50 Most Iconic Choruses of 2010s (hit songs) (#1, ready?)
May 10, 2019 6:38:26 GMT -5
Post by Deleted on May 10, 2019 6:38:26 GMT -5
"Who am I? Someone that's afraid to let go, uh
You decide if you're ever gonna let me know (Yeah)
S**cide if you ever try to let go, uh
I'm sad, I know, yeah, I'm sad, I know, yeah
Who am I? Someone that's afraid to let go, uh
You decide if you're ever gonna let me know (Yeah)
S**cide if you ever try to let go, uh
I'm sad, I know, yeah, I'm sad, I know, yeah"
Review: When it hits with "Who am I?", you know it's the moment of human connection.
It's like, I can't think otherwise. It's just meant to be. Almost half of Sad! is chorus, but it's an insane chorus. It sounds like an insane chorus.
So many sentiments can be offered to what this is and what is it that it did to music scene, it's just that, I exist and the era speaks for itself and I just know that it has everything to say following up to the broken adventure of 2017 and the incredibly dark period that briefly followed. Sad!'s halfway between life and space, between darkness and light, picking up on recovery, but the voice's still hurt.
XXX, triple Xs, does that sound like a savage or a king, in some of most ironic and polarizing form, a king of both devil and god.
In the midst of more than a decade of hurt, it would be much easier just to take it easy and cool and think it all as a video game, XXX sounds like a hardcore gamer, the chorus is the best one yet to play along. It's just like a loop, something that repeats going its shameless way for instant catchiness and for a while I just don't know where I am, I just can't think what can top this instant catchiness, what it can ever tell me, to much on the surface catchiness but lack of interior? Something inherent flat and sucker for balance? But it's probably none of these when it's over the top. It's trying to be the best, it's trying to want everything, gotta have high high hopes on what it's trying to be.
You'd think something like this is gonna play it straight, play it completely straight like there's no third dimension, but it's not pop in its most generic form, I just know it wants to add more to a linear world with flat dimensions. The bass drum and the percussion have intentional groove with a classic sense of hold and release going something like "x x | x x x". R&B beat, rhythm and blues, a lot of rhythm, a lot of blues, ain't it what it's trying to sell and it's fused harmonically with the hi-hats that snap all over the place, as well as that same stiff loop of retro-synth string from the prologue constantly brushing around on the background that though short on polish and tactic of craftsmanship, it's complement the vocal melody in just the right angle. Now the chorus' catchiness can't be beat.
I do feel like a prize horse's ass sometimes to relegate my mind power to over-analysis, when these detailed elements of the chorus is to be listened to as one, especially when existence's attenuated to a nihilistic point where there's only one person who exists, to analyze any artwork can be simplified to just about how it makes me feel in general and just go from there. That's in part what its somewhat minimalist sound is trying to say, it's just one, it's just trying to be one, a statement about being human and sounding intimate that doesn't need more instrumental tracks or elements to sound pretentiously big. It's just like Attention by Charlie Puth, the whole chorus sounds like one, his persona sounds like one, the unique one-man edge feels like one and it never gets more than the most enchanted number ever: 1.
Number 1.
I guess that's the type of pride the beat swings around in. I mean, the beat has such a nice swing to it that it's like one of the greatest sentiments yet, that it can swing around, teetering between two sides, teetering between bad and good, but it'd still feel like one person is the size of the entire universe.
Gotta feel this chorus is a crazy one, from its surface all the way to all of its implications carrying from summer of 2018 and beyond. It gon' want my full attention for a while, that's why it sounds so insane. Can't think of something catchier than this from this decade's hit songs. It's about melody and how they made it sound incredible that's caught up in that classic electromagnetic field of the era.
The melody's not even complicated, yet it knows just what it's doing.
"Who am I?" hits like a siren, and the rest of the line lingers around in a lower range as a quintessential mumble-singsongy thingy. Mumbling as if feeling enervated, in need of strength to feel more like a king than a sucker but we all know it's all about feelings. When feeling sad, it's like energy's reduced to a pile of mumbles and you just don't know how to hold your head up high.
But when you got the melody, you also got the catchiness and a sense that iconicity is there at every moment and every mumble and there's no such thing as a busted guy, there's only oneself and feelings, and soon it's all gonna be about one-man dance.
"You decide if you're ever gonna let me know (Yeah)"
"S**cide if you ever try to let go, uh"
I know it's the same melody line repeated 3 times, but I honestly didn't even notice that about the chorus a lot of the times. It just sounds so nice, it just sounds so badass and savory that every repetition of melody with progressive kind of lyrics is like a step of something new and largely on top, it's like playing a video game, you just can't think of anyone cooler than the protagonist himself. It doesn't even have that much to say about chord progressions, yet every line there's a sense of progression. One line's leading to the next line, like there's a logical order of intensity and impressions it's trying to follow.
Sad. What is sad?
Starting from oneself wondering and just go like "Who am I?"
And afraid of cut out of a relationship that's good. It's a general sentiment of afraid of lack of good things.
But when I talk to other people, those suckers just don't get it. They just don't get what I'm feeling, that's what it is with second and third-person perspectives, like, they are not real. Whatever relentless and persistent demands of explanations from others are met with empty echo and mirages. Truth is about drawing those blank faces and it's just another line of the chorus that takes a lot of anxiety and pondering.
Then the "suicide" line's to the point of hardcore. Self-destruction, blow the universe up.
What's the most iconic line of a decade? The way he sings "I'm sad, I know, yeah, I'm sad, I know, yeah".
It's like the best swing ever, a five-note western-themed melody turning into adventurous emo urban trap.
I know this is where O Town Road gets its swing's coming from, especially its first verse. It's a cowboy anthem, something that never gets old. Something that's cool and timeless that you just don't know how to explain sometimes.
To make and listen to something of timelessness, to know universe never gets bigger than one person. It's like being a cowboy, roaming and bouncing from reality, day to day, and when XXX was shot, was it some energy collapsed between life and space, or it's actually more like something symbolic that there's the dark side of him that just needs to be checked at the door, coming to a point where you're at the moderate and neutral phase of reality where existence's attenuated to the point where it all feels mixed in and everyday all feels the same, it's all just like a dream, coming to the point where supervillain and superhero feel like the same thing, coming to the point where urban trap and pop feel like the same thing, coming to the point where everybody on the streets feels like the same person, coming to the point where it's really all about the same person. Urban trap, pop and country begin to feel just like one, XXXTentacion's voice's one of the most intimate, warm and humanly entry in a while in this decade's music scene. His emo trap gig doesn't have that much of a villain or what people think hip-hop music is about at all, it just crosses boundaries to the point where it's like, this is what existence really looks like, there's no one else really there, so one person is the intimate and iconic center of everything.
When talking about villains, darkness itself is the biggest villain, sadness itself is the biggest villain. When XXX collapsed between life and death, and moments months after that, I felt something struggling and quivering in the horizon, something from the inside...
"Who am I?" "Who am I?" "Who am I?" "Who am I?" "Who am I?" "Who am I?" "Who am I?" "Who am I?" "Who am I?" "Who am I?" Such uncertainties of existence pounded my head for a while too. I know I was all about "who am I", "where am I" for a while, thinking how is it that when you know you exist and the energy's dark, to exist is something infinite, but you don't really get a manual. I don't know if they are "ever gonna let me know". Sad!'s music video's church-themed, so that's appropriate to build onto what it's trying to be, tuning into higher power to get those answers. The key thing to watch for is that, he's battling with himself in the video, it's like an inverted or a projected funeral for the dark side. They're just kinda having a beating within the church, everyone else's tranquil to the point of spooky and illusional.
But that hardly matters, it all feels too tenuous sometimes, the video feels too much like a goodbye already, time's running out, too good at goodbyes. XXX's doing everything he could to deliver the era's eulogy, having physical fights with the other him indoor and outdoor, the ambience's a crumby visual surrounded by crumby irrelevant crowd leading it on too amid all that schizophrenia to kinda be just like dreaming. Been the alley, god in his eyes, trapped in a dark room in a very spooky dark cloaked figure. He learned to use mind power to fight and be like, supernatural, but in the wake of all that battling, he was sorta abandoned in his dark-colored mind of sensitivity, it all came to an open-ended question: was that it? Did he find the peace? Was he satisfied?
It's just meant to be, that's all I can say. It's gonna line up controversy with melody with coolness with cross-genre appeal with intimate vocal with the most direct and honest delivery, so many aspects that it's meant to be the king of.
I know this song is mostly chorus, so sentiments for the chorus is speaking for the song within itself: was that it? Is it the one have the most iconicity to relate, with the coolest melody of this decade? Can anyone really see and feel truth itself through the music video, through XXX's eyes, through this chorus? Or it's gonna look like a spooky dark cloaked figure as well that's not gonna satisfy the protagonist, and you were just seeing XXX collapse, him getting shot but to exist is more shots than that. I remember the mid-point of 2018 when I first watched its video, just about its miraculous leap to #1 on the chart, and its miraculous surge on my personal playlist months after to carry its #1 magic even further. Existence definitely gets more savory since then, that being said, nihilism continues, existence has attenuated to such a point that it's more space for self-pondering and lighter sense of anxiety. Things have tapped out to the point where existence doesn't feel like anything at all, every day feels like something new, that there's no day to ever settle down, just gotta move on.
Am I ever gonna be satisfied?
It's like, I can't think otherwise. It's just meant to be. Almost half of Sad! is chorus, but it's an insane chorus. It sounds like an insane chorus.
So many sentiments can be offered to what this is and what is it that it did to music scene, it's just that, I exist and the era speaks for itself and I just know that it has everything to say following up to the broken adventure of 2017 and the incredibly dark period that briefly followed. Sad!'s halfway between life and space, between darkness and light, picking up on recovery, but the voice's still hurt.
XXX, triple Xs, does that sound like a savage or a king, in some of most ironic and polarizing form, a king of both devil and god.
In the midst of more than a decade of hurt, it would be much easier just to take it easy and cool and think it all as a video game, XXX sounds like a hardcore gamer, the chorus is the best one yet to play along. It's just like a loop, something that repeats going its shameless way for instant catchiness and for a while I just don't know where I am, I just can't think what can top this instant catchiness, what it can ever tell me, to much on the surface catchiness but lack of interior? Something inherent flat and sucker for balance? But it's probably none of these when it's over the top. It's trying to be the best, it's trying to want everything, gotta have high high hopes on what it's trying to be.
You'd think something like this is gonna play it straight, play it completely straight like there's no third dimension, but it's not pop in its most generic form, I just know it wants to add more to a linear world with flat dimensions. The bass drum and the percussion have intentional groove with a classic sense of hold and release going something like "x x | x x x". R&B beat, rhythm and blues, a lot of rhythm, a lot of blues, ain't it what it's trying to sell and it's fused harmonically with the hi-hats that snap all over the place, as well as that same stiff loop of retro-synth string from the prologue constantly brushing around on the background that though short on polish and tactic of craftsmanship, it's complement the vocal melody in just the right angle. Now the chorus' catchiness can't be beat.
I do feel like a prize horse's ass sometimes to relegate my mind power to over-analysis, when these detailed elements of the chorus is to be listened to as one, especially when existence's attenuated to a nihilistic point where there's only one person who exists, to analyze any artwork can be simplified to just about how it makes me feel in general and just go from there. That's in part what its somewhat minimalist sound is trying to say, it's just one, it's just trying to be one, a statement about being human and sounding intimate that doesn't need more instrumental tracks or elements to sound pretentiously big. It's just like Attention by Charlie Puth, the whole chorus sounds like one, his persona sounds like one, the unique one-man edge feels like one and it never gets more than the most enchanted number ever: 1.
Number 1.
I guess that's the type of pride the beat swings around in. I mean, the beat has such a nice swing to it that it's like one of the greatest sentiments yet, that it can swing around, teetering between two sides, teetering between bad and good, but it'd still feel like one person is the size of the entire universe.
Gotta feel this chorus is a crazy one, from its surface all the way to all of its implications carrying from summer of 2018 and beyond. It gon' want my full attention for a while, that's why it sounds so insane. Can't think of something catchier than this from this decade's hit songs. It's about melody and how they made it sound incredible that's caught up in that classic electromagnetic field of the era.
The melody's not even complicated, yet it knows just what it's doing.
"Who am I?" hits like a siren, and the rest of the line lingers around in a lower range as a quintessential mumble-singsongy thingy. Mumbling as if feeling enervated, in need of strength to feel more like a king than a sucker but we all know it's all about feelings. When feeling sad, it's like energy's reduced to a pile of mumbles and you just don't know how to hold your head up high.
But when you got the melody, you also got the catchiness and a sense that iconicity is there at every moment and every mumble and there's no such thing as a busted guy, there's only oneself and feelings, and soon it's all gonna be about one-man dance.
"You decide if you're ever gonna let me know (Yeah)"
"S**cide if you ever try to let go, uh"
I know it's the same melody line repeated 3 times, but I honestly didn't even notice that about the chorus a lot of the times. It just sounds so nice, it just sounds so badass and savory that every repetition of melody with progressive kind of lyrics is like a step of something new and largely on top, it's like playing a video game, you just can't think of anyone cooler than the protagonist himself. It doesn't even have that much to say about chord progressions, yet every line there's a sense of progression. One line's leading to the next line, like there's a logical order of intensity and impressions it's trying to follow.
Sad. What is sad?
Starting from oneself wondering and just go like "Who am I?"
And afraid of cut out of a relationship that's good. It's a general sentiment of afraid of lack of good things.
But when I talk to other people, those suckers just don't get it. They just don't get what I'm feeling, that's what it is with second and third-person perspectives, like, they are not real. Whatever relentless and persistent demands of explanations from others are met with empty echo and mirages. Truth is about drawing those blank faces and it's just another line of the chorus that takes a lot of anxiety and pondering.
Then the "suicide" line's to the point of hardcore. Self-destruction, blow the universe up.
What's the most iconic line of a decade? The way he sings "I'm sad, I know, yeah, I'm sad, I know, yeah".
It's like the best swing ever, a five-note western-themed melody turning into adventurous emo urban trap.
I know this is where O Town Road gets its swing's coming from, especially its first verse. It's a cowboy anthem, something that never gets old. Something that's cool and timeless that you just don't know how to explain sometimes.
To make and listen to something of timelessness, to know universe never gets bigger than one person. It's like being a cowboy, roaming and bouncing from reality, day to day, and when XXX was shot, was it some energy collapsed between life and space, or it's actually more like something symbolic that there's the dark side of him that just needs to be checked at the door, coming to a point where you're at the moderate and neutral phase of reality where existence's attenuated to the point where it all feels mixed in and everyday all feels the same, it's all just like a dream, coming to the point where supervillain and superhero feel like the same thing, coming to the point where urban trap and pop feel like the same thing, coming to the point where everybody on the streets feels like the same person, coming to the point where it's really all about the same person. Urban trap, pop and country begin to feel just like one, XXXTentacion's voice's one of the most intimate, warm and humanly entry in a while in this decade's music scene. His emo trap gig doesn't have that much of a villain or what people think hip-hop music is about at all, it just crosses boundaries to the point where it's like, this is what existence really looks like, there's no one else really there, so one person is the intimate and iconic center of everything.
When talking about villains, darkness itself is the biggest villain, sadness itself is the biggest villain. When XXX collapsed between life and death, and moments months after that, I felt something struggling and quivering in the horizon, something from the inside...
"Who am I?" "Who am I?" "Who am I?" "Who am I?" "Who am I?" "Who am I?" "Who am I?" "Who am I?" "Who am I?" "Who am I?" Such uncertainties of existence pounded my head for a while too. I know I was all about "who am I", "where am I" for a while, thinking how is it that when you know you exist and the energy's dark, to exist is something infinite, but you don't really get a manual. I don't know if they are "ever gonna let me know". Sad!'s music video's church-themed, so that's appropriate to build onto what it's trying to be, tuning into higher power to get those answers. The key thing to watch for is that, he's battling with himself in the video, it's like an inverted or a projected funeral for the dark side. They're just kinda having a beating within the church, everyone else's tranquil to the point of spooky and illusional.
But that hardly matters, it all feels too tenuous sometimes, the video feels too much like a goodbye already, time's running out, too good at goodbyes. XXX's doing everything he could to deliver the era's eulogy, having physical fights with the other him indoor and outdoor, the ambience's a crumby visual surrounded by crumby irrelevant crowd leading it on too amid all that schizophrenia to kinda be just like dreaming. Been the alley, god in his eyes, trapped in a dark room in a very spooky dark cloaked figure. He learned to use mind power to fight and be like, supernatural, but in the wake of all that battling, he was sorta abandoned in his dark-colored mind of sensitivity, it all came to an open-ended question: was that it? Did he find the peace? Was he satisfied?
It's just meant to be, that's all I can say. It's gonna line up controversy with melody with coolness with cross-genre appeal with intimate vocal with the most direct and honest delivery, so many aspects that it's meant to be the king of.
I know this song is mostly chorus, so sentiments for the chorus is speaking for the song within itself: was that it? Is it the one have the most iconicity to relate, with the coolest melody of this decade? Can anyone really see and feel truth itself through the music video, through XXX's eyes, through this chorus? Or it's gonna look like a spooky dark cloaked figure as well that's not gonna satisfy the protagonist, and you were just seeing XXX collapse, him getting shot but to exist is more shots than that. I remember the mid-point of 2018 when I first watched its video, just about its miraculous leap to #1 on the chart, and its miraculous surge on my personal playlist months after to carry its #1 magic even further. Existence definitely gets more savory since then, that being said, nihilism continues, existence has attenuated to such a point that it's more space for self-pondering and lighter sense of anxiety. Things have tapped out to the point where existence doesn't feel like anything at all, every day feels like something new, that there's no day to ever settle down, just gotta move on.
Am I ever gonna be satisfied?