Yet Another Year In Pop: 45
Nov. 9th, 2009 12:31 pm![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
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poptimistsJLS are straight in at the top. They seem like well-behaved young gentlemen, don't they?
[Poll #1482869]
*Looking at who's left in the competition, maybe this is the first year ever this isn't a dead cert?
Reminder: You have until tomorrow afternoon to vote in Heat #4 of 2003 - at the moment there's an exciting tie for 5th place between Dizzee and Will. Don't forget to pick your best new track as well!
[Poll #1482869]
*Looking at who's left in the competition, maybe this is the first year ever this isn't a dead cert?
Reminder: You have until tomorrow afternoon to vote in Heat #4 of 2003 - at the moment there's an exciting tie for 5th place between Dizzee and Will. Don't forget to pick your best new track as well!
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no subject
Date: 2009-11-09 01:02 pm (UTC)no subject
Date: 2009-11-09 01:05 pm (UTC)no subject
Date: 2009-11-09 01:07 pm (UTC)no subject
Date: 2009-11-09 03:05 pm (UTC)JLS "Everybody In Love": Warm milk, with a half teaspoon of AutoTune. NO TICK.
Ke$ha "Tik Tok": I'm coming 'round to this, thanks in part to Tal's and Erika's discussion down in the Jukebox comment thread. My main stumbling block is how forced Ke$ha's joy sounds; but that can create force, the music partying its way to a party that comes a lot less naturally than it pretends. TICK.
Chase & Status f. Plan B "End Credits": The synthy strings do sound like the slightly bittersweet moment before the end credits of a slightly bittersweet movie, the movie in question here being someone's life. Plan B's singing is blank and negligible to no good purpose. Can anyone tell me what this music's constituency is? NO TICK.
Snow Patrol "Just Say Yes": I remember back in the heyday of "Muzak" and "easy listening" how both those terms were instant synonyms for blandness and dilution - "beautiful music" as a long carpet of beige. But I vastly prefer that sort of canned romanticism to this, with its earnest restraint. NO TICK.
Bon Jovi "We Weren't Born To Follow": "You got to hold onto what you believe." No. Whether you hold onto it should depend on whether or not it's right, or at least interesting. Or at least important enough to you for you to tell us what it is. NO TICK.
Beyoncé "Broken-Hearted Girl": "I will be there at the end of the day." Ambiguous as to whether she'll be there for him or whether she'll have held onto herself in relation to him. The affirmation here seems to undercut itself one way or another. Or maybe I just think so because this is Beyoncé, and my fantasy of her is of a woman who pushes herself this way and that. TICK.
Chris Brown f. Lil Wayne "I Can Transform Ya": Swizz undergirds this with fuzzed-up instrumental belches, and Wayne locks into them to give this just enough power to get across. Seems the wrong song for Chris, who sounds like an afterthought on his own record - which I suppose is appropriate, since I don't want to think of him. But his voice sounds disconcertingly uninhabited. (Rihanna: "He had no soul in his eyes. Just blank.") BORDERLINE TICK.
Laura White "You Should Have Known": This is the first I've heard her. Rough and strong at the start. I like her, though the standard British r&b-hi-NRG arrangement takes away a lot of the impact. BORDERLINE NONTICK.
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Date: 2009-11-11 08:17 pm (UTC)no subject
Date: 2009-11-12 10:06 am (UTC)no subject
Date: 2009-11-12 01:58 pm (UTC)