As a twin, this is the anthem I never knew I needed :,,)

Loving the message of unity between siblings while acknowledging past transgressions. Definitely it's corny and a little popped-out for their style but the lively percussion that's always been one of their calling cards is enough to carry it through. Love the way they play on foreign audiences not knowing how to say their name in the chorus as well.

Writing and performances like these are why she's a cut above the PC Music girlies. From the opening bars you know this thing is gonna slap, and the kids choir that carries us blissfully out is just icing on the cake. Stan twitter youtube legend account Marina & The Devil commented on this song's live debut that it felt like a return to Chairlift, and certainly this thing can be compared to some of their more esoteric tracks (namely Moth's "Ottawa to Osaka"), but in message and ... read more

Posting this just to say that for a decade now I have had a bee in my bonnet over Pitchfork incorrectly using the phrase "changing tempos" in their review of this album. I'm not going to go the Lizzo route and suggest that only people who make music should be allowed to write about music, but at the BARE MINIMUM you should understand the terminology you put into a piece that you were paid to write. Things like this are why the arts are continuously devalued, and Steven Hyden (who ... read more

Big improvement over Holy Terrain in that she's just going for it on this one!! If you want to be a main pop girl do it with your whole heart! While there's still some classic Twigs eccentrism here, the beat, visuals and melodies are full pop. The Weeknd, a far more reliable guest artist than Future, delivers a strong verse that fits him perfectly. If this is her direction, I'm thrilled she's owning it. Good work!!!

None of the songs are bad, but she is punching WAY under her weight on this release. The instrumentals for "Meagan Good" and "Millions" are sorely lacking in personality, and while "Stand Up" is certainly the hardest and most braggadocious of the bunch, it also kinda just sounds like it was recorded specifically to score a transition scene on Insecure. Where are the wacky voices and ad libs? The quirky beats? The imagination? Sadly this feels like any number of ... read more

at some point in 2016 she must have signed a contract pledging to never make a good song ever again.

Me when this song came out: Structure is weird, lyrics are cringe-y, I don't get it, I'm worried

Me now: The album would be way better if every song was exactly like this one.

In a weird way, this record has an even more dichotomous feel than 2019's Love + Fear. If you switched tracks five and six it would literally be five political uptempos followed by five ballads. While it's definitely a relief to hear her reclaim some of her original zaniness after her previous record's pop appeal seemed to come at the expense of artistic identity, the obvious scatterbrained nature of the album causes it to lose serious steam in its second half.

The true clunkers of the album ... read more

The best Azealia Banks song in 3 years.

I thought this song was just kind of a stupid joke track built on a nonsensical Instagram sample at first but honestly it is a certified banger that gets sold purely on amped delivery. A classic ballroom-style verse from the legendary Kevin JZ Prodigy is the icing on top.

The interpolation of Debarge's "Rhythm of the Night" feels like an obvious bid for Drag Race stardom, and if her appearance on Lala Ri's "Bad Bitch Tip" is any ... read more

I dunno, I find this record to be really enduring. If you're someone who was put off by the way all the freak-folk singers of the early 2000s sang then this probably will be a tough sell, but the songwriting and performance are strong enough to carry me through.

Opener "The Power of Allowing & Receiving" is probably the most gleeful song she's ever committed to tape, and it's little "yeah-oh, yeah-ah" melody paired with Cluck's slow but commanding melisma is so sweet I ... read more

I'm all for hearing her over a club track but this needed more. Like, at least give us a snare drum. Her decision to expand beyond one minute also feels a little wasted when the final minute-plus of this song is just the chorus over and over.

Really liking the aesthetic she's going with on these songs - the bright backing harmonies, big epic synthesizers and, most importantly, a bigger emphasis on melody. I'll admit I initially wrote off Silver Tongue, which despite a slight downturn in production was a better-executed version of the brooding atmosphere from 2017's Three Futures. This however is a total departure, with some of her most straightforward writing, well, ever. Her self-titled debut had some great hooks (something she ... read more

Friendly reminder that it's ok if your fav artist doesn't make music at the same quality they used to. :) :)

You don't have to spend hours of your life listening and relistening vainly trying to delude yourself into thinking it's at the same level as the records you initially fell in love with :) :) :) :) :) :)

Every musician starts to lose steam after however many years in the biz. :) :) :) :) :) :) :) :)

Except Fiona Apple :)

Knew I would love this no matter what but it is a little bit of a letdown, both for being completely underwritten (barely over 2 minutes? no bridge??!?!) and also for being content to kinda just be a 2000s song that would easily fit on any of Avril's first 3 albums

Anyway, according to Last.fm I've already played it 40 times.

Good purely on the principle of having "Baby I'm Burnin'" on it, but some kind of unexpected deep cuts amidst another helping of classic Dolly. The subdued production of "The Man" is a little bit of a different move for her, and "I Really Got a Feeling" almost comes off as the opening song of a musical number.

Then of course there's the title track, a stunning piano ballad. It's not a total out of the park moment coming from the woman who wrote "I Will ... read more

I think the power behind this song is that it's literally just drag queen music. You can very easily imagine this being released by Alaska Thunderfuck, Manila Luzon, or any other number of Drag Race alumni, and Spears leaning into the style gives it more credibility. "Work Bitch" knows that its spoken word is the centerpiece and that the verses are kinda just interstitial filler, but that doesn't make the whole thing any less of a joy. It is her first single that seems to cater ... read more

at least she finally found a place for that "pussy fat like lizzo" line so we don't have to hear about it anymore

Don't take this the wrong way ma'am but this one really reminds me of of Montreal when they're having one of their more Beatles-y moments, like I can hear Kevin Barnes singing it. The bridge could fit right into Skeletal Lamping.

But it's another banger! Great chorus melody where once again the huge vocal harmonies are adding a ton of character to the track. This record seems to be a more polished and fleshed-out take on the rawer material of Silver Tongue (an album I really discounted upon ... read more

We did it, lesbians.

It's... fine. Not the worst single she's released so far but probably the safest. "Bang! Bang!" (one of the only good songs on Funstyle) gave a hint as to what a Liz Phair song with more studio production would sound like, but this isn't quite as captivating or structured. I always had this fantasy that she would join the canon of 90s alt ladies releasing late-career masterpieces in the 2010s (Let England Shake, Vulnicura, I guess Idler Wheel but let's be honest Fiona has never made a ... read more