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The light, ethereal vocals exhibited in the first few verses of the track are replaced by raw emotion, infusing anger and frustration into this continued pattern of “deja vu.”
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His “Call Me By Your Name” is more than just a coming-out story — it is an audacious step into the public eye as an unapologetically queer Black man.
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“Thumbs” is no longer a live show secret, but Dacus’ listeners are better off for it — the song’s lyrics warrant multiple listens for full appreciation of the artist’s storytelling ability.
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Despite an impressive feature from Megan thee Stallion, it offers nothing new lyrically and musically — lead vocalist Adam Levine has failed to move past a breakup, it seems, for years.
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Frontman Elias Bender Rønnenfelt’s typically Draculian vocals are cold and clear in the mix, accompanied by blown-out backing vocals in the chorus.
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Lyrically, this is Jonas at his absolute best. With this track, he proves a crucial fact about pop music that many in the industry strive to avoid: pop can be real.
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“Just Wrong” is one glorious, cyclical musical question, immensely sonically satisfying despite a lack of resolution or definitive answers. It’s astonishing that something built so backward feels so right.
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“Hate Myself” is an ideal example of how Dodie has perfected her musical style; she sings as though she’s forcing a smile through sorrow, and with a refined balance of delight and melancholy, she manages to make her saddest songs warm and comforting.
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Two days before Halloween, Liam Payne unleashed a frightening new catastrophe into the world: his Christmas pop song “Naughty List.”
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The blurred line between troll humor and political realism is deeply uncomfortable, highlighting that “Nah Nah Nah” has taken his antics to a new low.
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