Year: 2019

It’s strange that in this age of constant consumption, when gigabytes of content are devoured whole every millisecond, that Pitbull hasn’t earned the dubious respect of the irony crowd. Heaven knows Mr. Worldwide’s given enough grist for the mill over the past decade, so why isn’t he being stanned?

Continue reading “In Appreciation of Pitbull”

I mentioned in my previous entry how Ava Max‘s potential chart-topper “Sweet But Psycho” bears all the hallmarks of this decade’s maximalist pop hits, found mostly between the years 2010 and 2012. While I’d like to save a full retrospective on those golden years for the end of this year, I do want to put the spotlight on some of those individual tracks. The first being Nicki Minaj‘s ebullient dance-pop monster “Starships”.

Continue reading “In Appreciation of Nicki Minaj’s “Starships””

Look at that waveform. It’s absolutely beautiful. You can see the intro, the verses, the choruses, the bridge (!!), and the final chorus all packed into a neat 3:05 package. This is, structurally speaking, a perfect pop song.

Continue reading “Is Ava Max Bringing Back Pop Maximalism?”

Recently my music commentary has been incredibly repetitive, harping on the same handful of points ad nauseum. In an attempt to be less negative I have decided to focus less on music I dislike and more on music I enjoy. However I have found this to be particularly difficult this year as I don’t like anything. So I will just write a bit about some noteworthy trends.

Continue reading “Assorted Observations”