barnyard k.

There's a genre of music that lives almost exclusively in the early 2010's that I would categorize as "prime of our lives" music. The entire premise of this genre which is more tied by narration than it is by sound (although sound can be an identifying feature as well), is, "Dude! We're 22! We've got to LIVE!" Drinking at the beach, making friends with strangers, assuming the people in your life at the current moment will be your groomsmen and bridesmaids, and giving into FOMO. These are all the classic kinds of scenes depicted in songs like 22 by Taylor Swift, We Are Young by Fun, and Saturday by Rebecca Black. And also maybe Friday by Rebecca Black.

But Friday is old news! We've all heard the dull droll of people criticizing Friday because it's allegedly the worst song made in the 21st century, at best being second worst only Blurred Lines. It was (is?) the most disliked video on YouTube, and even resulted in Black receiving death threats as a teenager. If somehow you were not aware of this, I apologize for opening your eyes to how horrific the internet can be to young women in this particular case.

What the people haven't heard just yet, is that Saturday fucking rocks! Last week I was watching a Smosh YouTube video where the cast had to name a song with a day of the week in the title and I thought to myself, "why didn't anyone say Saturday?" I shortly found myself listening to the song again and remembering how amazingly this song captures the "prime of our lives" genre so amazingly well for a bit of a younger crowd.

Black succeeds in proving to the audience that her musical style has grown and matured whilst also still mainly catering to people her own age and younger, which is not only seen in the style of music but also the music video! You'll see familiar faces such as Ricky Dillon, Connor Franta, and even a Miley Cyrus Wrecking Ball impersonator, which is just oh so fitting for the time wouldn't you say?

I don't know for sure when I discovered this song, probably a couple months after it released during the pandemic. One thing that I believe takes real talent is to fit a lot of information into a very small space without making it feel too cramped. Penelope Scott's lyricism here does that well and it feels just fast enough to still be sung rather than rapped, (even though she isn't necessarily singing).

I don't listen to a lot of chiptune music in the general mainly because the 8-bit sounds are usually the only thing going on, and that isn't my personal listening preference, but when accompanied by lyrics like this then it really suits my listening preferences!

You don't often see artists so directly talking about whatever message they're trying to say, but here Scott spills it all in the most transparent way possible, which I appreciate and think should honestly be done more. We need more of this! I think it's especially good considering how vulnerable it gets since Scott admits that at one point in her life, she did love and idolize the man in charge, but she also admits her growth and resentment which is validated because she loved him! Ugh, it's so good.

In the current times of writing this, anti-car rhetoric has dominated conversations concerning infrastructure, both of the physical world and the social world. Cars make people literally more alone as opposed to having a stranger sit next to you on the bus or subway. Cars also divide society since social events often necessarily require personal transport if you live in a car-dependent area. Cars contribute more to pollution and financial inequity and just generally suck to build a society around.

But FUCK MAN! I miss my car! There is nothing quite like listening to music in the car that just finds the resonant frequency of your entire body down to your very bone marrow. Oftentimes I hear music and think, "I have to listen to this in my car!" This song by Alan Vuong evokes that exact reaction.

This is for a couple reasons! The easiest is that is has an ongoing bass that is perfectly designed for a subwoofer, and it feels good to hear the bass line droning in the background as a sort of pillar for the melody to lean against. I think a more important reason that is really where the heart of this song lies is that it perfectly captures the essence of "night" in musical form. I am but one step away from literally feeling the wheel against my palms and being blinded by stoplights at 11pm. I can imagine my right arm resting on top of the center console so vividly that it's actually a little surprising.

Vuong's voice here is simply crafted by the muses to be able to capture the evening so eloquently. The combination of his buttery mixed vocals with the pitched up reverb-heavy falsetto just makes for a self-duet that kind of makes me feel like I'm listening to the better older brother of early 2010's nightcore.

I also think he has a very unique and clever understanding of cadence. The places where puts rests into his phrases are often occurring in the middle of sentences and it feels extremely smooth and even unseen in the most cool way possible.

I normally try not to review the most popular trending music that everyone knows because the purpose of this blog is to archive all those smaller artists and eras that I would normally forget in a few years, but I think we simply have to talk about Katseye.

There are so many things I could say about them, oh my god I could write an entire book about the horrors of the global girl group pop entertainment industry and the many many things wrong with signing girls into contracts when they're auditioning for these groups at the ripe age of sixteen, fifteen, oftentimes even TWELVE OR ELEVEN! However, this post simply cannot tackle all of those issues, so I'd like to talk a bit about an interesting comment I saw in the music video for this song: Katseye is making fast fashion music.

Katseye is not the most innovative girl group that we've seen perform, nor are they the most talented either in terms of vocals or choreography. When compared to the likes of Blackpink, Destiny's Child, or The Spice Girls, Katseye is in the grand scheme of things, pretty small pickings. However, the fact of the matter is that they're hugely popular right now, and here I ask you, popular for what?

The obvious answer is they they're popular because regardless of timeless innovation or talent, Katseye is still a group of extremely extremely skilled and beautiful women who are simply excelling at being aesthetically captivating. But, for my personal listening desires, it comes to a point where that simply is not enough, and it makes me sad that they're not able to push the envelop beyond pretty dancers with mid vocals.

If you listen to this song, and think about the words for more than just one second, you'll quickly realize that they don't make any fucking sense. It's like a bunch of popcorn that's just kernels in the bucket. What the fuck are they saying? But music does not need to be lyrically genius to the extent that I'm currently demanding. Can't they make club music and have that be the end of the story?

I think that they can, but I don't think that's what artists should solely aim for. There are plenty of electronic and underground artists that I love who I think are well able to balance their musical style with actual depth, something that is sorely missing from the experience of listening to Katseye. It's like clothes that look pretty only to be made out of short-lasting polyester: fun in the moment but disappointing in the long run.

I am going to say something that will get me eviscerated by past me, and possibly future me, and then of course all the Rodrigo stans. I think I might be getting a little bored of Olivia Rodrigo?

Not sonically bored! I think her sound is still very fun to listen to and entertaining six years post-drivers license, but thematically I don't know how much angst I can hear in songs that are almost exclusively about loving a boy, or hating a boy, or really any relationship highs and lows in general. I have no idea how far out we are from a third album but if the horizon is closer than I thought, I really hope that we get a bit more diversity in the next chapter of her music. Don't get me wrong there still exists some new (and possibly more upbeat) elements in her upcoming music that's represented in this song. But at the end of the day it's still a song that doesn't pass the Bechdel test, but maybe it doesn't need to! I love boys too so I guess this really is a pot calling the kettle black kind of situation.

This song, according to one YouTube comment I read without doing any auxiliary research, was written after a perfect first date, and I think that really shows. It's so exciting and revitalizing, almost like eating candy for the first time and thinking, "holy shit this rocks!" It's a feeling that I've definitely experienced many times before, but still one that feels left in the past exclusively for teenage me. Perhaps I'm too pessimistic about feelings nowadays but if I felt like this about a guy now, I would look at myself and say, "stand the fuck up!"

Even though I'm wary, I think the song accomplishes exactly what it sets out to do, which is to capture a very specific feeling of euphoria after having an amazing experience with a guy who makes me want to allow butterflies to fly in my stomach until the universe implodes. The build-ups in both the beginning and the bridge I think are done very well, it feels like a good series of rising and falling, almost like continually dropping dead! Crazy to see how a theme can be heard in the music structure isn't it.

Hello everyone! Happy Saturday to all those who celebrate. Today we have an amazing electronic feature by Lexie Liu!

The first thought I had when I heard this song is that it sounds very very late 2000's electronic rather than a modern 2026 electronic, but surprise surprise this was released less than a year ago! I personally am of the belief that any artist who can capture specific times periods in their work so accurately is highly trained and capable rather than less skilled and "stuck in the past" as some people say. The reason for this is that you're making an older song without being in that scene currently and not having the same kind of knowledge that they had since more music has come out in the interim and thus makes the modern creator farther removed.

But what exactly is it that makes this sound like we've traveled back 20 years? The most notable thing is Liu's voice, which is high pitched enough that it could honestly be a nightcore cover, especially during the chorus where her personal voice sounds almost like it's coming from some scary chipmunk-computer hybrid. The feeling of an electronic pitch is also aided by the repeated ending syllables in the chorus, subconsciously evoking imagery of glitches or error 404 messages. I think the tempo and chord progression of the vibrating/zipping sound also is not something I hear as often anymore in a post-brat world where hyperpop is more standard than it is now, dominating the more traditional electronic scene.

I also want to give a HUGE shout out to the production team for the music video. Liu is a smaller (maybe mid-size?) artist with less than 300k subscribers on YouTube but holy FUCK does the music video feel very high-budget. Almost like she has Madison Beer level-money. It tells a complete story, has beautiful juxtaposing aesthetics between the scene/electronic image of Liu and her crush whilst they're in a very traditional old money mansion and general setting.

Sometimes you hear music and think to yourself, "is this the neighbourhood?" just for you to look at your phone screen and realize that this is in fact, not the neighbourhood. It's something even better!

The only song I knew from this artist before (that I didn't even know was his song) was i like the way you kiss me which is an amazing song but unfortunately suffered the same fate as many other viral TikTok songs. It appeared, changed our lives, then fell into obscurity in the blink of an eye. I don't think that I personally ever chose to stream that song but of course I knew its melody by heart because of cultural osmosis.

This however, is definitely the kind of song that I would love to sing because of the fact that it's not playing at every waking moment on my algorithm. The visualizer sports the same black and white blurred aesthetic that made 16 year old me go absolutely feral and buck wild. If you scroll back on this blog far enough you'll be able to find those glorious days for yourself. I think Artemas not only captures the same nostalgia I yearn for not just in aesthetics but also in the actual sound of his music.

He's very obviously reminiscent of the neighbourhood as I've previously stated but also I hear elements of daft punk in there with the electronic responses as well as maybe some gnash?! Being able to stand in the wake of such prolific artists of the 2010's and still feel refreshing and new makes me very happy for having discovered Artemas as well as happy for the music industry more generally because SYNTHPOP WILL NEVER DIE!!!

Haha... .Hahaha... Hahahahhahahahah....... HAHA!

Martinez fans who have not grown out of being fourteen years old, RISE! We have just been fed! And man is the food fucking good.

I was definitely a part of the camp of people who were scared that Melanie Martinez's whole shtick would be the childlike aesthetics with really dark metaphors and euphemisms for the rest of her entire career. Dollhouse would possibly be the peak of her novelty to the music industry and then every song afterwards would just be riding on its coattails. This gimmick lasted for the better part of a decade and I think everyone had unfortunately grown up from it.

Then came 2023, and Portals revitalized the community with a more mature theme and tone, which I can admit was underscored a bit by the fact that all of that album relied on the alien character created to be the face of the album. I still enjoyed it regardless and 2023 was very much a life-changing year for me in terms of finding my own independence. God knows how many times I played tracks like Void and Nymphology.

Now, three years later, Martinez showcases her maturity and growth (both musical growth and personal growth), with a vigor and uniqueness that I would personally say is much more needed in the industry. She uses many songs in this new album to speak about issues that feel much more specific and complicated then "boy doesn't like me" or "mom is sad" - which I can admit is an oversimplification of her previous work but you get the message.

That brings me to this specific song and particularly its lyrics. HOLY FUCK! I love this kind of edgy and interrogative commentary on capitalism, especially because it's not the kind of message that you would see in the pop music that hits the Billboard top 10, because well, celebrities enjoy having money.

I didn't play Dispatch myself but I will admit that I watched the streamer Slimecicle play the entire game in ONE SESSION and it was extremely compelling (he played it in one session, I didn't watch the full vod straight through). I thought it was a pretty fine game that well-represents the average mainly story-driven gaming genre. It's fun, doesn't take itself too seriously, balances high stakes with realistic reasons for said stakes, and has a dog that almost every player would die for. However, I did find the game hollow and lacking in the actual difference in choices made by the player. It definitely does feel like the kind of game that the majority of people would end up talking about just to realize that there were no substantial differences between any of their character progressions. I understand that this game isn't actually trying to be the next Witcher or Detroit Become Human but I think this genre really shines when given the whole spectrum of possible endings. Heck, even try throwing bear sex into Dispatch just like Baldur's Gate.

However, this isn't a review of the game Dispatch. This is a review of what it's like to play that game just to hear this amazing song and think, "holy shit I have to listen to this all the time!" This kind of general sentiment exists really for most if not all the games on the Dispatch official OST, but it is an especially apt label for Bershy's Radio. This song is a perfect embodiment of all the lightheartedness captured in the game and the real love that exists between the characters as well as the love that you develop for them as a player. This is seen in the fact that this song plays during the house party scene where it feels like everyone is really becoming a family.

My dearest apologies for missing yesterday's post even though I committed to doing a post everyday for this week. BUT I HAVE A GOOD REASON FOR MY ABSENCE AND NEGLECT! That reason being... I SAW SARAH KINSLEY LIVE LAST NIGHT!!!!! Yes mes amies, after three years since last seeing her at the Sinclair in Boston, I can firmly say that Sarah and I have gone on our second date and it was a glorious time. Obviously I simply had to include one of the songs she performed in this week's stampede of reviews.

Before I even get into the song itself I just want to talk about the experience of being at a new non-Boston venue. This show was at the Hollywood Theatre in Vancouver and holy balls is that venue amazing! For a wide variety of reasons. 1) they have a slanted standing room because I think it's like an actual theater with removable chairs in center seating. Rather than having standing room only they had a very healthy mix of standing and seating so I felt like the space is probably very accommodating to those with low energy but who still deserve the ability to listen to live music. And the show was sold out to so those seats were mf'n filled. 2) They had absolutely amazing popcorn and the ability to eat popcorn whilst listening to an artist sing is absolutely amazing. However, I can admit that I ate the large majority of it during preshow and the opener Girlpuppy. Definitely get a small though because I got a medium and that is a LOT to eat for just one person. 3) Free refills on my coke which was only like four dollars AND it came with a lime wedge that was ALSO replenished regularly. Ugh I felt like I was in drunk popcorn heaven and luckily I was standing on a ledge that provided me an unobscured view even being behind tall people. The fates just love me baby.

This song is great, and live is even better. The bridge is shocking and makes me feel like the light of god is shining on me completely alone. It very well balances a sort of pretty sad lyricism with a very upbeat Ethel Cain-esque backing track. I can only dream of being the kind of writer that she is. Where do I put my heart? I suppose only God knows.

Can I confess something to you? I'm actually not the biggest Harry fan that I may occasionally claim to be. I mean, I absolutely love all of the music that he writes and I think he is the kind of musical artist that I could only dream of being. Obviously I listened to Harry's House as soon as it came out literally right at midnight, but beyond that he's simply another good artist in the sea of amazing artists. I think what separates me from the rest of the pack is that I really have no interest in Harry as a person. He seems pretty cool, but also isn't he just a regular British White Guy? A part of me wants to be a Styles simp but sadly the person behind the music is simply of no interest to me, and that's a great thing! LET MUSICIANS BE MUSICIANS NOT CELEBRITIES. Regardless of that, his new album seems to be pretty good. I actually need to give it a few more listens before I can offer a definitive stance but I can say that the first handful of songs are pleasant to listen to, especially this!

This song is deceptively simple, one glance at the lyrics can tell you that immediately. It feels like there's so much negative space left by the lyricism that is filled with the instrumentation and specifically what sounds like some sort of electronic trumpet or end screen sound consistently playing in the background. One element of this song that I really enjoy are the screams in the background towards the end. What the fuck is going on there? It's such a delightful contrast with the beginning where there's only kick and bass guitar.

Another day passes, the ides of March settle, I eat four English muffins in one sitting, and I find myself yet again writing on this silly site called Tumblr.

I don't listen to any Lil Nas X in my free time really. The only other song of his that I could name off the top of my head is Old Town Road, and I think he had one song where he dressed like a demon? Couldn't tell you the name of it though. Regardless, this song is an absolute banger though and I'm shocked that I'm only hearing this song a year and a half later after its release. It kind of revitalizes that brand of music that subgenre of songs that exist exclusively for the consumption of nineteen year old's at a club who will most definitely be throwing up in the uber on the way home.

The main thing I like about this song is that it's a really nice combination of different styles all done by one artist rather than having a feature on it or just over blending the two styles. The mix of rap verses and prechorus with the very lady gaga-esque echoed bridge simply just feels good and like a warm blanket enshrouding you in the club. He really needs to be back in the studio making more music with the likes of The Lumineers and Carly Rae Jepsen.

I don't really know all that much about the Death Stranding games. Sure, I've watched a bunch of lore videos about them whilst driving or going to sleep or cooking my usual garlic mayo ramen, but I haven't played them myself nor have I watched anyone play them. My relationship with the series is pretty far removed honestly. However, I would still say that they're amazing games with a story that makes you question the good of humanity and the limits of our experience to actually know why any of this matters.

In my humble opinion, the soundtrack for these games very well-represent that. Woodkid manages to perfectly capture whatever the fuck Hideo Kojima had in his twisted, beautiful mind. This is done through large, sweeping, orchestral tracks along with Woodkid's beautiful bass-heavy voice (which coincidentally also makes for a very unique falsetto!).

What is To The Wilder even about you may ask? I think it's about losing someone then finding them all over again, or at the very least looking for them until your heart kills you. Love can be very long distance at times as I'm sure you know, but here, we have an example of how that distance will never be insurmountable. Perhaps the song is a love letter to the main protagonist's daughter whom (spoilers) dies very soon into the second video game. Maybe this song isn't just about physical distance but also the animated distance as well, following someone's soul once they leave from this life to the next. No matter how far one wades into the water, I'll be right there behind you.

Sincerest apologies for being so MIA during the last month, honestly I have no excuse besides the fact that I was only mildly busy. I was still listening to music of course, but I just did not have it in me to write for that period of time, but now I'm back baby! I'm also completely typing this by using all my fingers on the keyboard and it's taking me so long. I WANT TO KILL MYSELF BUT ALSO I WOULD LIKE TO LEARN HOW TO TYPE FASTER!

I don't understand shit of what is happening in this song. I'm not looking up any of the lyrics, either in French or in English. We're just raw-dogging it today folks! The music video for this song is pretty visually compelling because it's much more one note than what you may normally anticipate. What like about the video is that we get this very interesting contrast between the very masculine gym clothes and the more femme movements that Marius himself is doing, which is brought to more of a focal point considering that he's wearing ballet flats with his gym socks. Is this song at all related to being gay or queer? I have absolutely no fucking idea. BUT I'm gonna go out on a limb and say yes because I know what the algorithm wants for me.

First of all, congratulations to Miss Young for recently winning best pop solo performance in the 2026 Grammy's! This is a HUGE feat especially when the other nominees in the category were Chappell Roan, Sabrina Carpenter, Lady Gaga, and Justin Bieber! I would say that out of all of these names, Lola Young is probably the "smallest" as in the least known, and yet she prevailed nonetheless!

Although this is not the song that got her the win, Conceited by Lola Young is definitely some of her best work. Before I wade into the details, let's just take a moment to acknowledge how shockingly POWERFUL this song is. Her alto/contralto voice combined with the bassline creates this dominance that makes me want to drop to my knees and submit to my own weakness. What makes this even stronger is that the song itself leans towards the slower side at 92 bpm. She doesn't need to climb up to the top of her register or make something really fast to make the listener feel this way. She's slow and steady and her anger is given enough time to really fester in both your ears and heart. This general vibe is captured well in the music video, which utilizes a lot of slow motion.

I also love the way she kind of tiptoes through the lyrics towards the end of the song. Each syllable is sung with a quiet haste. As if she's completely over it and doesn't even want to give this any energy. But it still feels like she sings from the very absolute bottom of her soul. Her retreat at the end feels like the same way a parent scolds a child by saying, "I'm not angry, I'm just disappointed."