJ/Justin Timberlake SexyBack era drum n bass sexy time vibes (???). a very tongue-in-cheek-nod to his film-producing girlfriend, but also a cool perspective shift. A guy not thinking he’s cool enough for a woman? wanting to impress her (in more ways than one)? What a concept! we’re just gonna ignore that one line bc I can’t
• Daydreaming – this bores me much less than Grapejuice, but I have similar critiques. it’s cute and groovy and shows Harry impressively channeling MJ at around 1:40. nothing particularly noteworthy otherwise though and quite repetitive.
• Keep Driving* – probably one of my favorites. another example of simple sonics, but strong narrative storytelling that keeps the song compelling. it’s a breezy song that quite literally demands to be listened to while driving with the windows down, but there is a darker more meaningful underpinning to the song: ya the world is really f*ed and crazy, we should probably just keep driving and be blissfully ignorant for a second. yep. and again, that one line. I’m sure tiktok will have a field day with it; i know i did.
• Satellite – here and in a few other spots, Harry plays with more electronic sounds (perhaps his one new sonic experiment on this album). the intentionally spliced “oohs” in the back track and the aggressively pitched down ghoulish “spinnin’ out waiting for you” add a surprise element to the otherwise familiar cute and bouncy love song. speaking of surprises, I LOVE the classic rock guitar breakdown toward the end of the song.
• Boyfriends – harmonies are perfection. simple and heartbreaking and also so spot on (listen up boys!). the only not-so-perfect element of this song is the weird reverse vocal sound at the beginning; feels like an attempt to be artsy and it’s just confusing.
• Love of My Life – this seems to be a favorite amongst tiktok-ers and while I do really like this one it’s not a favorite per se. the piano outro is certainly really beautiful and the dissonant chord change on “leave you behind” is a cool punctuation mark on the album (also very Beatles-y). Space-y synths a la “oh baby” by LCD Soundsystem are a cool addition as well.

Overall rating: 8.2 / 10

I’m…tired. So much so that I don’t even have the energy to write a fulsome review. From the antics of the rollout to the Drake beef to the insanely long run time, I’m just tired. I hoped the music would energize me, but…bottom line – Donda has some incredible moments (maybe some of his best ever), but more often than not it feels like slog to get through.

Stream of consciousness/thoughts over the past week

fragmented/order is a bit confusing but maybe i need to sit with it a bit more

you dont play this at the club/party — very meditative, almost lo-fi, not a rap album

edited curse words? i don’t know how to feel – i get that it is a gospel album, but then just have people not use curse words at all — seems like it defeats the purpose to have the bleeps

dababy /marilyn manson — unnecessary, and look it’s kanye I get that he wants to be the maximum level of inflammatory at all times, but this is just…exhausting and horrendous.

is this a kanye album or it is more like a cruel summer (a collaborative) — also like…there are so many producers for some of these really stripped back beats

sonically beautiful — but lyrically, we get our best moments from everyone but kanye (he doesn’t talk about any of the major life events he has experienced [loss of mother, divorce, running for president] – a bit odd)

this album runs like a Broadway musical and I know kanye is a genius. I know it and I have to remind myself. there is a meaning and purpose behind everything and I’m seeing it more – the first half of the album up until heaven n hell is like the sinner and then after that it’s his redemption/salvation/reconnection with GOD. but still the arc is a little bit scattered

if you cut out the filler (which is like 50% of the album) Donda could rival TLOP or maybe even top it. It certainly is better than ye, Kids See Ghosts, and Jesus is King but that’s not saying much.

This may be the last straw for me…what makes it most unbearable is that this is what he came up with unlimited time, resources, and talent…this is what came out of sessions with some of the most influential musical minds of our time

ok i need to calm down – it has now been 5 days since the album dropped and it is actually pretty good. it’s just…still disappointing. but he told us he is done with rap – he’s making gospel music. he’s also (and I mean this with the most sincerity and concern) severely mentally ill, so I need to stop expecting MBDTF or college dropout Kanye. He is gone. At this point, I just want Kanye to get right with himself and get healthy.

Track by Track Commentary

Songs with * I will actually revisit

• Jail* – fire, one of the few that I will revisit consistently. the guitar is heavenly. hook is catchy. and whether or not Jay actually gives an f about Kanye anymore I can’t tell, but just happy to have them reunited on a track at least. STOP WITH ALL OF THAT RED CAP.
• God Breathed – cool concept, scream sample is classic kanye and the beat is fire. outro is way too long (like 1 full minute too long). kanye’s verse doesn’t move me and he’s not really saying much. vory sounds amazing and heavenly
• Off the Grid* – fire, catchy hook, fire production, i usually dont love playboi carti but this is insane. and the drill beat!??? fivio and kanye rapping for their lives. love it so much. have already worked out to this. just waiting to square up and knock a b*tch out with this bumping in the background.
• Hurricane* – 80 degreessssssss warm it up for meeeeeee. The weeknd’s buttery vocals make this track. nice to hear some high hats on this too since most of the album doesn’t have them. similarly usually don’t love lil baby, but the way he rides the beat is sooo cool. THE CHOIRS ALSO omg i want more of them
• Praise God* – travis and kanye is always a fun combo and the organs over the trap beat are cool. THE DEVIL MY OPP. Baby Keem’s verse is kinda annoying and repetitive and would rather hear Kanye take it. can definitely play this in the car on full volume
• Jonah – vory killing it per usual, but I had no idea what he was saying until I looked it up — which the mix wasn’t so distorted because it’s actually a good line. kanye’s verse is kind of nonsense especially coming off of durk’s emotionally vulnerable and raw verse. it’s cool, but i probably won’t revisit.
• Ok Ok – I appreciate Kanye trying a different flow here and it breaks up the album nicely, but I sadly do not like this flow. Think it’s kinda annoying, which is unfortunate because the sentiment of the song is a rare moment of kanye himself being vulnerable on this “ok ok I’m not ok”. Lil Yachty is trash. Period. Sorry not sorry. Autotune on Fivio’s singing is a bit cringy.
• Junya – this is where i start to get really lost. Junya is a Japanese fashion designer so this is just a stereotypical gawdy rap song (which happens to have an incredibly annoying hook). I would understand if this came at the beginning of the album thematically where you have Jail and clearly the theme is the devil/sinner/gawdy etc., but to have it here sandwhiched between “ok ok im not ok” and the Lauryn Hill song (which is always weirdly placed) does not make a lot of sense.
• Believe What I Say* – smiled ear to ear 2 seconds into this one. Classic Kanye. Lauryn Hill. a hit for sure. it will definitely be playing at pregames across the country. but again, the placement and contents of the song don’t make a ton of sense. I do appreciate the (again, rare) moment of self reflection on this. the Buju Banton outro is super dope and is a glimpse into Kanye’s marital troubles. Although strange that it comes over this fun, uptempo song
• 24 – a beautiful song no doubt. I love a good Sunday Service Choir vibe, but it was probably a minute or so too long. Would function well as an interlude. but again, placement continues to confuse me because we follow this with Remote Control. this makes more sense toward the end of the album.

• Remote Control – cool beats/spacy drums, but i find the hook and melody to be incredibly annoying. Thugger sounds much better over this beat, but by the time we get there I’m ready to move on. This song is fine – skippable though. and the sample at the end…I can’t even

I should note that by this time in the tracklist I just feel like…tired. I dont know how else to describe it other than that.

• Moon* – ahh the classic Mike Dean guitars I LOVE. and Don Toliver sounds dreamy and transcendent. Kid Cudi sounds great and so does Kanye. not much is really being said (very repetitive lyrics), but the music and emotionality of the track get the point across – we are at a turning point in the album. Kanye is looking for redemption/a shift/a change/desires to be better. this is a really pretty one
• Heaven and Hell* – the flow is NASTY and the buildup to the beat drop is great. and Kanye is actually saying something here. you know I’m a sucker for the Kids See Ghosts vocal flourishes and screams. the outro drums are super cool too and sounds like hitting rock bottom/they just sound like anger which leads perfectly into the breath of fresh air that is Donda
• Donda – a beautiful tribute to his mother. an interlude so I probably wont relisten
• Keep My Spirit Alive* – really thought this was SZA, but it’s KayCyy and she sounds great. Griselda flows nicely over this minimalist, drum heavy beat. I will admit that I wasn’t really on the pulse of Griselda, but after hearing this, I have my ears pulled for their new music. Kanye’s verse is fine, but some of the lines are half baked.
• Jesus Lord – ok before anyone freaks out about me not relistening – I will say this track is beautiful and amazing and vulnerable. It’s story telling rap which I appreciate and no one is surprised that Jay Electronica goes OFF. It’s just…9 mins long. and sonically it is very one dimensional so it’s hard to go back and keep focus and attention time and time again. but it is an important song and I’m glad it is here
• New Again – the first 20 seconds ruin the entire track for me and especially coming off of Jesus Lord…HIIIIIIIII (eew lol). unfortunate because the rest of the track is actually very good and the choirs sound amazing. basically i would love this song if kanye weren’t on it. which is not good given that it is a kanye album
• Tell the Vision – lol why? appreciate the nod to Pop Smoke and understand that it means more money for Smoke’s family, but at least put it somewhere on the album that makes sense
• Lord I Need You – sounds like a leftover from jesus is king, which isn’t bad – it sounds beautiful, but it’s just very sleepy. kanye’s singing at the end is bad lol
• Pure Souls* – RODDY RICH KILLED IT. at this point the organs have become a staple on every song and it sounds nice, but kanye being the producer that he is I’m surprised we haven’t had more musical moments/switch ups. THIS SOUTHSIDE AND WE OUTSIDE. this one is incredibly vibey/wavy, but i don’t love that kanye is claiming that he “put his life on the line” in regards to wearing the Trump hat. very much a cop out/not taking any ownership of that harm the caused. other than that though love the sentiment throughout
• Come to Life* – not me CRYINGGGGGGG. the pianos are A+, so beautiful. sonically it’s so good that you don’t even realize that 50% of the time kanye is not actually doing the self reflection that you think this track would warrant. he has moments, yes, but he doesn’t go there in the way the music does.
• No Child Left Behind* – VORYYY. this again is really beautiful/jesus-y and sonically could (and did) fill an entire stadium. transcendent for sure. but again, we get no real self reflection from kanye and especially as the closer I wanted more

Jail pt.2 nope dont need it – the jay version is plenty. not giving this the time of day

Ok Ok pt. 2 – is actually amazing simply because Shenseea killed it!!! I don’t know why we even need the pt.1 (which i didn’t like). Would have been nice to have more female voices on this project especially given dedication to Donda and motherhood.

Overall Rating: 7.5 / 10

p.s. revised kanye rankings

1. college dropout
2. MBDTF
3. graduation
4. Yeezus
5. late registration
6. Life of pablo
7. Donda
8. 808s and Heartbreak
9. ye
10. Jesus is King

Our Lorde and savior is back after four years of silence. Her previous album, Melodrama, soundtracked my entire college experience (and the relationships that formed during it). It was raw and wildly experimental, yet highly digestible and timeless (I still listen top to bottom today).

I was amped for Solar Power, especially after hearing the first three singles off of the project. Clearly, Lorde is in a different stage of life; she’s happier, wiser, and more even keeled (she has no time for melodramatics any more). She urges us to embrace the summer time and the sunshine and let go of emotional baggage.

But here’s where I get stuck…for an album that’s supposed to be (as Lorde advertised ) carefree and vibey, Solar Power tackles the crippling climate crisis and existential dread all while coasting over relatively underproduced, lackluster guitar-heavy beats. It’s almost too careless and especially for someone as thoughtful and artistically talented as Lorde, it is disappointing. However, I’m comparing to Melodrama and that is just really unfair to do. There are plenty of tracks on this album that I LOVE and will revisit and that move me deeply when I’m in the right headspace. With Melodrama, it was effortless and immediately grabbed my attention. Solar Power moves slowly and can feel like a slog to get through. Cut out the the excess, though, and it would be incredible.

Track-by-track Commentary

The Excess

• California – pains me put this one here because the songwriting on the verses is great, love the concept behind the song, but think she could have done so much more. in other words, the music behind it is pretty stale and bare and doesn’t lend itself well to the content of the lyrics. plus the chorus and bridge/outro leave so much to be left desired. while the title track has a repetitive chorus, it feels more fitting and anthemic for the moment. the repetition here just feels a bit annoying and doesn’t bring much resolution to the story of the song.
• The Man with the Axe – I see what she’s trying to say her and again an example of great songwriting, but just…boring/sleepy. And I’m a sucker for slow ballads, trust me! but this is just not it. especially that last bit with the reverberations in the beat I’m almost lulled to sleep. just saying if this was the love song someone wrote about me I’d be like “you sure?”
• Oceanic Feeling – not to be rude but sounds like music they would play when you’re on hold with AT&T. uncontroversial, a bit sleepy. could listen to it and just zone out which isnt necessarily bad, except that you lose the meaning that the lyrics are trying to get across. reminds me of “Thank You” by Dido. just feels very safe/anticlimactic, especially for the album closer. wish the breakdown at the end of the song would have been the opener to the album.

Ehh….it’s fine

• The Path – love the drums and the tight harmonies. like the sentiment of the song, just find the chorus (specifically flourishes on “savior” and “path”) to be a bit whiny and nasal-y for my taste
• Dominoes -it’s short and sweet. not my absolute favorite, but flows nicely in the album and is very catchy. great for a day at the beach. thing this could have been a bit more fleshed out given importance of subject matter.
• Leader of a New Regime – realize this is an interlude-ish. think this too could have been fleshed out more and it this point in the album it’s getting to be a bit of a slog. the simplistic guitar and melodies are not helping with the sleepiness. harmonies are beautiful though and see what it’s trying to do in terms of subject matter.

The hits

• Solar Power – perfect for the first single, anthemic, fun, perfect for summer. reminiscent of late 2000s songs like “New Shoes“, “Rock & Roll” etc.
• Stoned at the Nail Salon – while sonically simple, lorde vocally shines here as does her song writing. the variance in pitch and emotionality is refreshing after the duller “california”. it’s cheeky on first listen, but then you’re like…wait…she has some good points and wait….i’m…getter older…really really gets it at this collective overthinking about the meaning of life and what is important amidst covid and sitting inside with our thoughts. a stunner 10/10
• Fallen Fruit – it’s giving me Woodstock anthem, guitar circle with girls in flower crowns crying about the state of the world. but in the most serious, we must change the world NOW way possible. currently listening to this as a hurricane is about to make landfall in NYC for the first time in like 40 years. feels fitting and terrifying all at once. the beeping sound that plays throughout is somewhat annoying, but i think very intentional/jarring/trying to maybe wake us up/open our eyes to that damage that has been done and will continue to be done to our planet. the bridge!! is ! so amazing! takes me back to “Sober II” (and the terror and the horror and we wonder why we bother…)
• Secrets from a Girl (Who’s Seen it All) – this feels like the anthem for anyone who is having a quarter-life crisis but is also in therapy (so..me). I swear my therapist has co-writing credits on this. and I’m not mad at it. Robyn on the outro made my laugh but also cry (also ms. robyn we need some new music?!!!!!) I also like the instrumental here is more varied and has some driving drums. it breaks up the monotony of some of the other tracks.
• Big Star – yet another sonically bare track, yet the song is made stronger by Lorde’s delivery, emotion, and songwriting. I guess this is about the death of her dog, but it really could be about a number of things. the way her voice cracks on the chorus really gets me. it’s an intimate track, but not sleepy.
• Mood Ring – great to have some drums and something with more motion at this point in the album. this song has been criticized for not being satirical enough, but i actually think it’s perfect. certainly gave me a lot to self-reflect about and especially after just being in California this felt like an apt description of the search for wellness through anything but true self reflection. wish it did evolve a bit more/didn’t cut out so abruptly

Overall rating: 7.5

Looks like I will have to revise the “About Me” page.

If you’re reading this, you probably know about my long-standing distaste for Taylor Swift. It is shocking, then, to admit that…I kinda…um…like her now. Trust me, I am just as surprised and disappointed by this as you are. In a way, though, isn’t it the perfect microcosm for all that 2020 has been: a complete reversal and/or full examination of everything we believe. A shock to the system. A truly wretched spiral of emotions that often leave you crying for no reason at all. Yep, sounds like my 2020. And sounds like Taylor Swift’s folklore/evermore.

Let me start by saying that a lot of my gripes with Taylor Swift and her music still remain. To recap:

1) Taylor is very average vocally. In fact, some of her live performances are pretty terrible. She is certainly not a vocal powerhouse like Aretha, Ariana, Whitney, or Beyonce to name a few. Beyond that, her voice often lacks distinctiveness. It feels like many of her songs (both present and past) would be better performed by another artist.

2) I really do find her to be quite annoying. She often complains about her life in both her (previous) music and in interviews and it’s like…girl…you’re a millionaire pop star who gets to travel the world and sing and perform. Please chill and have some perspective.

3) Reputation was so bad and I’m not even going to dignify it with an explanation.

4) “ME!” may be one of the worst songs I have ever heard.

5) Much like Miley Cyrus, she’s a shapeshifter and has spent most of her career chasing trends or waves just to sell records. To this day, Swift’s identity as an artist is so unclear. Of course people are allowed to change throughout the course of their lives and play around with different genres. But with Taylor, it’s to the point where it seems very disingenuous at times.

BUT…what if my opinions (particularly points 2 and 5) were informed by a biased and frankly sexist media portrayal? And what does that say (if anything) about my own internalized misogyny? I realize this might seem a bit farfetched, but after watching her Netflix documentary I actually find it pretty plausible. TLDR: women in entertainment and music are often given an expiration date around age 25 and if they want to have real longevity, they have to be “shapeshifters” to a degree in order to stay relevant and interesting.

I digress.

Let’s talk about the music itself. FINALLY.

1) This new genre she is exploring (folk/acoustic) really suits her well. It obviously harkens back to her country music days, but also embraces a more pop sound. The influence of both Jack Antonoff and Aaron Dessner (from The National) is apparent. On the surface, it seems like it wouldn’t work (and I especially felt this way about the Bon Iver collab), but it somehow does due in large part to Swift’s songwriting (see next point)

2) Taylor’s genius (and yes, I said genius) is her songwriting ability. I hesitate to say that because, as previously mentioned “Me!” and Reputation exist. folkore and evermore, though, demonstrate her power as a storyteller. I much prefer her approach of writing about things/people/places that she is not directly connected with. In other words, she spent too much time writing autobiographical music that became annoying. Her brand was essentially dating famous people and then bashing them in her music, which was ultimately a distraction from her songwriting capabilities. Taylor herself concurs with and speaks to this point in the Disney+ documentary about the making of folklore.

On these 2 albums, she seamlessly and beautifully steps into the lives of characters that she created in her head (or ones that actually existed [see: “the last great american dynasty”]. And simultaneously captures emotions that every listener can relate to. Perhaps my favorite lyrics are in “ivy”:

Oh, goddamn
My pain fits in the palm of your freezing hand
Taking mine, but it’s been promised to another
Oh, I can’t
Stop you putting roots in my dreamland
My house of stone, your ivy grows
And now I’m covered in you

The drama and precision of the lyricism pair almost too well with the often melancholic or down tempo melodies. What I’m trying to say is it hits. Hard. And (for me at least) not in a shedding tears kind of way. The overall sound puts you in a highly introspective trance at times. Again, could not be more 2020 if it tried.

3) The major downfall of the two albums is that a lot of the songs were sleepy or repetitive. Especially on evermore, many songs were littered with cliches. And I do think my theory that her voice is non-unique still stands. Also a little salty that she straight up stole Jack Antonoff from Lorde and tbh I think Lorde would’ve sounded sooooo amazing (and better) on many of these songs.

4) CONSENSUS: the two albums (folklore and evermore) are certainly not flawless top to bottom. In fact, I would say I only like 3 or 4 songs from each of the albums, but I also don’t hate the remaining tracks either. Overall, it’s very easy listening albeit sleepy at times. The tracks that are good are GOOD. Like may or may not have listened to on repeat for several hours good…Here are the tracks that turned my fiery vitriol to subtle fandom:

exile (ft. Bon Iver)

the last great american dynasty

peace

no body, no crime (ft. HAIM)

tolerate it

ivy

marjorie

Not gonna lie – I’m deeply embarrassed that I like her. And for god’s sake please do not call me a Swiftie. But good music is good music. In this shit storm of a year, I can safely say that folklore and evermore are a bright spot.

WARNING: HIGHLY SUBJECTIVE. As the 2010s draw to a close, I’m looking back at all the musical moments that made this decade great. Could not narrow it down to 50 (sorry!!). Here are the top 60 in chronological order:

1. Body Talk – Robyn (2010)
2. Treats – Sleigh Bells (2010)
3. The Suburbs – Arcade Fire (2010)
4. Contra – Vampire Weekend (2010)
5. My Beautiful Dark Twisted Fantasy – Kanye West (2010)
6. House of Balloons – The Weeknd (2010)
7. This Is Happening – LCD Soundsystem (2010)
8. Watch The Throne – Jay-Z, Kanye West (2011)
9. Circuital – My Morning Jacket (2011)
10. 21 – Adele (2011)
11. 4 – Beyoncé (2011)
12. Bon Iver – Bon Iver (2011)
13. Take Care – Drake (2011)
14. Gossamer – Passion Pit (2012)
15. channel ORANGE – Frank Ocean (2012)
16. good kid, m.A.A.d city – Kendrick Lamar (2012)
17. Kaleidoscope Dream – Miguel (2012)
18. Born To Die – Lana Del Rey (2012)
19. Acid Rap – Chance the Rapper (2013)
20. Trouble Will Find Me – The National (2013)
21. Overgrown – James Blake (2013)
22. Settle – Disclosure (2013)
23. Random Access Memories – Daft Punk (2013)
24. LONG.LIVE.A$AP. – A$AP Rocky (2013)
25. Yeezus – Kanye West (2013)
26. The 20/20 Experience – Justin Timberlake (2013)
27. Modern Vampires of the City – Vampire Weekend (2013)
28. Days Are Gone – Haim (2013)
29. BEYONCÉ – Beyoncé (2014)
30. Hozier – Hozier (2014)
31. Reflektor – Arcade Fire (2015)
32. Currents – Tame Impala (2015)
33. To Pimp A Butterfly – Kendrick Lamar (2015)
34. Wildheart – Miguel (2015)
35. Hamilton – Broadway Cast (2015)
36. If You’re Reading This It’s Too Late – Drake (2015)
37. 4 Your Eyez Only – J.Cole (2016)
38. Blonde – Frank Ocean (2016)
39. Malibu – Anderson .Paak (2016)
40. A Seat at the Table – Solange (2016)
41. Anti – Rihanna (2016)
42. Coloring Book – Chance the Rapper (2016)
43. Lemonade – Beyoncé (2016)
44. 22, A Million – Bon Iver (2016)
45. DAMN. – Kendrick Lamar (2017)
46. Ctrl – SZA (2017)
47. I See You – The xx (2017)
48. 4:44 – Jay-Z (2017)
49. Process – Sampha (2017)
50. Melodrama – Lorde (2017)
51. Freudian – Daniel Caesar (2017)
52. Flower Boy – Tyler, The Creator (2017)
53. Honey – Robyn (2018)
54. Room 25 – Noname (2018)
55. K.T.S.E. – Teyana Taylor (2018)
56. ASTROWORLD – Travis Scott (2018)
57. Good Thing – Leon Bridges (2018)
58. HOMECOMING: THE LIVE ALBUM – Beyoncé (2019)
59. African Giant – Burna Boy (2019)
60. thank u, next – Ariana Grande (2019)

If you know me or have read some of this blog, you know that I LOVE Kanye West. The truth is, Kanye is not Kanye without ego, temptation, sin, and sex. Kanye’s recklessness and innate humanness was what made him a star in the first place, so why is he trying to shove that away on Jesus is King? A gospel/religious album or song can certainly be fantastic and have a prominent place in hip hop (see Coloring Book or “Jesus Walks”). This album just falls flat and finds Kanye spitting his most literal, least creative bars over otherwise (expectedly) cool beats. That’s not to say I didn’t enjoy a good chunk of the tracks (I did!!). Given, however, that there was so much hullabaloo and promotion and hype going into this album, I was disappointed.

I was hoping that this album would show me that Yeezus was not the last of the glory days, but unfortunately, Jesus Is King only enforced Kanye’s imminent decline. The album way overplays religious themes and, at times, feels a bit inauthentic.

Kanye is Tom Brady. He’s old. He will never be as good. But, he still wins. (shoutout Brandon) Compared to any other hip hop album today, Jesus is King is actually pretty good, but for a guy that is seen by the world and by himself as a musical genius, this is hardly Kanye’s best work.

Track-by-track Commentary

• Every Hour – a beautiful yet generic gospel song. I think the Sunday Service choir is absolutely amazing, but i just won’t really revisit this one.
• Selah – this song has some of Kanye’s best rapping/bars since TLOP. “I ain’t mean I’m just focused” is a great mantra, THE DRUM HITS OMG I LOVE, the choirs are amazing. I definitely will revisit this one
• Follow God – definitely a radio hit. really cool sample. Scream at end harkens back to Yeezus days
• Closed on Sunday – i like the guitar riff that plays throughout, but that’s where the buck stops for this one. Almost as bad as Chance’s “Hot Shower”. I don’t mind that Kanye is singing at all. It’s just that the lyrics are truly so bad. Chik-fil-a???? I will say that last verse is not terrible, but I just can’t revisit this one.
• On God – best beat on this album. lyrics are ok, but a bit too much telling and not enough showing aka lyrics are very literal, basically just kanye talking about his life in an unorganized fashion over a beat.
• Everything We Need – Ty Dolla $ign OMG FUCK ME UP. LOVE THE CHORUS. This track is very reminiscent of ye where the features shine brighter than Kanye’s bars. Overall, might listen again, but kinda sleepy.
• Water – this song originally premiered during Kanye’s Coachella performance. I like the reggae-inspired guitar sound and beat and I also like Ant Clemons’ voice, but again pretty sleepy (especially Kanye’s verse). A LOT of Jesus name dropping happening.
• God Is – sample is FIRE. i definitely have to be in a certain mood to listen to this one, but when i’m in that mood this is a standout track. Kanye is authentically vulnerable and bare here (you can hear it in the rasp in his voice). I’m not religious, but after hearing this, I was briefly compelled to go to church. Production by Labrinth !!
• Hands On – Again very literal, storytelling-type lyrics from Kanye. No creative punchlines and a very simple beat make for a very sleepy track. By this point in the album, the Jesus thing is getting a little old (oops)
• Use This Gospel – Clipse is back!! Some of the best bars on this album come from Pusha T and No Malice. Vocoder Kanye is also back and it adds a cool layer to the song, but regardless it’s another sleeper.
• Jesus is Lord – it’s an ok outro. It definitely ties everything together nicely, but leaves a lot to be desired.

Overall rating: 7.0

Chance’s long-awaited album is…bad? Maybe my expectations were simply too high coming off of Coloring Book and Acid Rap. Or – and it pains me to say this – Chance just forgot how to make good music.

Lord knows rap/hip-hop music doesn’t show enough love to, well, love. A lot of the genre’s subject matter is focused on grit, the hustle, partying, girls, or ego. While I’m definitely NOT opposed to this at all, Chance has always stood out as a lyrical, deeper-message-driven rapper who is not afraid to tell the world how much he loves his daughter and his wife. One of the things I loved most about Coloring Book was its notable gospel influence. In short, Chance music has always left me feeling refreshed, happy, dance-y, and upbeat.

On The Big Day, God and marriage are almost too pronounced. Instead of finishing the album feeling enlightened and content, I felt confused and almost angry at the lack of cohesion and lack of bars on this project. At one point while listening, I turned to my friend and said “We get it, Chance. You love your wife. She’s amazing. She’s your queen.” While I’m obviously happy for him that he has found true happiness, selfishly I want him to go back to the overly-reflective, weed-smoking poet that I once knew.

Chance, I still love you. Coloring Book remains one of my favorite albums of all time. However, The Big Day, clocking in at an excruciating 77 minutes, was a massive swing-and-a-miss.

Track-by-track commentary:

• All Day Long – I like the beat and chorus by John Legend, but Chance’s second verse is just annoyingly performed and the lyrics are pretty bad.
• Do You Remember – Another great beat (produced by Bon Iver). A bright spot on the album in terms of lyrical content. Like the chorus, but I have an active hatred for Death Cab for Cutie. Wish I would’ve had someone else sing the hook.
• Eternal – Great beat, GREAT guest verse by Smino. I like Chance’s flow, but lyrically, again, it’s a bit boring and lulling.
• Hot Shower – Truly terrible. I’m sorry, but this is just shockingly bad. Annoying lyrics. Also why is chance like screaming on the chorus? Just stop.
• We Go High – Really like the first verse. Simple beat, but it fits the vibe of the song. Gets a little sleepy later on, but overall a good track.
• I Got You (Always and Forever) – Straight out the 90s. Chance’s delivery is again, annoying, and his bars are, again, lackluster.
• Roo – I really don’t like this Coco Rosie girl. Her voice is annoying. Chance and Taylor both have strong verses. Especially toward the middle/end of Chance’s flow, I hear glimpses of old chance. But the beat is boring and I probably won’t listen again.
• The Big Day – Cool beat and I love Francis and The Lights. But. then. the. YELLING. Why does this happen? I do not understand. It is otherwise a really cute song.
• Let’s Go On the Run – Great beat. This may be one of my favorites from the album, but this was another track where I wish the chorus was sung by someone else. Lyrics not spectacular, but I do bop my head to this and will listen again.
• Handsome – Megan Thee Stallion’s verse is pretty fire. Chance is annoying here (again). Beat is sleepy.
• Big Fish – I can’t quite put my finger on it, but it feels like he almost accidentally put these verses on top of the wrong beat. There is a MAJOR mismatch here. The beat is good, but the lyrics are not. Gucci Mane is the star here.
• Ballin Flossin – A BOP. Lyrics nothing to write home about. In fact, some are embarrassingly elementary (“Peanut Butter Jelly Time” is, in fact, quoted). However, Chance’s delivery of the bars, combined with Shawn Mendes’ smooth voice and the FIRE beat, make for a danceable and fun jam.
• 5 Year Plan – Another lyrical high point comes on the first verse of this song. I like the introspection. I also think the beat is pretty cool. However, I don’t love Chance’s chorus/pre-cursor to Randy Newman and it does get a bit sleepy later in the song.
• Get A Bag – I’m so mad because this beat was completely wasted on Chance just saying “You need a bag? You get a bag” over and over. CalBoy’s verse is just ok. Early in his verse, the mixing sounds off – his vocals sound particularly muffled (yes, I realize that’s his style, but it goes beyond that)
• Slide Around – Catchy, but annoying hook. Chance’s first verse is a weird attempt at the Migos-type adlib-filled flow and it just doesn’t work. Even Nicki sounds tired on this one.
• Sun Come Down – Ok, this is a cute one that tugs at the heartstrings. And while I’ll probably only listen when I’m REALLY sad, it is a much needed break from the clusterf*ck that is the rest of the album. It’s less of a rap song and more of just a straight up proclamation of Chance’s feelings.
• Found A Good One (Single No More) – At this point, the marriage thing is getting old (I realize this sounds terrible to say, but c’mon, it’s a bit much). I like the beat and the choirs in the back, but I most likely will not revisit as Chance’s verses are just bad.
• Town On The Hill – Sleeper, but a good beat. Cute message, but again, I’ve had enough of the family love at this point.
• Zanies and Fools – This Darius Scott refrain is beautiful!! Beat switch is also super cool. But goddammit, Chance, why are you rapping like this? It’s just not good. Second verse almost sounds like he’s missing the pocket/behind the beat at the beginning. Third verse has a cool rhyme scheme, but the delivery is still annoying. Fitting that he hands it off to someone else to close out his album. Unfortunately, Chance because a passive participant in the past 77-minute album filled with strong beats, but empty raps.

Overall rating: 4.8

I have been waiting 6 years for new Vampire Weekend. While Father of The Bride certainly does not disappoint, it is a far cry from the band’s previous work.

The album has a lot of country undertones with signature Vampire Weekend sounds. It took a while for this album to grow on me and while it’s not on par with the precision and creativity of Modern Vampires of the City or Contra, it is an enjoyable listen through and through. Tracks like “Harmony Hall” remind me why I love this band so much; I just wish every song on this album had the same lasting effect instead of just 65% of songs.

Tracklist

• Hold You Now (feat. Danielle Haim) – love when the choir chimes in (the choir!!!!). I don’t particularly love the song especially as an album opener, but it’s cute.
• Harmony Hall – LOVE. Classic Vampire Weekend song that you want to listen to with the windows down. The guitar riff that plays throughout is super catchy
• Bambina – Cool guitar riffs throughout this one as well. More of an interlude. Not my favorite, but not at all bad.
• This Life – LOVE. Yacht rock vibes meets indie/alternative.
• Big Blue – Like the country undertones here. Cool song despite the fact that the same 6 words are repeated over and over again.
• How Long? – LOVE. The echoe-y piano breakdown at the 1:25 mark is awesome. I like how this song moves through multiple sections, while remaining cohesive. Very catchy chorus.
• Unbearably White – this is one of the lyrical high points of the album; i like the storytelling aspect and the clever wordplay
• Rich Man – Not my favorite track, but I do like the strings at 0:55.
• Married in a Gold Rush (feat. Danielle Haim) – a cute little duet between my two favorite people. Simple, easy listening
• My Mistake – Vampire Weekend’s version of a ballad. A bit of a sleeper, but very reflective, which I like.
• Sympathy – LOVE. Major Bob Dylan vibes. Really fun song with an awesome B section. Reminiscent of the kookiness of their debut album.
• Sunflower (feat. Steve Lacy) – fun and lighthearted. super catchy.
• Flower Moon (feat. Steve Lacy) – not a big fan of this one. kind of a sleeper. feels like an interlude.
• 2021 – LOVE. Synth piano is so cool. short, but sweet.
• We Belong Together (feat. Danielle Haim) – lyrics are a little cliché/predictable, but i do really like this duo. feels a bit childish, but i like what this song has to offer sonically.
• Stranger – More yacht rock vibes. I like it, but getting a bit tired of the same Haim/Koening sound by this point in the album.
• Spring Snow – cute little interlude type song. not sure i’ll listen a bunch though
• Jerusalem, New York, Berlin – I love the busy piano riff on the chorus. A display of Ezra Koenig’s raw talent. Like the way the heavy, electronic bass closes out the album, but could’ve been a stronger finish

For all intents and purposes, this is a great album. I’m just being particularly harsh because Vampire Weekend’s previous albums have been so spectacular. Father of the Bride is Vampire Weekend’s The Life of Pablo; both albums were created by artists who, in my opinion, are musical geniuses. Both albums, separated from the rest of their discography, are really strong, but when compared with the artists’ entire body of work, are lacking.

Overall rating: 7.9