In the end it’s time to reveal the highest 20 songs of the 2010s, however earlier than we do, don’t overlook to make amends for PART ONE,  PART TWOPART THREE, PART FOUR and PART FIVE.

To maintain this countdown from getting too repetitive I’m introducing a ONE TRACK PER ARTIST restrict.

In terms of choosing tracks we’ll have an eye fixed on cultural affect and significance in addition to strict creative high quality. So whereas there will likely be album cuts from traditional albums that seize an artist’s aesthetic or core message, as a rule these songs will likely be evocative of the last decade at massive.

So count on this checklist to be mild on insular or deliberately alienating works (sorry 2010s Steel), whereas together with a justifiable share of 1 hit wonders that captured the second. The purpose is to inform the story of the last decade in sound.

To place all the pieces perspective I’ve a 400 artist shortlist! This was an extremely tough activity, however with out additional ado let’s get underway.

Pop music turned really globalised within the 21st Century, but when the 2000s had been outlined by Western superstars experimenting with the sounds of Africa, India and past, then the 2010s heralded the arrival of the real article. From Bashment and afrobeat to Okay-Pop and the Latin revival, a brand new technology of Worldwide stars had been taking the charts by storm fully on their very own phrases and in their very own native tongue. The Web had lastly obliterated the substitute obstacles of language and distribution that saved international language stars at arms size.

Rosalia’s ultra-modern spin on conventional Flamenco felt otherworldly in its brilliance when it arrived on English talking shores. Right here was a girl with Bjork’s aptitude for contorted balladry, but in addition essentially the most delightfully crooked and danceable membership rhythms. Better of all, Rosalia’s experimentation and style fusion at all times saved its eye on the charts. She was a bone fide famous person in her native Spain, the proper hybrid of the outsider auteur and the trendy hitmaker. “Malamente” proved unstoppable: aesthetically impeccable, ice cool in its manufacturing, classical in its flamenco rhythms and undeniably addictive in its half-whispered hooks. If the Latin Pop revival had been outlined by a gentle sunny naffness, then “Malamente” was right here to offer the sting and impetus. This was not the sound of a seashore vacation, however a tour of Catalonia’s again streets and bars.

“Dwelling” is masterpiece and doubtless James Murphy’s most unashamedly heartfelt assertion. The scene of his youth has handed him by – if not light from existence fully. His New York Metropolis has been boarded up and painted over (hey, didn’t that vape store was our favourite bar?). His buddies are drifting away, transferring on and settling down. In some ways he’s alone, a person caught between the romanticism of youth and the cynicism of getting been there and completed that. He’s experiencing the worst of each worlds. He lacks the vitality of a younger man, he appears outdated and ridiculous on the new scorching spots, and but, he’s nonetheless in a band and has not one of the stability or respectability of his newly skilled and married off friends.

The clock can not and shouldn’t be turned again however, for one final shining second, Murphy and his family members are going to “stumble into the evening”, shut out their woes and dance like they’re 17 yet again. “Dwelling” isn’t a nostalgic tune, it’s fully accepting of the modifications which can be happening. As a substitute, that is one final hurrah. The formation of a remaining immortal reminiscence. The possibility to climb into the sneakers of these lovely trailblazers that we as soon as had been, maybe the final time. The outdated buddies are resplendent, romantic, carefree and greater than somewhat tearful, however after the glory of a youth relived, Murphy forces his friends to make one solemn promise:

“You would possibly overlook, overlook the sound of a voice/Nonetheless, you shouldn’t overlook, yeah, don’t overlook, the issues that we laughed about”

…and therein lies the wonder. It’s not the Instagram worthy snaps and it’s actually not the small print that matter: it’s the in jokes, anecdotes and foolish little asides that immortalize a friendship and persist with you lengthy after you and your buddies have grown outdated and aside.

An unattainable resolution to exclude: “Dance Yrslf Cln” and “American Dream”

Natasha Kahn swung for the fences on her hotly anticipated third album, The Haunted Man. Elevating seemingly each facet of her hippie dippy, mournful-but-mystical sound, Bat For Lashes was embracing a brand new discovered severity as she tried to interrupt into the pantheon of elite feminine songwriters and popstars (Bush, Amos, Mitchell, et al). Self-seriousness and tasteful compositions are nugatory in case you can not channel this newfound profundity into hovering, searing narratives and really highly effective start-to-finish pop songs. Enter “Laura”, the easy piano-driven story of Natasha’s heartbroken good friend dressing up in her most interesting garments, heading out to a celebration and tearing by means of it like a resplendent hurricane. The tragedy and soulfulness lies in Natasha’s awestruck admiration. Her good friend is in agony, her each gesture is an expression of her inner turmoil, however she stays lovely, poised, excellent and transcendent – “you’ll be well-known for longer than them, your identify is tattooed on each boys’ pores and skin”.

“Laura” is the embodying angel of rising above scorn. She has turn into a shining monument, the flaming wreckage of a crashed automotive inspiring awe and drawing eyes with unusual, slavish devotion. The place others would crumble (Natasha actually means that she’d be a tear-stained mess in her good friend’s sneakers), “Laura” strides out within the highest of heels to bop atop tables and sing loudly and proudly alongside her greatest buddies. Her bravery is as uplifting as it’s tragic . The cry for assist recast because the tower of power.

Heartbreak and dejection makes for essentially the most implausible pop music. The document trade’s foundations are constructed on the hopes, goals and salty tears of naive younger lovers (so it’s hardly a spoiler to let slip that there are many bitter break ups but to come back on this countdown). What units Tame Impala aside is that their story of a younger man constructing himself up solely to be handed over and dismissed is soundtracked by essentially the most luxurious of gradual swinging preparations. Kevin Parker has no real interest in performative melancholy or teenaged moping, as a substitute his anthem of obsessive craving is delivered to life as delusional psychedelic dreamscape. The vocals are pure reportage, Kevin witnesses his dream lady leaving the dancefloor within the arms of one other man, however quite than diving into despair he begins rewriting actuality round him. On the very second he ought to fall to the ground, he’s lifted up by a wedding of soupy 70s guitar grooves and twinkling, resplendent synths.

The juxtaposition is elegant and would show remarkably stark the place it not for Parker’s eerily managed falsetto. He could be being rejected, however in his creativeness he is aware of that give it ten years and they are going to be collectively. The result’s a blissed out anti-reality the place Kevin can float on a cloud whilst he particulars his pitiable downfall: “Somebody stated they left collectively. I ran out the door to get her. She was holding fingers with Trevor. Not the best feeling ever”. Tame Impala’s enjoying is so seductive and intuitive that the listener actually has to focus to find simply how pitiful and heartbreaking “The Much less I Know The Higher” really is. Somebody must put his arm spherical Parker’s shoulders and inform him, “mate, it’s by no means going to occur”, as a result of he’s pinning his hopes on an unattainable fantasy, albeit an ungodly alluring one.

An unattainable resolution to exclude: “Feels Like We Solely Go Backwards”

Hooks are nice, beats are sensible, dance strikes are enjoyable, however on the finish of the day nothing fairly compares to a compelling narrative and no tune within the 2010s tells a extra heartbreaking story than “Trellick Tower”. Emmy The Nice’s autobiographical anthem is nearly too painful to be believed. It’s the stuff of Academy Award films or Graham Greene novels. She was head over heels in love, residing together with her companion and planning their life collectively – after which he left. He didn’t select one other girl, he didn’t get chilly ft and he actually isn’t a coward. As a substitute he discovered God, turned a missionary, embraced the next calling and left Emmy alone within the wreckage of her former life, sitting in a small room on the prime of their council property. She goes by means of each emotion, however the tragedy lies in the truth that she is caught. She stays, dutifully reminding the world that this man existed and  preserving the artefacts of their former life inspite of his absence. He’s not lifeless and he can’t be mourned. She will’t even actually be mad at him and it’s so cripplingly exhausting to maneuver on. She exists in limbo, praying that this absurd flip of occasions may very well be undone. “Trellick Tower” is a grasp work that deserves a a lot bigger viewers, sadly is as excessive as may plausibly place this devastatingly lovely tearjerker.

You’re going to get completely no argument type me if “Uptown Funk” sits atop your checklist. In 2014 Mark Ronson sculpted the proper unending onslaught of hooks, cocksure swagger and pulverising dancefloor funk. Filled with understanding nods to the previous however, like Ronson’s greatest work, “Uptown Funk” is charged by an ultra-modern immediacy. There isn’t any wasted motion. Each grunt, horn, drum beat and backing vocal hits with ungodly power and but, miraculously, this by no means ending bombardment of 70s impressed hooks by no means feels overbalanced. Ronson achieves excellent equilibrium whilst he throws the kitchen sink on the listener. Oh after which there’s the little matter of Bruno Mars. Entering into the sneakers of each one in every of his heroes from James Brown to Earth, Wind and Fireplace, Mars is minimize free to ship a virtuoso efficiency for the ages. It’s not a lot what he says, though what he says is preposterously sensible (“I’ll make a dragon need to retire man”) or his tone (though he’s slicker than slick all through), however his sheer braggadocio. “Uptown Funk” is totally devoid of doubt and Mars is flawless from the primary second he grabs the mic. He’s rocking the home like the nice performers of yesteryear – there may be not a hair misplaced and he by no means, not for one second, permits his facade to crack.

Enter the last decade’s premier hitmaker. Drake may not be the most important particular person vendor of the 2010s (that will be Adele), however no artist has captured and formed the sound of the previous ten years fairly like Toronto’s premier rap famous person. Irrespective of how horrendous and hubristic a nadir Drizzy has sunk to lately along with his bloated, boring and self-indulgent releases (each album from Views onwards) and craven makes an attempt at business pandering (“Tootsie Slide”), there is no such thing as a denying both the brilliance of his preliminary run of hits or his skill to faucet into the cultural zeitgeist. Even his up to date failures – his preposterously lengthy LPs and Tik Tok money ins – are born of a shrewd understanding of the market place, the ability of algorithms and social media respectively. Drake is astute and in his pomp he was at all times driving the crest of a wave – be it the dancehall invasion (“One Dance”), meme tradition (“Hotline Bling”), broody-but-tender R&B (“Maintain On, We’re Going Dwelling”) or the rise of sad-boy rap (each Drake album).

Nonetheless, when choosing the Drake monitor of the last decade it’s exhausting to keep away from going again to very starting, to Take Care and an excellent buoyant banger that, nevertheless implausibly, predicted each facet of Drake’s rise and fall earlier than he’d even actually begun. “Headlines” rides squirrelly electronics and rampaging horns to create one of the gloriously confident singles conceivable. 9 years later, this one monitor stays Drake’s final flex. The second when he virtually warns the listening viewers (accurately) that the world could be formed in his picture (“cleaning soap opera rappers, all these niggas sound like all my youngsters”) whilst he simply barely begins to sketch out the fame-as-misery aesthetic that will turn into his signature (“I’ll be yelling out cash over all the pieces, cash on my thoughts. Then she need to ask “when it acquired so empty?”, inform her I apologise it occurred over time”).

Not solely does “Headlines” seize Drake’s rise and fall with alarming accuracy, the monitor stays a stone chilly banger to today. Drake is at his most carefree and bombastic, weaving his rhymes with a bravura swagger – a reminder that if being Drake feels like exhausting work in 2020, it used to really feel totally easy, instinctual and joyous: “I could be too strung out compliments, overdosed on confidence. Began to not give a fuck and stopped fearing the consequence. Ingesting each evening, as a result of we drink to my accomplishments”.

It’s fortunate for us that Justin Vernon occurs to frequent hipster bars in Portland, Oregon, as a result of that’s the place the identify “Holocene” comes from. Bon Iver would little question have launched this tender reflection on the immateriality of human existence regardless, however holocene is really the proper identify for a chic second of open-minded perspective shifting. In comparison with the span of the earth’s life cycles, speaking when it comes to epochs, the human expertise is minute. Failed romances, resplendent youths, even the tragedies of life and loss of life imply nothing subsequent to enduring mountains and our limitless horizon. Within the grand scheme of issues we’re all minor organic footnotes in an extended, extra sedately paced narrative. Vernon’s brilliance lies in his skill to summon each the wonder and breadth of the pure world (“I can see for miles, miles, miles”) and knotted ache of our interpersonal traumas (“you fucked it good friend, it’s on its head, it’s caught the road”). “Holocene” is as soothing and serene because the breeze itself and as torturous because the recurring thought that won’t allow you to sleep at evening. The immovability of nature is recast as each reassuring and devastating. This ache that haunts Vernon’s soul is actually small and trifling within the grand scheme of issues, however this data does him completely no good within the current tense – if something it makes him really feel petty and pitiful. He understands the futility of existence whilst he’s overcome by a distress that no quantity of perspective or pure magnificence can abate.

It’s time to debate one in every of this decade’s best anthems and I’ve little or no to say. “Chandelier” is ideal pop. Speaking in regards to the tune itself is redundant and considerably nauseating. Why wreck a bulldozing, throat-shredding second of divine launch with ineffective phrases? “Chandelier” is the form of pop tune that kicks so exhausting and swings so ambitiously for the fences that it must be skilled – to be beloved, hated and bellowed woefully out of tune – however to not be mentioned. An excessive this extreme shouldn’t be mitigated by such tedium. Why describe a power of nature, you’d be higher served taking an image of the wind, its farcical. Hear it, roar it aloud and really feel that unmistakable swelling in your chest rise and curdle. “Chandelier” is pop born of bed room insomnia and fuelled by a couple of confidence boosting drinks to face screaming on prime of the world.

Okay it’s value saying somewhat extra about Sia’s profession redefining hit – the tune that moved her from songwriter-to-the-stars to face alone famous person. “Chandelier” captures the strain that has at all times pushed Sia’s greatest compositions. On the floor, Sia is a celebration lady revelling in hedonism “residing like tomorrow doesn’t exist”, however quite than providing a real escape, her dwell free, occasion exhausting life-style is one elongated act of denial – an abdication of existence itself. So long as she is blind drunk, swinging from the “Chandelier” and being the life of each occasion, Sia by no means has to confront the distinctly unglamorous, go-nowhere mess that’s her actuality. Like the best hedonistic outpourings, “Chandelier” is underwritten by a darkness that frequently creeps in on the corners and may solely be repressed for therefore lengthy.

Enter the most important pop star on the planet. The chart topper extraordinaire. The every-girl from Tottenham who outsold Beyonce, Gaga, Buble and all the remaining. Adele’s music is so ubiquitous that she virtually falls by means of the cracks as a popstar. There may be common settlement that she is implausible vocalist, an exceptional dwell performer and a hilarious, magnetic character whose albums greater than ship – and but she’s not often a part of the cultural dialog. In fact, that is partly as a result of Adele’s down-to-earth and introspective persona. For years she was frightened of performing dwell and completely happy to dwell her non-public life away from the media glare. She could be a splendidly gobby tell-all storyteller on stage, however the second she stepped off it she not often craved consideration.

Her music proved equally illusive. “Rolling In The Deep”, “Hey”, “Set Fireplace To The Rain” and “Somebody Like You” had been immaculate hits that blazed throughout the evening sky, dominating the tradition with out really interacting with the bigger dialog. They had been diamonds that dropped from a retro-futuristic skyline – unusual artefacts that impressed awe and captured the world’s consideration with out really altering the best way anybody behaved. Adele was universally applauded for her lyrical candour, bulldozing vocal brilliance and the deft manufacturing of her largest hits, however she sat other than pop music. There was Adele after which there was everyone else.

That is disgrace as Adele is commonly robbed of the reward she deserves, as a result of she isn’t Celine Dion making hits for a middle-aged area of interest. “Rolling In The Deep” was performed in every single place – it proved as common at indie and rock nights because it was on mainstream radio or within the grocery store aisles. Placing Adele’s wonderful vocal efficiency and scathing lyric sheet to at least one facet, it’s value celebrating the chic craftsmanship that went into creating “Rolling In The Deep”. The monitor is pushed by a quickly snowballing momentum. Every verse is pushed by an uneasy, jabbing tempo that frequently ramps up the strain as Adele swells in direction of a sequence of rampaging crescendos masquerading as choruses (disco rhythms are scrumptious reinterpreted by means of the then common indie-folk revival to devastating impact). Nonetheless, what makes “Rolling In The Deep” timeless isn’t its uncooked energy and impetus, however its cheekiness. Remarkably, on this undeniably severe and grandstanding anthem, somebody – be it Adele or Paul Epworth – determined to enrich Adele’s vocal onslaught with these gloriously camp falsetto backing vocals. Removed from striping “Rolling In The Deep” of its efficiency, this injection of angle and snappy humor offers the last decade’s largest hit some a lot wanted swing and swagger. In a single fell swoop, “Rolling In The Deep” was reworked from a radio hit right into a dancefloor smash.

So there may be justice on this world. In terms of pop music there’s a horrible feeling that, when it comes to worldwide chart success, it’s the novelty songs and pandering nonsense that will get plucked from obscurity and thrust into the lime-light. It has ever been thus and there may be an appalling lineage (quickly exacerbated by meme tradition) that has led us by means of Las Ketchup and The Loopy Frog to the world of Rebecca Black’s “Friday” and Child Shark. Fortunately, each as soon as within the whereas an ideal tune is plucked from obscurity – or on this case the Australian charts – and given a world platform. It issues little that Gotye couldn’t produce one other single as totemic as “Anyone That I Used To Know”. It’s extra romantic that his legacy (for the overwhelming majority of music followers) is that this one excellent providing and solely those that selected to delve deeper will uncover an intriguing again catalogue (on this sense Gotye is eerily harking back to White City).

“Somebody That I Used To Know” represents the fantastic marriage of a plinky-plonky, virtually childlike association with an ultra-pained and wounded vocal efficiency. Kimbra and Gotye are two lovers who’ve grown aside. Their relationship was constructed on real dedication, however the longer they stayed collectively, the larger ache they induced each other. Now a cold distance and harsh break-up has seen each companions banished from every others lives. The brilliance of “Anyone That I Used To Know” lies in its duel narrative. Gotye paints a one-sided story within the first verse and, after all, comes throughout as deeply sympathetic, however Kimbra’s verse exhibits that each companions had been, wholly unintentionally, inflicting the opposite deep psychological ache.

Filled with haunting one liners (“informed myself you had been proper for me, however felt so lonely in your organization”, “had me believing it was at all times one thing that I’d completed”), “Anyone That I Used To Know” is delivered to life by its harrowing harmonies and the jarring high quality of the central melody (as if their agony is jutting up out of their throats). Kimbra and Gotye’s vocal performances are completely pitched. They’re fragile, awkward and but resolute – the proper post-break-up tone for 2 lovers choosing at a recent, barely scabbed over wound. Something smoother or silkier would have ruined “Anyone That I Used To Know’s” immaculately noticed and totally resentful aesthetic.

Of all of the feelings that true pop music was destined to seize, craving is maybe essentially the most profound. This music of youth, of vigor, of intercourse and liberation has at all times been underwritten by disappointment: the occasion that another person is having, the orgasm that you simply can not fairly obtain and the data which you can’t at all times get what you need (not to mention what you want). The advertising dream by no means fairly matches as much as actuality. We head out attempting to create these excellent moments: dressed to the nines, fuelled by liquor, dancing with our greatest buddies to essentially the most unbelievable music we’ve ever heard…solely to have the lady or man of our goals ignore all our makes an attempt to make eye contact. The tragedy and triumph of pop music’s self-made mythology will be present in Robyn’s heart-breaking chorus: “I’m giving it my all, however I’m not the man your taking house”.

Satirically, Robyn would have her revenge on the sensible “Name Your Girlfriend”, however for some motive, triumph can not trump heartache. Nice dance music exists in minor keys and “Dancing On My Personal’s” energy lies in its unwavering dedication. This could-be-tearjerker calls for that its listeners dance. Robyn hasn’t constructed a tune to be heard alone in bedrooms, as a substitute “Dancing On My Personal” surges and seethes atop a remorseless digital beat. The dancefloor is recast from a spot of pleasure to a subject of unshakable warriors bleeding out in gradual movement from a sequence of invisible wounds. Not deterred by failure, loneliness or something resembling self-consciousness, they proceed to bop, albeit with tears of their eyes. Hedonism and escapism are recast as bravery: the act of being dismissed, handed over and perpetually. rejected, contrasted with the refusal to submit. Robyn will return each evening to throw her greatest shapes and dwell her greatest evening, whether or not she is observed or ignored.

Speak about a dream workforce, what may very well be higher than the King of coke rap (Pusha T) becoming a member of forces with Compton’s conscience (Kendrick Lamar) to rap over one in every of Kanye West’s most interesting government productions (Nottz deserves a lot of the credit score for the beat nevertheless). Typically dream collaborations underdeliver, largely as a result of the rappers succumb to hubris and flex in an try to showcase their collective clout on a fast business cash-in. Push and Okay-Dot opted for the precise reverse strategy. Over a murderously minimalist beat that oozes uncooked intimidation, Kendrick and Pusha determined to concentrate on narrative and assemble a deeply private minimize that drew out the intersections between their respective kinds and come-up journeys.

The result’s a mirrored image on drug dealing and cocaine (effectively duh, this can be a Pusha T tune in spite of everything), however quite than having each males spit their most swaggering gangsta fantasy strains, the 2 rappers determine as a substitute to dwell on the results of operating medication in a surprising two half narrative.

Pusha is the unrepentant highschool vendor rocking a two tone jacket (i.e two beepers) turning his classmates into his drug mules and rolling in exceptional riches for a person his age. Removed from a celebration, after some self-justification (“what I promote for ache within the hood, I’m a physician”), Pusha goes on to element the savage brutality of road life. Push makes it clear that you simply undergo the motions of honoring your fallen gang members (“when a nigga die we add a hyperlink to the chain and scratch a nigga identify in your chest”), however they’re quickly forgotten in a cycle of hedonistic ruthlessness (“when you delegate his payments, who gonna fuck his bitch the perfect?”). The brotherhood is a lie on this canine eat canine world the place standing nonetheless will get you shot and killed.

Kendrick takes the the polar reverse strategy. He’s caught in the identical cycle, however he’s not a vendor, he’s the son of addict who sells his toys, mistreats his household and lives life like a pathetic zombie. His childhood is derailed by the medication that Pusha pushes. Kendrick is a lyrical whirlwind on the completely top of his powers transitioning from a blitzkrieg worldplay primarily based across the syllable “ten” to the craze that overflows from his barely hid contempt for his father. Kendrick’s solely answer is to channel his rage into his artistry. He guarantees to save lots of his household from poverty and habit as a lot out of spite for his outdated man (and the damaged system he represents) as for his personal good.

“Nosestaglia” provides no refrain or hook, simply pure horror. Kanye’s haunting beat resounds between the 2 scorched earth verses. There isn’t any room for frivolity or chart concessions when the streets of Compton and NYC are bleeding out earlier than our very eyes.

Lorde actually didn’t final lengthy winding and grinding her method internationally’s dancefloors. The unsettling ghosts and nagging complexities she was outrunning on “Inexperienced Gentle” have tracked her down on “Legal responsibility”: a wounded and self-recriminating piano ballad. “I do know that it’s thrilling, operating by means of the evening/however each excellent summer time’s consuming me alive, till you’re gone” or, in different phrases, its time to face the cruelty hidden behind the hedonism (and sham relationships).

Out of the general public glare the Kiwi stands bare and alone, mutilating her personal self-constructed mythos. Lorde is a maelstrom who ruins human relationships (her phrases and people of her ex).  Her outward going through self is “somewhat a lot…a legal responsibility” – too extreme, too intense, too wild, however in non-public she’s a examine in fragility. The bravado and power she so readily exuded on her 2013 debut has turn into a millstone weighing her down, wringing her neck and crippling her psyche.

There’s loads to unpack right here. “Legal responsibility” works fabulously when taken at face worth. Lorde is being bent and damaged by norms of society which have slowly turn into her personal private expectations. She performs at romance, however finally ends up alone (maybe deliberately). She tasks a brazen and funky facade, however is estranged – forming solely superficial bonds with buddies and lovers alike.

Metaphorically, she embraces the concern of being a flash within the pan. Is she merely a weekend lover not able to holding our consideration? Will the as soon as strident starlet be rendered a pretender who burned too scorching and too quick – quickly to be forgotten? Will folks nonetheless look after her when her distant and icy disdain is changed by frail vulnerability? Lorde actually appears to thinks so :

“The reality is: I’m a toy that everybody enjoys, until all the tips don’t work anymore. Then they’re bored of me”.

The association is hauntingly naked and daringly typical. The main target lies on one stark picture, that of a girl dancing at house alone, riddled with neurosis, her coronary heart breaking. Labeled “poison” by her lover, quite than sounding a insurgent yell: Lorde submits and crumbles. “Legal responsibility” is her damning indictment: a merciless self-diagnosis for a lady who conjures up nice passion and larger lust, however no stability and little dedication (if that’s what she even needed or anticipated to start with?).

“Legal responsibility” blends brutal metaphor with devilish feats of self-aggrandisement. For each withering assault on her personal character, there’s a heroic picture: the storm, the forest fireplace, the summer time runner and the girl who dances with shadows. There are many salacious whisper-spreading home windows into Lorde’s non-public life, however what separates “Legal responsibility” from something discovered on Pure Heroine is the simplicity of all of it. The purity and weak spot of the vocal and the unflinching directness of the lyric is paramount right here. – not the posture and definitely not the manufacturing (and that is Lorde in spite of everything –  the popstar who made the cooler-than-thou outsider posture a teenage artform lengthy earlier than anybody had ever heard the identify Billie Eilish)

Lorde was reworking earlier than our very eyes: the place as soon as there stood an invincible totem of unabashed, unflappable youth, there now lied a crumpled physique able to be dissected.

Be aware: The blurb beneath is taken from my album of the last decade entry for Random Entry Recollections. The piece is concentrated on, and concludes with, “Giorgio by Moroder” and completely captures my emotions about this tenderly noticed and undeniably groovy love letter to the artwork of making nice, ahead considering dance music.

Within the eight years between Human After All and Daft Punk’s gorgeous return to the fold, Random Entry Recollections, the world had formed itself within the French androids’ picture. Their Alive tour had impressed a technology of could be famous person DJs not content material headlining huge rooms in Ibiza. American pushed EDM had obliterated the outdated style of dance. Lazers, mild exhibits, molly, competition fields and large, thoughts numbing drops had been the order of the day. Daft Punk had completed it, EDM artists had been the brand new rockstars and the final word dwell experiences aped these halcyon and really unforgettable nights when Daft Punk had been on tour (and, as somebody who was there, I can say their legendary dwell standing is totally deserved).

Teasing the quickly to be monstrous hit single “Get Fortunate” at Coachella, it appeared that Daft Punk had been able to return and take a effectively earned victory lap. Nonetheless, Thomas Bangalter and Man-Manuel de Homem-Christo had no such intentions. In one of the stunning and thrilling diversions in music historical past, Daft Punk turned their again on and turned their noses up (do robots have noses?) at the scene they’d created.

Daft Punk would return, however with a model new studio album and they might not tour. Moderately than unleashing thudding artificial slabs of sampled sound, the French duo had been about to defy American EDM and pen a love letter to the dance music of outdated. Enlisting the help of disco icon Nile Rodgers, some implausible dwell vocalists (Pharrell Williams, Julian Casblancas, Panda Bear) and the perfect studio artists, recording know-how and engineering gear recognized to man, Daft Punk set about writing a considerate, tender and deliciously groovy love letter to the misplaced artwork of music making. These robots at all times had soul, however Random Entry Recollections was greater than a mere heartbreaking single (“One thing About Us”) this was a life lengthy love affair with music. Like Daft Punk’s greatest information, Random Entry Recollections alludes to the soft-rock sensibilities and disco sugariness of the 1970s, however isn’t really evocative of any period or scene. Random Entry Recollections represents an imaginary nostalgia, a floating fantasy state of dangerous style bliss and ice cool cybertronic grooves.

The album is a genuinely gorgeous accomplishment, each as a technical creation and in its hazy loving compositions, but it surely peaks on its entrance finish. No album within the 2010s can hope to rival the second when the serenely subdued and beautiful “The Sport Of Love” fades into “Giorgio by Moroder”. The latter is a real masterwork, the form of monitor able to bringing a tear to any music lover’s eye. Giorgio Moroder calmly talks the listener by means of the joys of discovery, the second when he experimented with Moog synthesizers and created the sound that will outline a technology and proceed to encourage digital artists for many years to come back. Whereas Giorgio recounts his little story of open-ended creation, Daft Punk are busy crafting a jaw-dropping 9 minutes of subtly shifting sound that captures the enjoyment of invention and creative evolution from jazz by means of disco, home, hip hop scratching and onward into the digital age. It’s quintessentially Daft Punk, however “Giorgio by Moroder” is a lot extra than simply that, it’s the very spirit of music making: a concise historical past and transformative journey into the brand new. In a good looking twist, the monitor concludes by returning us to the genesis level, Giorgio’s click on monitor. No tune may presumably hope to observe it, not to mention prime it. The remainder of Random Entry Recollections is merely glorious.

“A twister flew round my room earlier than you got here, excuse the mess it made it normally doesn’t rain in Southern California, very similar to Arizona. My eyes don’t shed tears, however boy they bawl once I’m considering bout you”.

The phrases of the poignant and radically weak verse that opens Frank Ocean’s album of the last decadeChannel Orange. The younger Frank Ocean is slipping between previous and current tense as his ideas linger on his first homosexual kiss. The primary romantic dalliance that swept him off his ft, modified his perspective and scrambled his each assumption. The opening metaphor is completely pitched: a twister has flown round Frank Ocean’s room. Within the current tense he’s the bumbling lovestruck teen sheepishly apologising for the state of his bed room and attempting to hide his desperation in an try to seduce this cool younger hunk. On reflection that one fleeting kiss is a gale power storm that upends each facet of his life. The place there was as soon as order, dysfunction now stands and Frank will likely be pressured to choose up the items and reconfigure his identification and basic sense of self.

In fact, this being a salacious and sudden first kiss, Frank is in no place to make use of any sense of rational distance. His blood is surging, his thoughts is racing and his creativeness is operating wild. He’s not fascinated by in the present day or tomorrow, he’s fascinated by eternally. In lovely piece of songwriting dexterity Ocean deftly flits between from time to time. His standoffish lover (“do you not assume to date forward?”) may not have the longer term on his thoughts, however the younger Ocean is picturing and planning their lives collectively whereas, in the identical breath, the older and wiser Frank acknowledges that, whereas the connection could have proved fleeting, it’s affect rings enteral as a cherished and transformative reminiscence. “I keep in mind after all how may I overlook, how you are feeling. You recognize you had been my first time, a brand new really feel. It received’t ever get outdated, not if my soul, not if my spirit hold it alive”.

To convey this pivotal second of non-public realisation to life Ocean summons a easy, however ungodly potent association. Portentous strings give approach to a dreamy wash of synths that softly shimmer and drift out of focus. Like a hypnotist’s loop or the sustained un-reality of ASMR, “Considering Bout You” is a gradual movement cascade: a velvet eruption, an ever-expanding ripple on the water’s floor. This hazy hinterland the place the listener is left nothing strong or tangible to know is ideal for a story that slips so effortlessly into the figurative brushstrokes of romanticised reminiscence. Ocean’s vocal efficiency is elegant, switching between the understanding of the storyteller to wavering falsetto of that younger man knocked for six by a solitary kiss. Overcome by eagerness and creativeness, he can not keep his grip on actuality, not to mention defend himself from heartbreak. Ocean isn’t fascinated by in the present day or tomorrow, he’s “been considering bout eternally”. “Thinkin Bout You” is solely one of many truest and most unguarded evocations of (and reflections upon) fast-blossoming younger love ever dedicated to vinyl.

Be aware: This could be one thing of a cheat, I used to be legitimately deciding between “Fuck It I Love You” and “The Best” for this one placement once I went to YouTube to offer them a remaining pay attention and found that Lana had packaged them as a single double A-side providing. They’re after all separate songs, however they do really praise each other bringing out the tragic themes of fractured romanticism and middle-aged malaise that got here to outline Norman Fucking Rockwell. 

“Fuck It I like You” is genuinely crushing. All of the artifice and cinematic aloofness Lana has maintained throughout 4 albums comes crumbling down in a single sentiment: “I moved to California, but it surely’s only a mind-set/It seems in every single place you go, you are taking your self, it’s not a lie”. All these wonderful American myths she’s been worshipping and intricately recreating are rendered nugatory. There isn’t any escape. The open highway, the Californian sundown, shedding your identification and beginning over – it’s all meaningless as a result of irrespective of how briskly you run, you can’t outrun your self. Remarkably, this ego shattering revelation transforms itself into each an immaculate love tune (or longing tune) and, unusually, an ode to California (the identical state whose fable she is rejecting). That is actually a theme: the American myths could also be fully baseless, however you possibly can uncover one thing very important about your self by re-enacting these effectively worn rites of passage.

Lana is attempting to course of her alienation, loneliness and disappointment with life in the one phrases she will perceive: these of grand cinematic gestures. She’s a girl raised on romantic decision, immaculately styled pictures and the myths of the American promoting trade. Actuality is extra mundane and so is she. Lana likes to layback, get stoned, drop out and wallow.  Moderately than retreating inwards and dampening down her songcraft in a search of grit, she does the precise reverse: she writes songs of indecision, disappointment and remorse as if the skyline had been aflame and he or she had been swaying in her lover’s arms on the sting of a quickly dissolving world.

There needs to be a disconnect between actuality and façade, topic and presentation, however the precise reverse is true. Norman Fucking Rockwell is a tone poem to the human situation and the admission that, in the end, nothing is of larger significance than the conflict being waged inside our personal heads. Lana is caught together with her run-of-the-mill woes (her lover has moved away, California isn’t what it promised to be and he or she’s on their lonesome), however in her thoughts these private issues are as dramatic as a gradual movement shoot out, as damaging because the 2008 monetary crash and as unsettling because the lingering risk of local weather change. Lana is not attempting to codify and recreate a fantastic American mythology; she is elevating the nagging unconscious struggles all of us must endure to these exalted heights.

That is simpler than completed. Fortunately, Lana finds herself in immaculate voice as she dreamily dances by means of a haunted panorama of regrets. On the sensuous and subdued minimize, “The Best”, Lana begins with a easy proposition “I miss you, babe/I miss dancing with you essentially the most of all” and permits that one thought to billow out into one of many nice end-of-the-party anthems in music historical past. Lana inhabits these halcyon days of youth – the music, the bars, the wonder, the immediacy – however quite than discovering solace and transferring on as so many different artists have, she succumbs, however to not sorrow. Lana is getting rid of the shackles of maturity; she is tacitly embracing being a drop out as she coos: “I assume that I’m burned out in spite of everything/If that is it, I’m signing off/I miss doing nothing essentially the most of all”. By concurrently mourning and immortalizing the glories of her youth she’s created a monument to the listless ennui. She longs for the individual she as soon as was and won’t apologise for it. She misses the texture and the joys of New York, she misses the void and he or she misses having the ability to give herself wholeheartedly over to second.

“Formation” was a brutal burial. The boring Beyonce who felt focus grouped, secure, inoffensive and completely poised between a pandering want for each innovation and acceptability was being learn her final rites. Reality be informed, Beyonce had been on this path for some time. and Beyonce had been implausible albums that noticed Bey transferring in direction of the creative fringe with throwback R&B (“1+1”) and carnal road degree experimentation (“***Flawless”), however “Formation” was the explosion of uncooked braggadocio that launched Beyonce into the avant garde stratosphere. The Texan famous person had at all times been related to empowerment anthems, however within the early 2010s Beyonce felt just like the face of company #feminism – a “lady boss” extra all in favour of advertising and accumulation than taking dangers or upending the applecart. “Formation” was the second when Beyonce dropped any pretence of politeness and rubbed her success,  her story and her unfiltered self on the planet’s face. Much less a structured narrative and extra an onslaught of immortal flexes, Beyonce seemingly vibes from one immediately quotable line to the following “I could be a black Invoice Gates within the making”, “if he fuck me good I’ll take his arse to purple lobster”, “I’d get your tune performed on the radio station”.

It felt like years of being analysed within the public eye, being mentioned in relation to her husband, her label or her public picture had induced the levy to interrupt and turned Beyonce right into a stone chilly killer. Not solely is Beyonce asserting herself as essentially the most highly effective tastemaker within the music trade, “Formation” concurrently stands as imperious assertion of affection and satisfaction for her very blackness and her upbringing. There first “verse”, for the shortage of a greater description, stands as one of the highly effective, direct and really constructive statements on race and black magnificence on this decade – one that may doubtless endure lengthy after our contemporaneous debates are settled: “my daddy Alabama, my ma Louisiana, you combine that negro with that creole make a Texas ‘bama. I like my child hair with child hair and afro, I like my negro nostril with Jackson 5 nostrils. Earned all this cash, however they’ll by no means take the nation off me, I acquired scorching sauce in my bag, swag”. The mundane ordinariness of Beyonce test checklist of magnificence and aspirations is the purpose: she is representing a imaginative and prescient of superstardom, however she is unequivocally rejecting the thought of filtering her blackness – from pure hair to a cheeky bottle of scorching sauce in her designer purse, Beyonce is bringing the tradition of the streets to the top of mainstream acceptability.

“Formation” is such an unrepentant onslaught of braggadocio and street-level southern swagger that it’s straightforward to concentrate on Beyonce’s efficiency and overlook how out of this world the association really is. Mike Will Made It’s on the completely peak of his powers as he delivers a hauntingly vacant lure banger constructed on an alien accordion-like squelch. The beat slaps ungodly exhausting, however even 4 years later, after among the most surreal digital experimentation conceivable coming into membership rotation (assume JPEGMAFIA), “Formation” nonetheless sounds otherworldly when its dropped within the combine. “Formation” stays the most important and strangest ubiquitous pop hit of this (or presumably any) period.

Beyonce’s late profession breakthrough will be contextualised within the the wake of Rihanna’s Anti and Kendrick Lamar’s reorientation of hip hop’s politics, however “Formation” sounds totally singular. The second that first crooked, lingering, spring-in-lieu of a beat kicks in, “Formation” transports the listener to a different airplane of existence. No quantity of radio play, extensively mentioned cultural significance or base degree familiarity blunts the surreal otherness of the composition. “Formation” stays perma-fresh. The form of tradition defining assertion that’s totally and undeniably particular to its second in time, however that stands proudly alone and indifferent from any traits or sonic ticks that may date or diminish its affect. “Formation” slaps exhausting, strides triumphant and exhibits no indicators of slowing down. It’s the excellent tune of the 2010s: “Formation” speaks profoundly to the pop cultural second with out being slave to its conventions.

It’s time to introduce “Kendrick, aka Compton’s human sacrifice…an angel on angel mud”. “M.A.A.D. Metropolis” is greater than a tour de power. It’s not merely bravura rampage by means of the streets that outlined and defiled Kendrick Lamar’s youth, it’s a seething and relentless assault – that is the sound of teenage Kenny being suffocated and strangled by the unrelenting stress of Compton’s road tradition. “M.A.A.D. Metropolis” is rap’s reply to Darren Arranofsky’s Requiem For A Dream or the Sadfie Brothers most claustrophobic thriller – Uncut Gems looks like a pleasing stroll by means of New York Metropolis in comparison with Kendrick’s Compton. Nonetheless, similar to these horrific, unnerving and unflinching cinematic works, Kendrick Lamar isn’t presenting the “M.A.A.D. Metropolis” as a brutal outlier (one thing to shock and abhor), as a substitute Kendrick is a product of this maelstrom of homicide, habit, overdoses and gang indicators – to him it’s regular and mundane. The stabbing strings and syllables sprayed like sub machine-gun fireplace could be terrifying and psyche destroying, however that is Kendrick’s regular. He sees relations die, he scrapes collectively cash to each pay his taxes and to make sure that he, his mom and his brothers can afford hospital therapy ought to they be shot, stabbed or poisoned.

Kendrick sleeps with a gun below his pillow and he admits to operating the streets terrorising his enemies, its how he survived and he won’t provide his listeners the simple method out. He wasn’t a very good man, he was by no means above it: if we empathize with him, then we should empathize with a gang banger. In a surprising remaining flourish he turns his gaze (or purpose) upon his viewers and bluntly speaks to digital camera: “If I informed you I killed a nigga at sixteen, would you consider me? Percieve me to be harmless Kendrick you seen within the streets with a basketball and a few Now and Laters to eat? If I discussed all of my skeletons, would you bounce within the seat? Would you say my intelligence is nice aid? and It’s secure to say that our subsequent technology possibly can sleep with goals of being a lawyer or physician as a substitute of a boy with a chopper that maintain the cup-d-sac hostage

This harrowing and confrontational second is difficult earned after three blitzkrieg verses whose virtuosity and rap-along brilliance is barely rivalled by the unremittingly bleak content material of the lyrics themselves. The best hip hop hook of the 2010s is nightmarishly disagreeable: the picture of Kendrick Lamar operating for his life due to what he simply revealed – “if Pirus and Crips all acquired alongside, they’d most likely gun me down by the top of the tune”. Kendrick is snitching on a whole tradition. “M.A.A.D. Child” lays out one in every of this nation’s nice tragedies in unmistakable element, beginning with a childhood homicide: “Seen a light-skinned nigga with brains blown out on the identical burger stand the place *bleep* hang around. Now this isn’t a tape recorder saying that he did it, however ever since that day, I used to be taking a look at him totally different – that was again once I was 9, Joey packed the 9”.

Kendrick shortly turns into a teenage tearaway. His father calls for he will get a daily job, with predictably disastrous outcomes: “My pops stated I wanted a job, I assumed I believed him. Safety guard for a month…I acquired fired, ’trigger I used to be impressed by all of my buddies to stage a theft the third Saturday I clocked in”. Even an try to flee the madness of the streets by falling into the pillowy embrace of narcotics results in catastrophe. His first cocaine laced blunt leaves Kendrick paralysed and foaming on the mouth, quite than scaring him off, the pain-relief is well worth the threat and all these years later he’ll nonetheless flip to weed or alcohol when he feels the necessity to dwell on the trauma of his childhood.

There isn’t any escape. The one potential reprieve (medication) solely exacerbates the difficulty and intensifies the road degree violence. Besides, after all, Kendrick did make it out of Compton. He’s a famous person rapper. In truth, he’s the famous person rapper of this technology, however he’s nonetheless a product of these brutal streets – a haunted man, simply one other angel on angel mud. It’s to Kendrick’s immense credit score that his modern-day nightmare is reworked into one of many nice flying-by-the-seat-of-your-pants anthems of this or any technology. “M.A.A.D. Metropolis” is a seminal minimize, a membership traditional, a competition anthem and an plain banger – it additionally simply so occurs to be a ungodly highly effective social critique and the work of a wounded and weak singer songwriter. Kendrick has achieved the unattainable: he has turned the element oriented confessional into broad brush stroke anthem that competition followers can bellow with verses that youngsters internationally will decide to reminiscence. “M.A.A.D Metropolis” ought to simply be the tune of the last decade – it’s 4 totally different traditional pop archetypes executed in a single breath with out even a touch of contrivance – Kendrick is a heartbreak away from operating your complete gambit of pop historical past in a single harrowing onslaught.

Fittingly, this towering story of brutality and bitterness ends not with a catchy hook, intelligent one liner or suave composed lament, however with one other dose of crushing road degree actuality. Kendrick is yanked out of his reverie when an outdated good friend snatches the bottle from his fingers, calls for he get out of his emotions,  toughen up and have some enjoyable. Immediately, Kendrick Lamar is reworked into one other younger man, albeit a millionaire, informed to suck it up and suppress – it’s no marvel Compton’s streets are fucked.

Sue me, I merely couldn’t determine between the 2 polar extremes of Kanye West’s artistry: the self-pitying nadir and the second of heavenly repentance within the wake of a tragedy that shook world. Each “Runaway” and “Ultralight Beam” seize Kanye on the absolute peak of his powers creating ornate and contorted cathedrals of sound that really feel lightyears forward of their time, not to mention their friends. Kanye’s hubristic nature could have eaten him alive (reworking the as soon as revered artist into an ungainly public spectacle careening from one flaming automotive crash to the following as he struggles to deal with his bi-polar dysfunction below the gaze of paparazzi), however it’s this lack of a filter and craven ambition that enables West to provide masterworks that few artist may ever hope to the touch.

“Runaway” will at all times be West’s pinnacle: the precise intersection of his most visionary artistry and absolutely the peak of his fame. There’s loads of insults that may be thrown Kanye’s method. He’s actually pig-headed, crass, callous, self-centred and devoid of something resembling inhibitions, however he can’t be accused of being oblivious. Kanye’s work – post-808s and Heartbreak, the place the main focus switched from society at massive to West’s personal headspace – has been outlined by his willingness to confront his personal plain awfulness. He’s a psychotic mess who plunges his household and family members from one self-constructed disaster to the following. He’s impetuous within the excessive. Drawn to dangerous girls and worse conditions, he has risen to stratosphere the place his each whim, want and need will be actualised and happy. Fittingly then, the one space the place his reckless behaviour can’t be papered over (his relationships) hold coming again to hang-out him.

On the luxurious and chilling “Runaway” – pushed by hovering, stabbing strings, artificial sludge, torturously contorted auto-tune and people unforgettably stark and stinging piano keys – Kanye faces actuality and involves phrases with who and what he actually is: an absolute arsehole, albeit a effectively which means one. The form of man who “sends a bitch an image of [his] dick” in lieu of seduction and papers over cracks in a relationship with million greenback trinkets. The form of undeveloped and wounded younger man whose success has ensured that he has by no means had to deal with the compromises and turmoil of actual relationships. He’s each “younger, wealthy and tasteless” as Pusha-T places it and emotionally stunted: “by no means was a lot of romantic, I may by no means take the intimacy and I do know it did harm, as a result of the look in your eyes is killing me… I don’t know the way I’m gonna handle if at some point you simply up and go away”.

Kanye West is an arsehole and it’s time for his toast to the pathetic nature of his emotional dependency and his lack of ability to return the power and dedication that he prays upon. “Let’s have a toast for the douchebags, let’s have a toast for arseholes, let’s have a toast for scumbags…child I acquired a plan, runaway as quick as you possibly can”. That’s the final realization, the second when the music stops and the knife twists within the type of a single piano key – the one piece of recommendation he can provide a would-be-lover is to run away as far and as quick as they attainable can. He’s a dwell destroying leach who needs to be left alone along with his blood curdling neurosis and contorted pysche – which is artfully dropped at life by these staggered strings and the mutilation/gradual decay of Kanye’s autotuned vocal. “Runaway” is grotesquely lovely.

By the point “Ultralight Beam” rolled round, Kanye West was barely a protagonist. He’d recast himself as bit half participant: a small, virtually irrelevant man overwhelmed by tragedies each private (the loss of life of his mom) and communal (the brutal terrorist assault on the Bataclan). Fittingly Kanye nonetheless manages to make all of it about himself whilst he stands facet of stage. He’s drowning within the glare of flashbulbs and suffocating within the abundance of oxygen media consideration affords. He continuously makes the worst attainable selections and showcases his most loathsome impulses to world – his response? To forge an incandescent pillar of power that he can cling onto to expensive life. West is barely current. He mumbles penitent and shrouded in despair (“I’m tryna hold my religion, however I’m in search of extra”) on the intro, struggling to reconcile his sense of self as he sees the world being ripped asunder round him (“pray for Paris, pray from the mother and father”).

Subsequent to the unfocused smallness and gentle effectively needs that Kanye manages to muster stands the totemic certainty and immovability of his religion. The second the choir kicks in Kanye is concurrently elevated and brushed apart by one thing larger, extra highly effective and extra everlasting. The choir’s vocals surge, swell, soar and strike like a weaponised beam of sunshine designed to exorcize all sorrow, self-doubt or darkness. Kanye and his workforce of super-producers are cautious to steadiness this injection of purity towards the slowly lurching artificial distress of the base-level association. The outcome isn’t an angelic battle on a Miltonian scale, however quite a perpetual juxtaposition. The emergence of a guiding and naturalistic mild able to bursting by means of the depressive drudgery that’s every day existence.

The-Dream and Kelly Value’s vocal performances are sublimely pitched and supply resounding ethical appeals, however Probability The Rapper is the star of the present – that is the second the perma-smiling soul of Chicago was at all times destined to inhabit. Using his broadest grin alongside his most carefree rhyme scheme and childlike bars, Probability, a rapper outlined by his religion, faucets right into a deep wellspring of optimism that captures the spirit of overcoming self-doubt and societal expectation. In a wild see-sawing freestyle-esque verse his subject material veers wildly, however the message is easy: be your self, be true and don’t crumble within the face of temptation. Tapping into private expertise Probability, talking instantly Kanye, explains how he’s resisted the calls for the outsider world has positioned upon him at each flip: “Tying to snap photographs of familia, my daughter is rather like Sia, you possibly can’t see her…I hear you gotta promote it to grab the grammy? Let’s make it so free and the bars so exhausting that there ain’t no gosh darn half you possibly can’t tweet”.

“Ultralight Beam” isn’t “Runaway’s” redemption. It’s far too late for that. Kanye West can by no means be as free as Probability The Rapper. He’s already fallen: he has an excessive amount of baggage, he’s too simply lured away from the trail of righteousness, however “Ultralight Beam” is a haunting and exquisite reminder that even essentially the most gargoylish of psyches can nonetheless flip towards the sunshine. Kanye will fall and fall once more, however the “Ultralight Beam” will at all times readily available to irradiate the darkness and supply him solace, irrespective of how fleeting or quick lived his conversion could also be.



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