Lily Allen has always made her progressive views apparent, both in her music and personal life, and this scathing satire is no different. It may be on the overt side, but there are two reasons why "The Fear" has lasting power: 1) her antagonist has the right hint of self-reflection (“I don’t know what’s right and what’s real anymore/I don’t know how I’m meant to feel anymore”); and 2) it’s so damn fun (she doesn't just want loads of diamonds, but fuckloads)
There’s a reason that thousands of radio stations dedicate themselves solely to the gems of the 50’s and 60’s, beyond the fact that grandma and grandpa refuse to listen to “hip hop.” Sunshine melodies, lavish strings, stomping back beats, and a taste for the joyous, it's the kind of stuff that gets you through a tough day. “French Navy” has these elements in spades. So, enjoy, grandparents the world over. We finally have something to share.
18) Dangermouse & Sparklehorse – “Everytime I’m With You (ft. Jason Lytle)”
The production chugs along listlessly, perfectly in stumble with the weary-eyed, world-weary protagonist: “Everytime I’m with you/I am drunk and you are too/Well, what the hell else are we supposed to do?” Capturing suburban boredom, romantic indifference, and Western binge culture about as succinctly as possible, it’s clear there’s not much to say when there’s nothing to do. But there’s still always the guilt and the shame.
After the first few uber-catchy, entry-level piano chords, it’s quite clear that “Two Weeks” is both the standout from this year’s seductive Veckatimest and a soon-to-be-staple from the year stalwart indie obscurists went pop. Since much of Grizzly Bear’s work feels otherworldly and mysterious (the ghostly “Hold Still, the ghastly “I Live With You”), this pop moment materializes a gleeful moment in some alternate universe. Perhaps as timeless in that world as in ours.
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