Tag Archives: tuneoftheday

“Dancing With A Stranger” – Sam Smith and Normani

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By Michaela Maxey

I’ve loved Sam Smith since I heard him on Disclosure’s song “Latch”, so I was super excited to find out that he released a new track. When I found out it was a collab with Normani, the songstress alongside Khalid in “Love Lies”, I couldn’t wait to hear it and had high expectations for it.

And I can happily announce that all my expectations were met.

The track is nothing short of dance music. It opens with finger snaps over a fuzzy background until Smith sings, then the beat comes into focus and falls into quick and repetitive patterns. Even the lyrics are repetitive, ultimately matching the consistent beat. As Smith sings, “I don’t want to be alone tonight/ It’s pretty clear that I’m not over you”, Normani responds with, “I wasn’t even going out tonight/ But, boy, I need to get you off my mind.” Then they replicate, “I don’t wanna be alone tonight, alone tonight, alone tonight”, making it easy to find the similarities in the lyrics and join in with them. Despite having melancholy lyrics, the beat makes the song so easy to dance to, and there’s so much potential for remixes that the song will easily fit into any club scene. The two later come together in a harmony that is nothing short of masterful. While Smith expertly varies in pitch range, Normani offers smooth and velvety vocals that ultimately balance each other out into perfection.

Although this song is not necessarily revolutionizing in dance music, it’s catchy and solid in its delivery of vocals and beat. Ultimately, the two create an atmosphere that allows any listener to place themselves in the club that Smith and Normani offer – dancing with a stranger in an attempt to forget a certain person.


Jonas Brothers, “Sucker” (2019)

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By: Julia Ristoska

“S.O.S!” The Jonas Brothers are “Burnin’ up” all the social media feeds as they announced they were reuniting after their six long year break up. They dropped the news unexpectedly, and surprised their fans with their new single “Sucker” at midnight on March 1st. I bet you all the college girls were popping champagne when the clock struck twelve. This was a celebration of a new and improved Jonas that we all been waiting for. The humorous brothers uploaded a nostalgic Instagram post where they recreated their famous “Oh how the tables have turned” meme. The party confetti burst and the banner that writes “Hello again” rolls down which officially confirms their reunion.

Warning! Don’t let your teenage dreams run too wild since it will just lead to disappointment. The title of Mrs. Jonas have been taken and seems like the boys are happy with their decision.  Along with the Jonas Brothers we have their wives, Danielle Jonas, Priyanka Chopra and Sophie Turner feature in the Alice in Wonderland inspired music video. The former Disney stars are now more mature and no longer singing about lost love and break-ups. They left behind their more edgier power pop sound and replaced it with an R&B/ pop vibe. Which gives me the Maroon 5 feels. Nick’s falsetto and pillowy soft voice took centre stage, while Joe took over the catchy chorus. This song was definitely meant to be placed on the top 40. I mean the pop hooks, hand claps and whistling are the perfect recipe for a catchy tune. Their cheeky lyrics would have been scandalous for such pure boys to sing 6 years ago. They are now given the freedom to express their emotions without being monitored by Disney. The fans who also grew up with them can also appreciate their more risque lyrics, and not be so concerned about their purity rings.

Nick confessed in James Corden Carpool karaoke that this comeback was kept a secret for 8 months. This bomb that they dropped on us definitely brought back some good old feels, and childhood memories. It’s good to finally have all the brothers playing music, and harmonizing back together again.

Billie Eilish’s 2019 “Bury a Friend” – An Homage to Horror

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By Mina Wiebe

In an eerie blend of pop and horror, Billie Eilish’s new track “Bury a Friend”—for the lack of a better term— gave me the heebie-jeebies. Usually I’d refrain from describing a song as “creepy” because it’s such a vague and indeterminate descriptor, but this song is creepy. It starts out with this low, jittery beat with an almost immediate lead-in to Eilish’s airy falsetto. Her vocals are layered over the faint sound of an incredibly deep voice singing the same lyrics, which creates this unsettling rumble.

At this point, you’re intrigued by the appeal of Eilish’s sweet and airy tone, but don’t be fooled by her angelic pitch—this is by no means your average radio-bop. There’s a brief break of total silence after Eilish sings “[w]hen we all fall asleep, where do we go?” and a man’s voice eerily whispers “come ‘ere” followed by a sharp, piercing screech.

Half of what makes this song so creepy is the deep, rattling beat that plays throughout, accompanied by an array of familiar horror movie sound effects. A third of the way in there’s this low, showstopping rumble that sounds like something you’d hear in a slasher movie as the killer approaches his attractive yet oblivious female victim.

To me, this song is one big, gorgeous homage to the horror genre. It’s clear that the song is heavily influenced by it, and my hunch was confirmed when I watched Eilish’s music video for the track. A demon-eyed Eilish is seen hiding under an unsuspecting victim’s bed, as well as floating dramatically midair in a poorly lit, dingy hallway. It doesn’t get any more horror than that.

The other large component of creepiness for this track, is Eilish herself. Her soft and delicate vocals juxtapose the harsh horror sounds, conforming to one of the genre’s most utilized strategies of pairing creepy music with an innocent, child-like voice. As an avid scary-movie watcher, I can appreciate a song that is simultaneously catchy and bone-chilling, so for me this is a win. I’m incredibly excited to see what the rest of her album is like when it comes out in March.

Orla Gartland’s “Why Am I Like This?”

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by Danielle Bulhoes

Orla Gartland is the perfect example of that artist you hear or read about that just went for their dream. Writing songs since she was 14 years old, Gartland brought her music to Youtube after unsuccessfully trying to perform at pubs in her hometown of Dublin. Starting in 2009 with singing covers before moving on to showcasing her own original music, Gartland now has almost two hundred thousand subscribers on her channel. And that just Youtube. This girl gets around on social media. She’s can be found on Facebook, Instagram, Twitter and has a Patreon page where her fans can support her and her music.

After moving to London right after finishing school, Gartland teamed up with writer/producer Ben Langmaid and Sean Genockey. “I have met producers that are so patronizing,” said Orla. “They want me to slap some vocals on the track and leave them to the rest, to have no other input. Ben and Sean know that this is my music and so they trust my instincts; they’re there to help me realize what these songs can be. I’m in really good hands.”

Gartland has since released a handful of singles, one of them being “Why Am I Like This”. It’s her most recent release and it’s a really personal track that almost seems like Gartland has been spying on me. She sings about insecurities and anxieties and thoughts that I believe are shared by more people than they’d probably like to admit. It’s like she’s speaking directly to the listener, confiding in them as they sit together in the corner of a small bar, or maybe on the edge of a rooftop looking up at the night sky, or maybe just walking down a quiet street as neon signs flicker in windows and street lights stutter and spark overhead.

Whatever the scene you picture in your mind, Gartland makes her song sound like she’s speaking directly to you. She doesn’t shy away from the discomfort she feels in her own skin, allowing her listeners to connect with her and her song. Orla shared on her Facebook page that “if it’s not a bit awkward and uncomfortable to sing, then it’s not honest enough.”

Gartland is a fantastic artist. Check out her Youtube channel. Seek her out on Twitter and Instagram. Give her Facebook page a visit. And if you’re so inclined, think about supporting this talented artist on Patreon. I think we could all use a little more of Orla Gartland.

The Claypool Lennon Delirium, “Amethyst Realm” (2019)

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By Allesandro Rotondi

Les Claypool and Sean Lennon are an odd, yet somehow fitting pair. A delirium, you could even say. “Amethyst Realm” is our latest dose of The Claypool Lennon Delirium, and the first of 2019. It was released on Valentine’s Day, but it’s no love song. Well, at least not your typical love song. Speaking of other things that this song is not, it’s also not a radio single. Running at 7 minutes 47 seconds, it is clear that Claypool and Lennon had no intentions to please the Top 40 charts, or garner any radioplay whatsoever. After all, who needs the radio when online streaming is quickly taking over all prior listening platforms, except maybe for vinyl.

What this song is, is a weird amalgamation of grimey alternative rock and gritty bass lines (courtesy of Claypool), and light experimentation and psychedelia (courtesy of Lennon). I expect nothing less of Sean Lennon, being the son of the late John Lennon and wife Yoko Ono. His voice is Lennon-esque, with his own twist, and his musical style is a distant relative of Ono’s avant-garde experimentation. I almost want to describe it as Yoko Ono-light. The drums, bass, and guitar are quite complex at times, with tasty drum fills and guitar trills, and Claypool’s riffing bass lines that sound like Primus bass lines thrown into a new environment. It sounds progressive to a degree, like something off an early Yes album, or even Rush and King Crimson. The song is easy to let fall into the background of your conscience, seeming to sit better as a backing mood-atmosphere work, than a piece meant for forefront focus. The sound effects, and use of grand reverbs throughout the piece give it a spacey vibe. This works quite well, considering the single’s cover shows some creepy looking termite reading a compass, likely attempting to navigate a foreign planet with red skies. This cover appears to be the one of their forthcoming album, titled South of Reality. The music indeed reflects that title, and it’s refreshing to hear two successful artists going against the grain of pop expectations, to make something strange and insect-like to infest the expectations of the “glamorous” and “spotless” music industry. Get ready to call pest control, Maroon 5 and Imagine Dragons.

Avril Lavigne, “Dumb Blonde” (Head Above Water, 2019)

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by Chelsea Ives

“Fuck stereotypes. If you’re a strong person and your partner can’t handle you, go find someone who has enough self-confidence and can support you and lift you up and inspire you in your life. As an equal.” Avril Lavigne said in an Instagram post hash tagged “Dumb Blonde”. The Canadian artist is making a cherry-bomb comeback with her sixth studio LP Album released in January, Head Above Water.

The quick rat-a-tat-tat of drums opens “Dumb Blonde” like a parade march…Avril is literally playing herself onto the court with her own song. If that doesn’t scream “strong, independent woman” I don’t know what does. After her 2014 diagnosis of Lyme disease, Avril has been through physical and emotional stresses that should have left her in the dust. But Avril proved the odds wrong, recovered, and now she’s here to say she’s “takin’ the lead”.

“Dumb Blonde” opens with lyrics and that electric guitar which gives me serious “sk8er boi,” flashbacks. The song is the most upbeat song on the album and it’s clear Avril is trying to show her fans that she might have grown up, but she still knows how to have fun. Nothing is holding her back, and she’s more confident than ever. Avril has a very Joan-Jett and the Blackhearts “I love Rock ‘n’ Roll” sound in this song, and I think it suits the theme of the song. Women shouldn’t be afraid to speak our minds and be recognized for strength, independence and confidence, and we shouldn’t be condescended for showcasing our abilities.

Interestingly the song was originally recorded as a solo piece, but two weeks before the albums release, a verse with Nicki Minaj was added. I’ll be honest, I’m not a huge Nicki fan. Unfortunately I don’t see the point of her verse in the song. Avril really brings the feminist agenda here, calling to people to stand up for strong women. Nicki, apart from being looked at as a feminist (for what, though?) lends nothing to the song except a rap sound which refers to her own work with another artist? Sorry Nicki, but I think you dropped the bomb in this one.

Overall, if there’s one thing to take away from this, it’s that Avril really does have her A-game on, and she is bringing the heat to the court.

Avril Lavigne & Nicki Minaj in “Dumb Blonde” from Lavigne’s newest album, Head Above Water.

Lana Del Rey’s “Hope is a Dangerous Thing for a Woman Like Me to Have” (2019)

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By Mina Wiebe

Yet again, Lana Del Rey has managed to outdo herself in what I find to be one of her best tracks to date. Recently she released “Hope is a Dangerous Thing for a Woman Like me to Have”, a teaser-track for her upcoming album “Norman Fucking Rockwell”, and the song is stunning. (But I mean, with a title that long, it had better be).

The song is incredibly cynical, with the title being one of the central lyrics of the piece; it sets you up to realize that this isn’t going to be one of Lana’s more playful songs. She delves into her internal struggles in which she relays her battle with fame, death, narcissism, and a handful of other issues. The minimalist piano accompaniment was in my opinion a perfect artistic decision for the song because it provides necessary breathing room from these dark subjects.

To my delight, the track is absolutely layered with my favourite “Lana” characteristics. There’s drama, melancholy, and best of all, every time I listen to it I never fail to get chills—all signs of a good Lana track. She’s no stranger to the theatrics of music, whether it be through her dark lyrics or captivating voice, and this song is no exception. You’re presented with her usual haunting vocals, and there’s also an added soulful richness that I’ve definitely heard in her previous songs, but never to this extent. Her singing is simultaneously delicate and strong, and you hear this intense longing in her voice that is somehow both innocent and scarred.

If melancholy were a sound, it would be Lana’s voice—perhaps this song specifically.

Although I credit Lana’s vocal abilities as being the primary source of the song’s hauntingly beautiful resonance, like for any recording artist, there’s some editing and vocal effects involved. Don’t get me wrong, that’s not a bad thing—in fact, I think her sound really benefits from the addition of the slight echoing effect found in many of her other songs. It creates that iconic, angelic tone that Lana is so known for and it’s applied beautifully in this track.

Choosing this track for early release was smart—it’s captivating, and I’m excited to experience the album to its full extent. But now the bar is set high, and I’m hoping this won’t be the album’s only crown jewel.

Cardi B’s and Bruno Mars’ New Single “Please Me” (2019)

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By Michaela Maxey

There’s no denying that Bruno Mars has an angelic voice that could make any girl swoon, and that Cardi B is an amazingly talented rapper. In fact, Cardi made history at the Grammy’s last week winning Best Rap Album for her 2018 album Invasion of Privacy, making her the first female solo artist to win this award. So to find out that the two were releasing another collab after such a good year was music to my ears. I eagerly awaited for the release of “Please Me”, yet I was disappointed once I heard it.

Now it’s not as if the whole song is a trainwreck, that is the song opens and a catchy beat is set. Bruno’s voice comes in beautifully as he longs for someone to “please and tease” him. I’m all for it, and then Cardi comes in and although her rapping/singing is great, I’m surprised at her lyrics. It’s not that I didn’t expect vulgar lyrics to come up in this song, but I did underestimate the level of intensity.

As the song continues, I realize that my main issue is that their vibes don’t match up. As Cardi comes forward with strong and risqué lyrics, Bruno opts for more sensual and, in a way, “subtle” lyrics (that is he doesn’t blatantly reference his genitals). It’s almost as if they’re trying to give you the best of both worlds, the implied versus the full-blown “this is what I’m going to do to you tonight”/ no mystery whatsoever.  

Don’t get me wrong, it’s not that I hate Cardi B or Bruno. It’s just that in this song they are on two different wavelengths that I just can’t seem to get on board with. Hopefully we’ll get another collab by them in the near future that will be more cohesive.

Taemin’s New Single “WANT” (2019)

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By: Julia Ristoska

Taemin is back with his new solo mini album “WANT,” and once again surprises us with his maturity. Once known as “Korea’s little brother” to now being referred as “TaeMAN” is seducing us with his famous graceful and fluid dance moves in his music video for “WANT”. Which really makes you “want” you listen and not just watch. That is the cleverness behind the K-pop industry, they please you with visuals and then captivate your ears. Although the industry is highly organized to pump out boy and girl groups left and right, SHINee member Taemin challenges the stereotype of what K-pop is defined as. There is no bright melodies, nor a catchy hook, and definitely no rap breakdowns. Taemin moves away from the traditional sound of K-pop and instead is giving us a mashup of the 70’s and 90’s together. The 90’s sound definitely hit me at the chorus when he sang “hot, hot” and I got flashbacks to NSYNC’s song “bye, bye.” Later I was not surprised to discover that NSYNC’s JC Chasez co wrote a song on the album.

This song is no common K-pop sound and his company SM entertainment describes “WANT” as “an up-tempo dance song based on a space disco genre that combines a rhythmic bass line and a kick sound.” I am not going to lie and say I didn’t look up what “space disco” meant and after playing the song once more I realized that the synths take centre stage to give it a “disco” sound. The electronic beat in the background is consistent and does supply a good rhythm to dance along to, and it makes sense since he is known for being the “dance machine”.

With this album Taemin’s desire is to expand out of his dancing image, and get more recognition as a singer. He expressed this through an interview as he said “I have strong desires for singing. They talk about my dancing wherever I go. I want to sing.” Compared to the beginning of his career I think he made great improvements on his vocal ability. His solo albums allowed him to be experimental and showcase his new improved sound to his listeners. No doubt he worked hard to have his voice recognized, however his airy and light voice unfortunately does not “wow” me. Although I must give him credit for challenging the K-pop genre and bringing in a retro flare to the bubblegum pop industry. This song for sure will not hit 500 million views on youtube like BTS, but nonetheless Taemin should be acknowledged for not choosing the safe route. This retro “space” disco dance music is far away from being a popular genre in the K-pop world. Yet, he uses his music to improve himself as an artist rather then reaching #1 on the charts, and that I applaud him for.


Ariana Grande, “Break Up with Your Girlfriend, I’m Bored” (Thank U, Next, 2019)

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(l-r) Ariana Grande, Pharrell Williams, and Mrs. Doubtfire

By Allesandro Rotondi

Ariana Grande has some bangers, there’s no doubt about that. Tunes like “Into You” and “No Tears Left to Cry” are ahead of the pop curve. However, “Break Up With Your Girlfriend, I’m Bored” is something from a different bag. Her latest album thank u, next was heralded for being made by her in two weeks. Let me rephrase that for you: her ten producers (fact), and umpteen songwriters finished the album in two weeks. Ariana herself probably rolled up to the studio for a hot three days of recording sessions, tracked for fifteen or twenty hours, and called it a night.

Ariana herself is a good singer, respectable performer, and acceptable songwriter (if the tracks accredited to her are trustable), though at times she sounds like Lady Gaga getting over a sinus infection. However, this track has six songwriters and three producers. A name that popped out to me right away was Max Martin. If you don’t know Maxey, he’s the ghostwriting babysitter of every Nickelodeon child actor turned pop superstar. He’s great at writing melodies, but I just can’t get on board. It might be his beard, or perhaps it’s the bubblegum pop about teenage drama and cheap sexual innuendos that he crafts in such an ingenious way. Take Katy Perry’s lyrical masterpiece “Bon Appétit”, for example. However, it’s probably just the beard.

Maxey and Ari’s team stay within their comfort zone and formulaic style. They know what the radio wants, and know where the money’s at. And all the big boys on the top floor of Universal Music love ‘em for it. But from a musical standpoint, this bubblegum is stale, and has been chewed far past its flavourful peak. Kudos to Lady Gaga for going jazz. I hope one day Ariana breaks free of her shackling production team and makes a folk album, or an a capella choral work like her beautifully layered gospel-esque backing vocals on “God is a Woman”.

Finally, my message to you, Ariana: break up with your producers, I’m bored.