I think on Kid A they focused on using the voice almost purely as a supporting instrument for the atmosphere they were trying to create, rather than let vocals or lyrics take center stage. Lyrics were purposely very minimal, repetitive, and distorted.
I think on Kid A they focused on using the voice almost purely as a supporting instrument for the atmosphere they were trying to create, rather than let vocals or lyrics take center stage. Lyrics were purposely very minimal, repetitive, and distorted.
Thank you, now if we looked at OK Computer lyrics and all, Beyonce would not stand a ****ing chance
Pitchfork on Jessie J's song ''Who's Laughing Now''
Quote:
a song that could very well be the nadir of modern pop's fixation with attacking "haters." The track has her lashing out against acquaintances who she claims bullied her and dissed her early music, but now show an interest in her since she has attained some degree of success. While it is fair to distrust people who transparently want a piece of you, the details in the lyrics seem a bit too minor to merit her intense vitriol. The song is a humorless expression of galling entitlement; the sound of a person who will conflate any form of criticism or disapproval with an attempt to crush her soul. "Who's Laughing Now" seems to be pitched as a motivational song, but it's so narcissistic and myopic that it's hard to imagine anyone connecting with the singer's petty grudges and desperate need for constant affirmation.
The fact that this could be a review for the whole ARTPOP era
Greater than any song i have ever listened to, poor music in general, truly a biblical experience
It sounds to me like an old fart, the Bends was their peak.
And if you want to hear something epochal or different better start with Schönberg or Scriabin, heck even Gesualdo in the year 1596 was more innovative.
While we're talking about irrelevant bands only hipsters care for let's take a moment and appreciate Plans and Transatlanticism by Death God for Cutie. Seth Cohen his impact
On the same weekend Jessie J was getting her first big push in America as the musical guest on "Saturday Night Live", the music video for Rebecca Black's "Friday" was just beginning to spread around the Internet as a viral sensation. "Friday" took off because people were calling it the worst song ever and mocking its dopey lyrics and awkward approximation of standard modern pop tropes. The biggest difference between Black's song and the contents of Who You Are is that while Jessie J gets the expected formula of pop "right," the hapless Black gets it "wrong." But in that "wrongness" lies a humanity that J cannot approach. Even through bad vocal processing, Black sounds like a specific person. Also, the lyrics of "Friday" may be undeniably clunky, but there is a magic to them that makes the song funny and immensely quotable, like a lot of great pop songs throughout history. Jessie J's lyrics are no less banal and artless, but they lack charm entirely.
