Despite her BFF and occasional producer Jack Antonoff’s rabid protestations, Taylor Swift is not a good songwriter. When left to her own devices Swift creates monotonous, repetitive choruses that range from one to three notes and recycle the same handful of chord progressions every album cycle. She is also a surprisingly unremarkable singer – a statement so uncontroversial only her most ardent fans would disagree.
Yet she has undoubtedly become the world’s biggest pop star, certainly of this moment, but also arguably of all time. A monolithic presence that has outsmarted every media trap, sidestepped every music industry pitfall, and calculated every single necessary action to outshine not only her peers but also some of the most popular artists to ever grace a concert stage. Her marketing and PR team have turned her into a phenomenon thanks to one mantra: it’s not about the music.
Continue reading “The Canonization of Taylor Swift”
I can say with only a minimal amount of hyperbole that this may very well in fact be the worst year for music since the turn of the millennium. Worse than 2013, worse than 2007 even.
Continue reading “Bad Year for Tunes”
It’s hard to break from my regular talking points when contemporary artists refuse to move forward with their sound and abandon the reductive notion that analog/organic production sounds better, so here we are yet again with another few paragraphs about how bad modern music sounds.
Continue reading “Yet another screed on poor production”
In a rare bit of optimism I can definitively state that music – particularly alternative rock – had a good year. Even stalwarts like the Red Hot Chili Peppers and Liam Gallagher managed to successfully deliver memorable hits worthy of inclusion on future greatest hits compilations. More importantly, this was the first year in a very long time where I had to carefully parse the top 10 tracks and there was an actual deliberation process as to which song would take the top spot. Though it may not have been the absolute strongest year for music I’ve lived through (the second half was a little weak), it was absolutely better than 2021.
Continue reading “Year End Music Countdowns #21: 2022”
Harry Styles is not the king of pop. It’s pretty obvious that Rolling Stone only did this to fan the flames of controversy and reignite some interest in their failing magazine, but it’s still a very silly #HotTake. Styles may have the biggest song of 2022 with “As it Was” but how many others does he have to back it up? The bland and flavourless “Watermelon Sugar”? He may very well have a successful career in the future but right now he’s just the moppet of the moment, enjoying the same sort of fervour that surrounds his fellow countrymen The 1975. The only advantage he has over them is that he’s got a few recognizable hits around the beginning of his solo career, while the 1975 are well over a decade in and haven’t had one big single to date.
Oh, did you hear? That genre you like is back in style.
Continue reading “State of Pop 2022”