But she’s not plagued by bitterness—instead, she invites the love to seep in as she falls apart, regardless of whether it’s reciprocated or not. — TOSTEN BURKS, Torres Describes Harrowing 48 Hours Trying to Return Home, The Viral Countdown: The Race to React to COVID-19, The Cost of Coronavirus: How Young Guv Ended Up Stranded, Black metal bands have been exploring mellower avenues for some time now, and Deafheaven would be the first to admit that they didn’t invent the distinctly shoegaze-y take on the genre for which they’ve become known. Young Thug demonstrates that you can have your head in the clouds while thinking things through to the clarity of crystal. Just text us when you’re outside. But above all, “Space Cowboy” reveals the strength and wisdom of accepting the end of something that never could have lasted. In a way, the link situates “King’s Dead” within Kendrick’s own canon. — JORDAN SARGENT, “Emerald Rush” is a bionic crowd-pleaser that manages to streak across the cosmos like Lindstrøm while shaking the stadium like Skrillex. The band is a tireless rhythmic dynamo. Sit and pick your wave, but know you gotta make it back to shore. —, Forget “Why Did You Do That?” For all the chin-scratching that song provoked over whether it was supposed to be bad or was just… bad, the real center of Lady Gaga’s, is “Hair Body Face.” It’s basically Spotifycore, complete with a crisp, trap-lite rhythm and a brassy synth that Bebe Rexha would kill for, but that doesn’t mean it’s not indelible, too. In any case, the ending sounds like a nice prelude for whenever the former Pavement frontman gets to finally unleash the grand synth experiment, 47. If his no-shit sincerity sells this cheesy side piece’s plea for promotion, the green-screen video elevates the song into a deeply surreal place. Their only new material was “Hornet’s Nest,” which came out in June through the Adult Swim Singles Series. If there is one theme that unites the carrot-and-stick album that is, , it is the primacy of touch. Jon Hopkins doesn’t serve up Big Beat, but his beat here is fucking, : a rude, swaggering Cubist stomp that should soundtrack a world double-dutch championship. “Drip Too Hard,” the initial single from the duo, hit all the checkmarks of their most successful collaborations, with Lil Baby holding the song’s melodic foundation and Gunna showing up to champion his latest purchases (“Designer to the ground, I can barely spell the name”). As always, he delivers these lines with absurdly heightened emotion, like Robert Johnson begging for his soul back from the devil he sold it to. However they choose to structure their songs, it’s best to just trust the duo’s instincts: they got this. “I need passion like fire”—really? 137 songs. The bootstraps mentality and valorization of poverty in DIY culture is not so different from the life of any creative who has to work within the boundaries of capitalism, having their idealism constantly used against them: aspiring academics sleeping in cars while administrators pull six figures; ground operatives doing the thankless work of making incremental progress in rigged electoral states; humble Midwestern cities whoring themselves out for a shot at Amazon HQ2; anyone who’s ever been exploited as an unpaid intern or compensated in “exposure” and, duh, all the internet writers purged in “pivot to video” boondoggles that were little more than excuses to cut payroll. Refusing to sprawl, Jenny Hollingsworth and Rosa Walton are fully in control throughout. —, Don’t let the title, the dreamy falsetto, or the lush keys fool you: “Lost in Japan” is a booty call. Great for Spinning and Indoor Cycling. — JORDAN SARGENT, Rich the Kid makes a hilarious admission a few seconds into “Plug Walk,” and again several more times after that: “I don’t even understand how the fuck my plug talk.” Maybe the plug is coming up from south of the border, maybe he’s the kind of paranoid dealer who speaks exclusively in arcane code words, maybe Rich the Kid is already zonked out past the point of comprehension. SPIN®, SPINNER®, SPINNING®, SPIN FITNESS®, SPINPOWER®, THE SPINNING LOGO®, PEAK PILATES®, CROSSCORE®, RESIST-A-BALL® AND UGI®, ARE REGISTERED TRADEMARKS OWNED BY MAD DOGG ATHLETICS, INC. Each song requires a different level of intensity and variation of movement. Stream ad-free or purchase CD's and MP3s now on Amazon.com. G-Wagon or di Bentley?” goes the chorus. “Nearer My God” only seems like it’s about selling out, but it’s really about integrity: soldiering on and doing the right thing when no one else cares. Lest you forget this is a Marvel tie-in, his perspective here belongs to Erik Killmonger, the antagonist who goes from being a violent megalomaniac in the comics to a megalomaniac who wrongheadedly uses violence for the sake of liberating African-Americans in the film. But everything comes back to his love. — ISABELLA CASTRO-COTA. For Septmember 2014 IndoorCycling.ca offers you a fantastic 4 minute song that is 100% free for you to download. So what was Scott’s workaround that issue? They’re making the rules here, and they summarize this notion in the coyest manner possible: a cutesy “way-o way-o” melody, brought to life with an accompanying police siren. “Nearer My God” only seems like it’s about selling out, but it’s really about integrity: soldiering on and doing the right thing when no one else cares. “You know it: these days, I’m, ,” sings Wendy, and the chorus finds the girls dictating how quickly this boy should be chasing after them. Jay Rock ft. Kendrick Lamar, Future, & James Blake, "King's Dead", For someone with a reserved public persona, Kendrick Lamar is gifted at making war cries. The distressed catchiness of the song and its surreal video, which includes, among other sights, women clad in swimsuits and cowboy hats performing a synchronized dance in front of nuclear waste barrels, provide appropriate packaging for the lyrics’ bleak message: “Blind vision, blind belief / Black snow is coming, saw it on TV / No information, no harmony / Yeah, a wave of black snow.” — TAYLOR BERMAN, That Jacquees is not the current King of R&B (it’s Ty, duh) makes his claim as such no less charming. The geyser symbology is obvious but a necessary reflection of turmoil and creative outbursts that are both violent, beautiful, and natural. — WINSTON COOK-WILSON, Rae Sremmurd are the ideal muses for Mike Will Made It. When Lil Pump compares someone’s boyfriend to McLovin, and Kanye swivels toward the camera, his face lighting up to deliver an ad lib for the ages—“Dork!”—there are no delusions about world-changing insight in that moment, no pretense toward high art. “Lo nuestro iba en un Bugatti y te quedaste a pie” the latter raps menacingly: “What we had was in a Bugatti and you ended up walking.” Resident romantics Ozuna, Nio, and Nicky Jam cushion the resentment with explanations for their pain “Yo te di confianza y me fallaste / Te burlaste de mí y me humillaste” Nio explains.
Doja Cat weaves in references to Wu-Tang, Ludacris, and Kelis, and even the song’s most literal element—the “moooooo!” of the chorus—echoes the iconic “yooooou!” of Soulja Boy’s “Crank That.” Doja Cat is not an interloper, regurgitating rap slang for YouTube views; she is instead adding to a long-established canon of comedy rap made for rap fans. Repeat this again. —, 22. Surely we can thank Ty Dolla $ign, who shows up with a typically ace guest appearance in the second verse, for some of this easy melodic grace. In its length and bizarre twists, it mirrors the unpredictability of the three-sided full-length album from which it sprung.

It is not surprising, then, that “No Tears Left to Cry” would make a show of chasing sorrow. “Sicko Mode” is an aural roller coaster swinging from calm to thrills and back again. Makes a great warm up or a good jumping drill. —, The best Wizkid song of the year, at least under his own name (, is every bit its equal), “Fever” staggers lopsided from room to room, yet also seems to never truly touch the ground.
The track has a disco fetish, but Patrick Paige’s bass line would slap in any decade and could loop for three times as long without getting old. Lorely Rodriguez warmed up her sound significantly on Us, her second full-length album as Empress Of, and nowhere more masterfully than here, where she combines nostalgic boombox sonics with a vocal as wistful and inviting as any romantic confession.


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