1/21/2024 0 Comments Runway songs 2019![]() “Drømmen om Ø (Forever Mix ’19)” may hit like a shock of tropical color against a gray city exterior, but it takes the length of an early-morning dream to achieve its blissful effects. But the music here is slower-paced, introspective. Forever Mix is the second release from Kulør, the label run by fellow Danish artist Courtesy, following a compilation that introduced the city’s “fast techno” style. “Drømmen om Ø (Forever Mix ’19)” (the first part of the title translates to “The Dream of the Island”) is also a strange bird within Marott’s own Copenhagen techno scene. The record’s A-side, “Drømmen om Ø (Forever Mix ’19),” is a sumptuous, 14-minute mini-suite that lofts picturesque bird calls atop sleek drum pulse, rubbery acid synths, clattering Latin percussion, and other meticulously rendered subtleties. Yoshinori Mizutani’s cover photograph of vivid lime-green parakeets outside a drab urban building is ingeniously suited for Kasper Marott’s Forever Mix EP. Kasper Marott: “Drømmen om Ø (Forever Mix ’19)” It turns out the woman who built a career on fairy tales and scorched-earth breakup songs is just as deft with the simple and soulful. This is the stuff of real intimacy, of partnership, of creating a language and a life together. “Lover” features a classically swooning, Swiftian bridge-one designed to soundtrack wedding vows in renovated barns until the end of time-but its most penetrating lines depict the unglamorous stuff: telling dirty jokes, saving seats, deciding whether or not to drag out the air mattress for your college friends. How can you make sure a good thing lasts forever? Both songs are tributes to the dirty work that goes into keeping a relationship healthy, and they’re spiked with the fear and doubt people feel even when that work is paying off. With its rustic arrangement and domestic imagery, it sounds like a spiritual sequel to “New Year’s Day,” the acoustic cleansing that closes 2017’s divisive Reputation. “Lover,” the title track from her most recent blockbuster LP, is a reminder of how effortlessly she can translate specific gestures and moments into universal expressions of romance. In the world of Polo G and Lil Tjay, pain is never far away.There’s room in Taylor Swift’s galaxy for celebrity warfare, veiled political commentary, and enthusiastic allyship, but her work is finest when it’s laser-focused on flawed, hopeful people making a connection. In an Auto-Tuned chirp, he laments, “If I showed you all my charges, you won’t look at me the same/Made some choices in my life I wish I never had to make,” during a song that’s meant to be a banger. But Lil Tjay’s verse is the song’s devastating emotional climax. ![]() Over menacing keys, Polo G builds a depressing and violent chorus that still managed to shoot up the charts (“I’m a killer, girl, I’m sorry, but I can’t change/We ain’t aimin’ for your body, shots hit your brain”). Produced by JD on the Track and Iceberg, “Pop Out” paradoxically sounds hyper-regional and universal, a mixture of the Midwest and East Coast’s sonic present. Polo G and Lil Tjay needed “Pop Out.” The Chicago and New York rappers, respectively, entered 2019 with the momentum that comes with being part of hip-hop’s latest rookie class, but each had to score a singular hit to announce his arrival to the mainstream. In their stead are syrup-infused pleas to a lover: “ ‘Cause you make my earth quake/Oh, you make my earth quake/Riding around, your love be shakin’ me up/And it’s making my heart break.” “Earfquake” is the centerpiece of arguably Tyler’s most polished album, Igor, and a fitting way for the former enfant terrible to end a decade spent searching for a sound worthy of his forebears. All of the edges of Tyler’s horrorcore past are shaved off. Tyler’s pitched-up voice melds with Charlie Wilson’s soulful croon Playboi Carti mumbles his way through the year’s best verse, while synths that sound summoned from the dust of video-game consoles past fuse with romantic keys. Then “Earfquake” arrived in all of its pure and childlike chaos. In his music, you could hear influences ranging from the Neptunes to Stevie Wonder, but Tyler hadn’t yet mastered the tools necessary to meld his influences into something singularly his own. For the majority of the 2010s, Tyler, the Creator’s sonic ambitions outpaced his skills.
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