MELISMATIC

NOW KPOPPING: NCT 127 & UP10TION in One Day

2017-06-26T20:53:00.000-04:00

Sunday marked an iconic -- to a degree -- return to #KPOP stanning for yours truly. It involved two boy bands, neither of which I knew much about, feeling like the (delightfully not fangirl-flailing) noona in the sea of hormonally-charged teenage girls, and pure serendipity.

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My Sunday began bright and early, standing in line outside of an Apple music store in Williamsburg. I'm as pasty as they come -- waiting for hours in direct sunlight is not my favorite summer activity. Still, I persisted, in order to see NCT 127 live.

NCT 127 are a sub-unit of the NCT boy band concept (it actually stands for 'Neo Culture Technology' and no, I'm not joking) by the behemoth I both loathe and love, SM Entertainment, also known as the agency who initiated me into this #KPOP lifestyle (home of TVXQ!, Super Junior, SHINee, and many more, including the dreaded EXO). NCT's "uniqueness" is that they have an infinite amount of members (and here I thought learning all the names of the members of Super Junior was difficult way back when) so theoretically, it suggests SM would never need to make another boy band. Ever. NCT 127 is arguably the concept's most popular -- chiefly for their "experimental" sound, a very 2017 pop/EDM/rock/hiphop hybrid that is the clear evolution of SM's "copy & paste" production style of the last few years (see SHINee's "Sherlock (Clue + Note)", Girls' Generation's "I Got A Boy", etc.).

NCT 127 was named one of Apple's New Artists To Watch, thanks to their recent release of their EP CHERRY BOMB (and single of the same name). Hence the reason the group was invited to be the first Korean artist to perform at one of their #TodayAtApple live events, in too-trendy Williamsburg, the morning after making their American performance debut in New Jersey at this year's KCON Festival. "Cherry Bomb", the song, is a grower for sure and instantly reminds one of EXO's "Wolf" for its use of non-sequitur English phrases ("If you're happy and you know it clap your haaannnndddds"....no, still not joking) and chant-singing.

The troupe of boys -- 9 total, doesn't that sound familiar, fellow noona fans? -- arrived in a black minivan an hour or so before the performance in red camo to predictably energetic squeals from the younger girls all around us. The crowd in my general vicinity was split in terms of bias -- Johnny and Mark were both common highlights (and both are from North America originally; the former, Chicago, the latter, Vancouver), as was main visual dancer, pink-haired Taeyong.

The red camo outfits you see them where in the music video were the exact same outfits I saw them perform in. When SM commits to a wardrobe, they don't waste a lewk, mmkay? (Side Note: a bunch of the fans were "embarrassed" they performed in the same camo as in the video. Girls, my oppas didn't go through wardrobe concepts like "Twins" and "Tri-Angle" for you to be embarrassed by a little camo. Sheesh.)

I've been to Apple store performances before -- the most recent memory being seeing a re-formed 98 Degrees whilst promoting their reunion album four years ago. This was nothing like that. No chairs, no real security, or crowd formation. Just 100+ excited girls, some boys, a few moms, and a totally bewildered staff, crushing against wooden picnic tables, set up in a square around an oversized screen. I genuinely feel bad for anyone who needed their iPad fixed that AM. It was the recipe for potential trampling -- and I almost was thanks to a handful of teenage girls behind me who were, as the kids say, shook AF. Seriously, I've never heard more filthy phrases come out of a 16 year old's mouth and never would I dare say as much in front of my own mother at a boy band concert! But 2017 is a different world, ladies and gentleman...

NCT 127 walked onto the "stage" (read: floor) in front of us and proceeded to perform three songs total: singles "Limitless" and "Cherry Bomb", as well as b-side "0 Mile" (which I honestly enjoyed the most). Both singles were preceded by us all watching the music video for the same song on the oversized screen. Why the "hype" for the performance of a single was seeing the same song/choreography via music video first, I still don't understand. Someone quick create SM Entertainment a sizzle reel. It was a real waste of 6 minutes of all of our time.

In between performances, the group sat down with blogger Arjan Writes and answered a few questions (both in Korean and English) about their career and performing in New York for the first time. They also talked about working with choreographer Tony Testa for "Cherry Bomb" (who also did much of SHINee's choreo formations, as well as every other super famous Western popstar).

That being said, the point of the day was the dancing and I have to say for a group that is hawked as choreography-driven, in a landscape like #KPOP where choreo can make or break you for the mainstream audience at large (look at BTS, after all), I felt a little underwhelmed. Certainly there were bright spots -- Mark, who I admittedly wrote off as one of the cutesy members for his involvement in NCT Dream as well (NCT's bubblegummy most-recent sub-unit), was hard to take your eyes off of while dancing (or rapping). Taeyong was a hot topic when the group debuted because of his dance skill but perhaps I just couldn't see him when he was truly in his element from my vantage point in the corner. I went in to this hoping to really be blown away but left with mainly an appreciation for being grown enough to handle my emotions when around cute (ages 17-23) boys and a general enjoyment for "0 Miles".

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With the crowd still in a general scrum, hoping to snap selfies with NCT post-performance (not sure if that ended up happening of them though, poor kids), I headed off to Manhattan to see a performance of '1984' now running on Broadway. Once the show was finished, my friend and I decided on walking through Times Square to the subway trains to head home and stop for ice cream. Here's when it gets really weird...

Sitting next to the ice cream stand in the middle of Times Square, was a gaggle of too-pretty-to-be-civilian Asian boys. A few were noticeably model-esque tall, the majority had candy-colored hair in a similar haircut. There was absolutely no question in my mind this was a boy band, especially since they were clustered in the most touristy part of New York City (and again, KCON had its final performance the night prior) with only two adults -- a man and a woman -- handing them bottles of water and looking around at everyone with a vague sense of insecurity.

The only question was...which boy band? It was then made abundantly clear: I'm no longer "relevant" with the K-scene as I was before. These boys could have been anybody, I had no clue. But I knew they were somebody and I certainly didn't want to be that person who asked for a photo when I wasn't sure of any of their songs.

After we got ice cream, one of the members of said unknown boy band also got his own ice cream, pointing to what I was handed and said he wanted "that". If this doesn't make me famous, I don't know what does, fam.

Stymied, I took a few trying-not-to-be-obvious-but-felt-super-obvious videos of the boys and posted to Twitter asking for help. The answer I received back was almost instantaneous as tens of Twitter users proceeded to immediately inform me I was super lucky that I was four feet away from UP10TION (read: "Up-ten-shun", like attention...but with a '10'), a formerly ten-, currently nine-membered lineup (again with the 9) who had indeed just performed at KCON.

I think my age shows in that my first thought looking at them wasn't that they were adorable eating ice cream (as so many of my new Twitter acquaintances proclaimed) but that their agency was so kind to 1) let them eat ice cream at all (especially given they have a comeback looming), 2) have this little moment to sight-see in New York. Guilty as charged. I hope all of my faves (in SM Entertainment) are given these little luxuries but given how tiny all of NCT 127 seemed in person, I have a lot of questions about it.

We grappled with the idea of stopping the group anyway and asking for a photo (at best we could be like, "FIGHTING!", right?) but they were quickly on their way, taking selfies that they later posted to their Instagram both alone and with a totally clueless street performer dressed as Spider-Man. I swear I heard one of Up10Tion call the man "Spider-Man-nim" and I almost broke out in the church giggles.

Looking into the group once I returned home -- to abundant re-tweets and more exclamations that I was so lucky on Twitter -- I would hasten to say I was a bit more impressed by UP10TION's choreography formations than NCT's. I'm not here to create a feud -- it's totally unnecessary and the nature of the #KPOP environment is already so needlessly bickery but take a peek at this little jam and see if you agree. Also their fandom is called HONEY10 and I just can't with how cute that is.

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Overall, it was a lovely little day with what could be the next generation of KPOP superstars. Given my faves are in the army for what has felt like decades (only a few more weeks left!), it was still so encouraging to know that the genre is really only gaining momentum in our disjointed little niche of music-lovers.

NCT 127's CHERRY BOMB is available for download now on iTunes (see what I did there?) and Spotify. UP10TION's are making an comeback with a new single/EP in Korea this week called "Runner" (teaser here), set for June 29th. I'll be lookin' out of them and you should be, too.

2017 in Pop So Far: Rallying Cries, Earworms, and STEPS!

2017-05-13T12:51:00.002-04:00

How exactly does one cover 5+ months of pop music releases in a single post? Your girl's gonna try. Here's your crash course in what I've been blaring since you last heard from me. Spoiler Alert: there is little to no #KPOP on here. I know.

2017 is a weird time, man.

As always, click on the song titles to hear them for yo' self.

BECKY HILL - "Rude Love"

Becky has been a buzzy artist for pop nerds for a long time but she officially won me over with this MNEK-written/produced scorcher.

BETTY WHO - "You Can Cry Tomorrow"

Any pop song that includes the phrase "I bought a bottle of Moscato / You'll be drunk until tomorrow" feels very much on the nose for me at this time in my life. And don't you dare try to come for me and say Moscato is not "real wine". I'm not here for your foolishness.

CLC - "Hobgoblin"

The sole #KPOP jam that has had any kind of impact on me in 2017. There. I said it. But mostly because it sounds like 2NE1 and 4minute had a pop baby, and considering both groups have called it quits... (And now, I'm sad again...)

DNCE - "Kissing Strangers (feat. NICKI MINAJ)"

What's odd about this is the "Huh!" bits are what really gets stuck in my head. Huh...

DUA LIPA - "Lost In Your Light (feat. MIGUEL)"

Yes, I'm ready for Dua Lipa to be everywhere, please and thank you.

EDEN XO - "Drips Gold (feat. RAJA KUMARI)"

Yes, this is pure filth. The chorus is literally "My punani drips gold". Doesn't make it any less catchy. Your faves could never.

IONNALEE - "Samaritan"

Swedish artist Ionnalee is one in the same from that iamamiwhoami project a few years back (that so many people assumed was either Christina Aguilera or Lady Gaga in disguise). This song is literally what I would have wanted from either of those two ladies but haven't been getting for far too long.

JAX JONES - "You Don't Know Me (feat. RAYE)"

Whooo, na na hey!

JANET JACKSON - "What About"

Yes, this isn't new. But it speaks to a lot of my inner frustrations and it feels good to scream-sing the lyrics. Go on', Miss Janet.

JOHN LEGEND - "In America"

I mean...

JON BELLION - "All Time Low"

Also recently covered by my a capella faves in Straight No Chaser.

LAUREN ALAINA - "Road Less Traveled"

I've got my fingers crossed for Lauren. She has the same kind of reliability to her music that is also vaguely female-empowerment-centric that brought rise to Taylor Swift and Rachel Platten. I'm here for this country-pop-crossover jam.

LITTLE MIX - "Power"

Yes, "No More Sad Songs" is great. But "Power" is the best song on the Glory Days album. Try and fight me on this. I want this to be massive.

LORDE - "Green Light"

I had mixed feelings about this when it first came out but I've come all the way around. Lorde with a dance smasher? The world is upside down so why not.

MACK MORRISON - "Return of the Mack"

When you have a shitty day, turn on some classic 90's R&B. I'm telling you, it works.

MUNA - "I Know A Place"

MUNA is fighting hard for HAIM's crown for bad-ass girl band that I want to join. The lyrics to this song are poignant and nuanced and it feels like I wrote it when I definitely did not.

PARAMORE - "Hard Times"

I know a lot of people are gonna be mad that with each progressive album, Paramore is getting more and more poppy (with less and less original members) and it all feels very latter-career No Doubt. But hear me out. The After Laughter album is classic melancholic Hayley Williams lyrics mixed with 80's era pop. Could this be classified as pop rock? I wouldn't lean that way but then again many people call Maroon 5 pop rock, so... The album is worth it for the lead single ("Hard Times") alone, but "Rose-Colored Boy", "Told You So", "Fake Happy", "Caught In The Middle", and "Idle Worship" should all become staples for this band. It may not be for the "purists" but good pop is good pop.

PRINCE - "Sign o' the Times"

Yeah, it's dark. And it has waves of new meaning to me everytime I listen. RIP. I also initially thought Harry Styles debut single was going to be a cover of this and was very intrigued. Then reality hit and I fell asleep listening to his album. #sorrynotsorry

RAG 'N' BONE MAN - "Human"

This man is British, which was initially a curveball for me. His real name is Rory Graham. Like...really. Regardless, his vocal performance on "Human" is one of the most soulful things I've heard in a while from a new artist. Bravo.

SIGRID - "Plot Twist"

SHOTS FIRED!

STEPS - "No More Tears On The Dancefloor"
If we, as pop lovers, can agree on one thing, it should be that late 90's/early 00's pop was a true heyday for great bubblegum music. I've got no qualms with tent-pole artists from that period hitting the reunion circuit -- nostalgia pop from this period is my ultimate favorite because it's the music I grew up on on when I was in middle school. But did I expect UK group STEPS (a group I was only somewhat familiar with as a child -- I'm American and was *NSYNC-obssessed at the height of their European popularity) would come out with one of most fully-loaded pop albums in a very long time...in 2017? That answer is no. It's dealer's choice with great dance songs: "Happy", "Scared of the Dark", "You Make Me Whole", "Story of a Heart" -- they're a modern day ABBA! But my fave is definitely "No More Tears On The Dancefloor", a jam co-written by Darren Hayes, formerly of Savage Garden fame. The levels of 90's pop nerd here are unprecedented.

#ComeForward: Mel's Still Here

2017-05-13T11:38:00.000-04:00

Oh, hello there! What, you thought you'd perhaps heard the last of me? Not a chance...

Fam, it's been a second. And by second I mean...a while. I've been typing out my feels for sparkly pop music on this blog for close to ten years -- never have I taken this long of a break. I've outlined a lot of my frustrations in one of my last posts and honestly, not a ton has changed in my head space.

The main change is that a few weeks after I wrote that post, the United States held a terrible election that inspired ire, outrage, and -- positively -- pure activism. Yes, guilty, I've become one of those social media political outlaws, particularly on Twitter. If you follow me there, #sorrynotsorry. I promise I still listen to pop music -- and #KPOP! -- but for the most part, it's difficult for me to enumerate what feels almost trivial at this point when there's so much more at stake.

I've bought '#RESIST' memorabilia, I've joined protests and marches at local parks, I've voiced my anger to my Senators and my Congressman (in a case of Murphy's Law -- I moved from one of the most conservative areas of New York State to New York City, where I now have the sole Republican Congressman in the metro area representing my voice in the House of Representatives). I've subscribed to Pod Save America and it both gives me hope and fuels my political ire. These days, so many people can define themselves by whether they're "Red" or "Blue" -- I never saw The Matrix but are we living in it? I'm asking for a friend...

Sure, there have been good days. But in the balance of the pure crazy being shouted into the blackhole void, of New York Times news alerts and passive aggressive and/or deluded Facebook comments, politically it's not great. I mean -- grand scheme here -- I'm a Caucasian, heterosexual person with an income and an apartment, living in one of the most diverse cities in the US, well within the quote-unquote Coastal Elite Bubble. I'm well aware my life could be a whole lot more difficult and I try to check my privilege in that respect every day.

When the anger starts to consume you, you might be asking, what do you do? How do you keep sane? The answer always comes back to this: remember who and what you're most grateful for and blare that dance music real loud.

Music has always been a kind of therapy for me. It just makes me happy. And damn, if we don't all deserve that right now. Right now and every day.

Here's to a renewed interest in what makes me happy. Thank you for reading -- because if my dorky ramblings lead to someone somewhere falling in love with a cool song or artist, it was worth it.

PS - if you're curious to the meaning of the photo above: the pins represent the promises I'm making to myself in this ugly year that is 2017. Leia, for #Resist; RBG, for the pursuit of justice and integrity rather than angry partisan pettiness for the sake of it; Beyonce, to represent the many layers of music beyond just pop for pop's sake; Michelle Obama, because that quote is a healing mantra. Let us begin...

NOW #KPOPPING: SHINee's '1 of 1' is the stuff of Boy Band Legend

2016-10-23T12:35:00.000-04:00

Because honestly, what is this blog without a KPOP update?

A lot has been happening in the Idol scene since we last chatted. CL is planning a US Tour to start this week. Boy band BTS has basically stolen EXO's thunder out from under them with a wildly successful (and sexy!) comeback. Big Bang is reportedly planning "one last" hurrah before heading into the army (I'll believe it when I see it). Golden-throated Jino of former SM-The Ballad infamy finally escaped the SM dungeon and debuted with boy band Pentagon. Super Junior now only has one member left that hasn't left/finished army service. I.O.I. became arguably my newest "girl group" obsession, and hmmm...what else? Oh yeah, SHINee has returned to bless us with new music.

In the interest of true disclosure, bias is as bias does. I'm not trying to discount other groups here as there is a lot of premium boy band jams out at the moment. BTS's EDM-y new single features them being a little too sexy for my general noona-age self, acting like vampires (?) and their choreography is -- as usual -- ridiculously on point. The song itself -- "Blood, Sweat and Tears" -- gets more ear-wormy the more you play it (MONEY-MONEY!) but when it comes to these boys, at least for me, you watch them to watch them dance and dance well.

Infinite also came out of the woodwork for a stealthily great single dubbed "The Eye". It starts like it'd be a little too slow for my liking and gradually crescendos into all out tunage. Hell, the boys of VIXX are reportedly about to drop a comeback shortly that if it's true to its teaser photographs will feature fifty shades of grey-esque BDSM elements. We've come a long way from the early days of TVXQ! crooning "Hug".

While it's clearly en vogue for KPOP boy bands to exude the most in terms of utter sex appeal, my guys in SHINee, they've never been interested in following trends but walking their own path. Hence, the 1 of 1 album -- their latest offering that I'd argue is their strongest front-to-back to date (aside from perhaps their Misconceptions dual-record). For a group from a behemoth like SM Entertainment, who arguably prides themselves on keeping their idols on a tight leash, SHINee (and maybe to a lesser degree f(x)) have really flourished with their own style and feel, releasing single after single that featured a new fresh visual with a layered sound that always feels intrinsically SHINee.

The excitement caused by "1 of 1" for me is basically because it's playing to SHINee's base. On the surface, the single is pretty safe for a group that finds true strength in being a little weird. But while groups today are trying to push boundaries in terms of sexuality and familiarity to today's pop standards (hence the over-emphasis on EDM-y or tropical house sounds), SHINee instead went backwards in time, employing late 80's/early 90's boy band bop beats for a single so damn New Kids on the Block, it's impossible to not smile.

Like seriously. If they started doing the "Right Stuff" leg swing moves in the live choreography I would simultaneously 1) not be surprised, and 2) lose my sh*t.

Somewhere, the members of Color Me Badd are hearing their ears ring right now. I'm sure this would get their stamp of approval as long as no one tells them that kids today are calling this "super retro". Shhhh....

Lest we forget, ya'll -- SHINee got their start with the single "Noona, You're So Pretty" (read: "Older Girl, You're So Pretty") eight years ago. Let their contemporaries and hoobaes make the younger gals go wild -- SHINee will always be here for us Noonas (especially now when we need them most as most of the boy bands that are closer to our age are either in the army or nowhere to be seen).

Like most recent SHINee singles, it relies somewhat heavily on the trio of voices that really make SHINee's vocal color: Onew, Jonghyun, and Taemin. With this single, however, I'd argue it's the most cohesively equal in audio level we've ever had ("Lucifer" and "Sherlock" were heavy with the Jong -- not that I'm complaining really), providing their most "group" sounding vocal to date, with Minho & Key supplying rap accouterments.

Now, before you come for my wig because of the fashion for this comeback I have this to say to you: SHINee's looks are almost always ridiculous. Honestly, it's to the point now that if all of SHINee looks good, I'm confused. It just doesn't fit their branding. When they go for a comeback, they are all in, alright? Boyz II Men monochrome suits in ugly condiment colors? Sure! Thick, ugly, gold chains like they are Jodeci? Okay! Light wash, high-waisted Mom Jeans? Yes, ma'am. Layers of Cosby-esque sweaters? I wouldn't have it any other way.

My only sadface? The video lacks true SHINee choreo formation because Onew was injured. But I'm grateful they didn't delay the comeback any longer or risk cutting Onew out entirely like they did with Jonghyun in "Why So Serious". Sigh. Priorities. (And besides, Onew is back in formation for the live performances.)

While the single is easily my favorite part of the 1 of 1 album, there's lots of great pop nuggets on there: sparkly opener "Prism" sounds like a true transition track between this era and last year's View, bouncy "Feel Good" is a great hype track, "SHIFT" is total 90's dance, and "So Amazing" is classic SHINee (and was written by Onew).

It probably won't hold me over for another year or so when my Kings will return from the army but for now -- it sure, does feel good because man...SHINee never goes out of style.

HEAR THIS: Carly Rae Jepsen's 'Cry' is a Synthy Diamond

2016-10-23T11:28:00.001-04:00

There's a lot of musical ground to cover in the months since this blog was updated and I was quite keen to keep on keepin' on rather than back-track too heavily. However, it would be very wrong of me indeed not at least mention the brilliance that was Carly Rae Jepsen's Side B EP released a few months back.

We're in a strange pop landscape in 2016. Gaga is a little too keen on going legit via Joanne -- an album that is unarguably strong vocally but in terms of "fun" totally lacking. Britney returned to form almost from out of nowhere, releasing her best album in a decade via Glory. Our best hope in a true teen popstar, Ariana Grande, is already attempting a transition to something a little more urban. But in terms of the current here and now -- America's one true unfailing pop force continues to be a Canadian wunderkind who too many toss off as a one hit wonder.

Last year's E*MO*TION album is practically perfect in every way so the fact that there were more songs from these sessions that were hidden away from the world is almost insulting, really. Carly dropped Side B -- a too short smattering of pop gems -- and in a musical landscape starved for geniune, unabashed, unfarced "pop", critics and fandom ate it up un-apologetically.

Honestly, this EP could have only contained three songs and it would still be one of the best releases of 2016 -- those three being "First Time", "Body Language", and -- the stuff of my 80's romantic comedy dreams -- "Cry".

The latter very well could be my favorite song released this year. I'm not sure if I can even pin down what it is about it that makes me want to listen to it on repeat over and over and over. It's dark, it's sparkly, it's painful, it's utter romantic yearning without rationale or reason. It makes me want to puff up my already puffy curly hair, pull on some leg warmers, and dance in the rain. So basically, it's so damn emotional.

HEAR THIS: Fix Your Face, BRUNO's Back -- and it's a little Too Real

2016-10-09T12:29:00.000-04:00

It's hard to believe but "Uptown Funk" was first released nearly two years ago. Let that sink in. That joyous nugget of a retro funk jam -- produced by Mark Ronson and heavily featuring vocal by Bruno Mars -- was everyone's favorite song for what felt like forever and even now hasn't really overstayed it's welcome. This past week, Bruno returned to the radio with what could arguably be labeled -- at least on your first listen -- as "Uptown Funk (the late 80's remix)" and I couldn't be happier. But the more I thought about it, the more I got into it, the more I felt there was, well, more to the story here.

Stroll with me.

As a performer, writer, and musician, Bruno Mars is gleefully rocking out in very small league of true contemporaries. Precious few can whip up co-signs like he can and maybe this is because he makes it really difficult not to groove. You could hypothetically attend a Bruno Mars concert without being a "fan" and have a blast. He's cemented himself into the culture and is respected as a true modern son of musical geniuses like Michael Jackson. With Bruno, it's about having a good time and it's definitely about the music.

His latest -- "24K Magic" (also set to be the title of his upcoming album) -- is both familiar and a fresh spin, the next step in the Bruno uptempo evolution we've come to expect. "Locked Out of Heaven" and "Uptown Funk" incorporated elements of 70's homage -- Dazz Band's "Let It Whip", The Police's "Roxanne", The Gap Band's "Oops Upside Your Head" -- while "24K Magic" strolls on to the lavish excess of the 80's, albeit through rose colored glasses produced in 2016. (It also can't be just me who hears so much Roger Troutman influence here -- aka the talk box guy in 2PAC's "California Love" -- and considering Bruno references Inglewood and employs a healthy dose of Auto Tune, I don't think I'm too far off. And yeah, this boy band fangirl listens to some 2PAC on occasion, alright? Why you mad? Fix ya face.*)

*EDIT/UPDATE*: My thanks to my friend and blogger David Minogue for the reference of Zapp's "It Doesn't Really Matter" -- the lead vocalist/talk box-er is the above mentioned Troutman himself and the song basically sounds like what "24K Magic" was trying to accomplish genre-stylistically speaking. And it's fantastic.

Certainly there are elements here that I don't like (all the ladies being used as objects is as tired as I feel most days, some of the lyrical references are utter posturing garbage) but a part of me finds them hard to hate because what if this golden character Bruno is embodying, bandying about telling you "Why You Mad? Fix Your Face?", what if that's the point here? Glide on with me and try to Keep Up!

Remember that halfway terrible, halfway unabashedly catchy Macklemore single from last year? It was clearly inspired at least by the success of "Uptown Funk" and I enjoyed it more than I care to admit to. "24K Magic" is that song's long-lost cousin, a funny-because-its-not-funny pop offering that lyrically makes us a little uncomfortable, maybe because it's a little too real.

I hate to keep harping on like a broken record but perhaps what both keeps me replaying "24K Magic" and feeling a little short-changed is it's hard for me to unsee this lyrical character as a parody of Donald Trump. Because really, who better illustrates this extravagant lifestyle in 2016, insisting you agree without question and party hardy? Keep Up!

"Don't look too hard / Might hurt ya self! / Known to give the color red the blues"

"I'm a dangerous man with some money in my pocket / Keep up! / So many pretty girls around me and they waking up the rocket / Keep up! / Why you mad? Fix ya face / Ain't my fault ya'll be jockin' / Keep up!"

"Second verse for the hustlas, gangstas, bad bitches and ya ugly ass friends / Can I preach? Can I preach? / I gotta show 'em how a pimp get it in / First, take your sip, do your dip / Spend your money like money ain't shit / We too fresh! / Got to blame in on Jesus / Hashtag BLESSED / They ain't ready for me."

It's uncanny, isn't it? I hope I didn't ruin a pretty good Bruno jam for you. While the universally embraced "Uptown" -- released back in the innocent days of 2014 -- was the arguable bee's knees for you, me, the toddler next door, the stiff white guys at the Club, and even grandparents regardless of wanting to be "hip" or not, a part of me is curious if "24K Magic" will do the same.

The immediate reaction has been pretty unsurprising -- everyone's happy Bruno's back, making catchy dance jams that allow Millennials (and everyone else) to feel some ownership over late 80's nostalgia-inducing pop. This style has been en vogue for awhile now. What I'm waiting on is for people to give Bruno the credit he's due for subtly reading the room, gently trolling us by holding up the mirror so we can see our ridiculous selves -- in golden rope-chain necklaces while we dance our troubles away.

#BLESSED is right.

I'm Still Here: An Update

2016-10-08T12:29:00.000-04:00

Gosh, it's been awhile. For that, I do apologize. It's been months since I've updated here but that doesn't mean I haven't been keeping up with the music scene -- completely the opposite. More on that in a bit (and I really mean it, this time).

Before we go there, I have to get off my chest a few things. It's not the sole reason I haven't blogged -- there are plenty of mundane reasons like, say, work has been tiring, I had two Wisdom Teeth pulled and it knocked me out for a solid three weeks, I've been trying to exercise more and as a result I have less time to sit down and put fingers to keys. Oh, and all of my favorite TV shows are coming back. That takes up my time and attention because in a lot of ways I'm your typical basic chick who is so stoked for the fall sweater weather, scarves, candles, and Pumpkin Spice Lattes. I'm not ashamed.

But another reason why I've been silent here is for an arguably controversial reason. A part of me finds it hard to get in the head space of positivity these days. The ugly underbelly of the country I live in and love has been pulled back for all to see -- for better or for worse or perhaps both. To call people out for their racist words and actions is chastised and called un-patriotic (or worse to some -- "too politically correct"). To show support for an experienced candidate for President is considered "bias" because I myself am a woman. To say I believe and feel we as Americans deserve background checks and some gun control reads to some that I want to change the Constitution. To mourn for human beings who were slaughtered at a dance club where they should absolutely feel safe and free suggests to some that I am a weak, bleeding heart.

Read on if you'd like. More music posts are coming soon.

Yes, I guess I am weak, and yes, my heart is bleeding. It's hard for me to expend the time and energy on one of the things that makes me most happy in this world -- music -- because in the grand scheme, we have too much to lose in this country for me to feel alright with just keeping my head down {insert TVXQ! pun here, she says forlornly} and try not to insult or rock the boat.

I come from New York (State) but the majority of the state is not the suit-wearing, Wall Street-working, liberals you might expect. I grew up in a county in the Mohawk Valley (read: center of a very large state) that at least in one point of recent memory was statistically the most conservative county in all of New York. Like many millennials, I came into true political consciousness thanks to the horrors of 9/11 which happened in the first initial weeks of my high school career. I kicked and screamed and disagreed with much of the Bush administration policies but couldn't back up my anger because I was too young to vote.

Once I was, I cast my very first vote for President Barack Obama in 2008 and I couldn't be prouder that I was able to do that not once but again in 2012. I watched the television on Election Night in 2008 -- a senior at a small college, still in Upstate New York albeit not in that same county I grew up in, about to undertake a huge life change, accepting a internship at a record label in New York City. I cried when they announced Mr. Obama would be our President. And I vividly remember praying that night as I fell asleep that no one would try to assassinate him.

Now, here we are, eight years after that historic, life-changing night. Hillary Clinton, a former senator from my home state, is running for President against someone who inspired pure ire in me back when he was merely a grotesque reality show host back in my high school days, let alone now. This situation is the epitome of rationale for not just why we need feminism, but why we need rational thinking in this country. We need a little bleeding heart inside of us. We cannot toss off his nasty asides for fear of being "too PC". There's a supreme difference between "politically correct" and being an asshole.

We are allowed to have different opinions -- that's what makes our country so fantastic. I have mine, you have yours. We can agree to disagree. It's when people send hate-filled words for the sake of supporting a candidate who is himself not ashamed to spread hate that I simply need to say that I won't take anymore of this. People I've never met trying to belittle my feelings and opinions when my words were never directed at them. My own family members telling me to stop being "so judgmental" toward a man so vile a day doesn't go by that he's not offending someone. Friends I've known for years trying to convince me to change my vote because "if I was a real feminist", I wouldn't stand with Hillary.

Perhaps it's because we live in an age of social media. Everyone is able to make a comment, send a tweet, type a Facebook status. We're all so quick and ready to pounce on each other. When we hear words we don't want to hear, words that don't correlate with how we ourselves feel, we're quick to feel offended and angry and bitter.

I don't want to judge people's character by their political affiliation but I'll be the first to admit right now -- in 2016 -- I do. I don't want to feel triggered on a daily basis by people willing to deny basic human decency toward me or my friends. I won't be belittled for wanting other races or sexualities or people who practice a different religion than me to feel safe, to not be mocked or silenced or worse. I won't apologize for being a feminist. And I simply won't accept that this -- how we as a country are acting -- is us at our best.

2Q 2016: A Musical Retrospective

2016-06-25T17:49:00.000-04:00

It's been a minute...to put it mildly.

For those of you don't know me personally (or follow me on Twitter), my dayjob role has expanded to include now becoming a Buyer at a prominent beauty and hair retailer here in New York City. It's no excuse but it has certainly added to the reason there's been radio silence here at Melismatic.

So what have I been up to (read: listening to) since March? Let's fill in the gap...

FIRST THINGS FIRST -- PRIDE

Following the recent events in Orlando and of course the terrible incident that resulted in the murder of Christina Grimmie, gun control is a hot-button topic. It's necessary that I don't make things too political for a lot of reasons (mainly because we'd be here all day) -- the point is you don't have to be gay to speak up on behalf of the souls unfairly taken from this Earth that weekend in Florida. As a proud ally to the LGBT community -- for crying out loud, look at the music I listen to -- we can never forget. Happy Pride Weekend, World.

CARLY RAE JEPSEN

CRJ set the bar super high at her Gimmie Love tour at Terminal 5 a few months back. So high I've yet to attend a real show since (see opening notes: girlfriend's been busy). Highlights of the show included: literally everyone singing along and dancing along during basically the entire show (it sounds silly but trust and believe, fandom was alive that night) and Dev Hynes making a surprise appearance on guitar for "All That".

PRINCE

Its still shocking to me he's gone. 2016, stop taking our legends.

BEST ALBUMS OF 2016

Q2 has offered some great albums front-to-back, some of which were only just released. I'm talking BROODS' Concious, Tegan & Sara's Love You To Death, and yes, Ariana Grande's Dangerous Woman (save the title track, to be quite honest).

MOST REPLAYED JAMS

In no real order:

BROODS - "Conscious"

Adele - "All I Ask"

Ferras - "Closer"

Sleigh Bells - "Rule Number One"

Nick Jonas - "The Difference"

Betty Who - "I Love You Always Forever"

Tegan & Sara - "U-Turn"

MUNA - "Loundspeaker"

Maren Morris - "80s Mercedes"

ZAYN - "Like I Would"

Clare Macguire - "Elizabeth Taylor"

Hanna & Andrea - "Always On My Mind"

Clean Bandit - "Tears (feat. Louisa Johnson)"

Flume - "Say It (feat. Tove Lo)"

Fifth Harmony - "That's My Girl"

Fleur East - "Breakfast"

Bright Light Bright Light - "All In The Name (feat. Elton John)"

M.O - "Who Do You Think Of?"

Willa - "Swan"

Ariana Grande - "Into You"

Yuna - "Best Love"

Anne-Marie - "Alarm"

Kygo - "Happy Birthday (feat. John Legend)"

Meghan Trainor - "Me Too"

Terror Jr - "3 Strikes"

MNEK - "At Night (I Think About You)"

Panama Wedding - "Easy Lover (feat. Great Good Fine OK)"

R3hab - "Wave (feat. AMBER & LUNA of f(x)"

Alicia Keys - "In Common"

KAYTRANDA - "Got It Good (feat. Craig David)"

Sara Hartman - "Monster Lead Me Home"

Lucas Nord - "Don't Need Your Love"

PHASES - "Tell Me"

KONGOS - "Take It From Me"

MAX - "Basement Party"

All Saints - "One Strike"

Bad W0lfy - "Used 2 This"

Jason DeRulo - "If It Ain't Love"

Galantis - "No Money"

Pet Shop Boys - "The Pop Kids"

Gwen Stefani - "You're My Favorite"

Kiiara - "Gold"

Alex Newell - "Basically Over You (B.O.Y.)"

TP4Y - "Million Bucks"

Blonde - "Nothing Like This (feat. Craig David)"

The 1975 - "Love Me"

Cardiknox - "Bloodlust"

The Knocks - "Comfortable (feat. X Ambassadors)"

4MINUTE'S ~~FOUR MINUTES~~ 7 YEARS ARE UP

...and it's a legit travesty since they were really finding their niche. "Crazy" was one of the best KPOP jams of recent years and Name Is 4minute was one of the most solid releases in the genre. I was even just starting to warm up to the Skrillex-produced "Hate", now officially their last single. :(

IN KPOP LAND

While we're talking KPOP...

Still currently waiting on my Summer-16 KPOP (girl group) smash. For right now, it's AOA's "Good Luck".
On that note, the Girl Group game in Korea is sadly lacking beyond the power that is TWICE. Minzy officially left 2NE1 (and YG) throwing the future of the baddest KPOP girl group into even more uncertainty and miss A is basically all but confirmed to be kaput. Fingers crossed Brown Eyed Girls or Wonder Girls come back to save the game.
My two KPOP husbands are both currently serving in the Korean Police for their obligatory military service in...wait for it...the same group. Cue the tears because there's so many freakin' pictures of them together. Be still, my beating heart. #WaitingforDonghae #WaitingforChangmin
SM Entertainment has given up on group releases (apparently) to various degrees of success. Two members of Girls' Generation offered solo bows (Taeyeon showing her big voice and Tiffany trying Carly Rae-esque dance). Ryeowook of Super Junior put out an EP...and it was tepid at best. Yesung did, too, and though his vocals are superb, I'm not much for KPOP balladry. The showstopper? LUNA of f(x), complete with a smasher single called "Free Somebody", co-written by non-other than Queen JoJo. The kicker? It's basically flopping hardcore in Korea because...shrug. I give up with ya'll. I really do.
JYJ heartthrob Yoochun, currently serving in the military, was hit by a slew of sexual assault charges that may or may not be bribery with ties to the mafia. I'm not making this up. I'm choosing to remain impartial until all the details come to light but...always keep the faith, Chun.
Returning to Super Junior, for a brief shining second there was word the USA might get a Super Camp fan event with the smattering of members not currently tied up in the military. Not long after we all got our hopes up, Kangin was charged with a second DUI and was put on "reflection" duty and Super Camp in the USA was cancelled. With Ryeowook and Kyuhyun being shuttled off into the Army in the not to distant future, it's back to #WaitingForDonghae and hoping he convinces the others to come to NYC. In fact, he recently took the time to write letters to fans in four different languages, including English. My husband is so sweet...

RIP Christina Grimmie

2016-06-11T12:17:00.004-04:00

I was left speechless this morning when I heard the news that 22 year old vocalist Christina Grimmie was shot and killed during a fan meet & greet in Orlando last night by an anonymous gunman. The news was selfishly all the more bewildering to me because I saw Christina perform live just a few months ago when she opened for Rachel Platten at Irving Plaza.

Words can't express how awful this is. Yet another example of why both mental illness and senseless gun violence are such important topics in need of evaluation and response beyond angry debates on social media. Considering this is an election year, there's never been a more poignant time to let your voice be heard. It's a scary world we're living in.

Regardless of circumstance surrounding this terrible situation, none of this should have happened. None of it. And now the world is left a little bit dimmer without a shining talent still in the early stages of what could have been.

Add to this that -- not unlike the multitude of shootings happening at schools -- this situation, coupled with the recent shooting and death at the aforementioned Irving Plaza backstage during a T.I. concert, proves a terrifying point about the American people so many just don't want to acknolwedge. We as Americans are much too comfortable with this type of story. We're all so keen to just brush it off as "how sad" and feel safe in removing ourselves from the reality and the gravity of truth. Instead, we turn it into a fiery devolution of emotion, using hindsight to offer platitudes and excuses, saying "there should have been more security" or "the shooter should have sought help."

The reality is this happened and it shouldn't have happened. A concert is meant for entertainment. Period. How many people have to die or be permanently scarred by this for things to change? Why are we as Americans so married to this perceived "right" to weapons?

Anger aside: Christina, thank you for the music.

On a lighter note -- posts will resume to MelismaticBlog.com shortly.

LIVE FROM NEW YORK: Rachel Platten + Christina Grimmie at Irving Plaza

2016-03-26T14:57:00.002-04:00

The Wildfire Tour: (l to r) Eric Hutchinson, Rachel Platten, Christina Grimmie

A night of positive-vibes and lyrical feels, indeed. That is how to best sum up Rachel Platten's WILDFIRE Tour.

My excitement over Rachel Platten kind of took me by surprise, to be honest. I loved the empowerment directive behind "Fight Song" just as much as everyone else -- a true little "single that could" with a positive message that didn't feel forced. It was more because Platten herself is no spring chicken or overnight success. She's been working the live music beat even here in New York for years, playing shows relentlessly, first releasing music independently back in 2003(!) before getting her big break and signing on with Columbia Records. Her battlecry to be heard ("This is My Fight Song!") and tireless pursuit of her dreams is the epitome of inspiring, no matter who you are.

It was for this reason that decided to give her major label debut Wildfire (released at the top of the year) a listen and was overwhelmingly, pleasantly surprised. Platten's sunny pop gems fit right in to that post-Natasha Bedingfield, Kelly Clarkson pocket, and in terms of tone, her voice and lyrics spoke volumes to me at this point in my life. Upon hearing the song, "Angels In Chelsea", written about seeing optimism, community, empathy, and love in perceived total strangers here in New York, it all became solidified. I was a true blue fan of this woman.

So much so that I was willing to return to Irving Plaza's General Admission scrum to see her take the stage. A bonus offering was one of her two opening acts on the tour was Christina Grimmie, a vocally mesmerizing The Voice alum who scored a four-chair-turnaround with Adam Levine, Blake Shelton, Usher, and Shakira all vying for her talents (she was Team Adam but has a voice Christina Aguilera would/should be excited about had she been on the show that season). She began the night with a much-too-short set. (Absent from the lineup: any of her dancey uptempos like "Shrug" or "Must Be Love". Womp. Womp.)

Coincidentally, the show took place the night before her 22nd birthday (although she made no mention of it). She performed mostly material from her recently released EP Side A (a Side B will be coming along the pike soon), as well as fan favorite track "Liar Liar" from her indie debut release, Find Me. She also performed the cover she's most well known for -- Miley's "Wrecking Ball", her Voice audition song.

The other opener was also a pleasant surprise. Eric Hutchinson, a rootsy country-adjacent folk-pop singer (think Jason Mraz-esque), is utterly charming and funny and got the whole crowd dancing very quickly. Highlights from his set include his toe-tapping catchy song "A Little More" from his 2013 release Pure Fiction, which he mashed up with Taylor Swift's "Shake It Off", as well as his latest single "Anyone Who Knows Me". He (jokingly?) stated he wrote the latter in the hope Adele might use it for her record.

Once Rachel hit the stage, she really was in her element. The show that night was filmed for live streaming broadcast via Yahoo! and Platten reiterated that playing not one but two back-to-back sold out shows at Irving Plaza was a literal dream come true for her, as she would often walk by the venue when she lived in New York and pined to see her name on its marquee one day.

Aside from my favorite jam "Angels In Chelsea", the vast majority of her set was from Wildfire, although she threw in two unexpected covers: Bieber's "Love Yourself" and Swedish House Mafia's "Don't You Worry Child" (complete with pony-tail swinging). Platten was all energy, bounding all over the stage, a perpetual grin on her face, and her sunny energy was felt full force. Towards the end, for "Hey Hey Hallelujah", she brought out guest Andy Grammar who guests on the song and promptly picked her up and twirled her around. "Lone Ranger", another standout cut to me, was a lot of fun live as it is recorded, as was mid-tempo "Superman" and the ballad "Better Place".

"Fight Song" was inevitably her encore song and was pre-empted by her reiterating how important it is to not give up on your dreams no matter how long it may take to get you there. Given the audience that night was a motley crew of pre-teen/teenage girls, gals in their 20's, gay boys, and adult couples on date night, it speaks volumes to universal her appeal is.

If Rachel is playing near you, I highly recommend seeing her live -- but if not, you should definitely at least give Wildfire a spin and see how it changes your mood. You won't be disappointed.

FRESH OUT THE BOX: Cardiknox, King, Icona Pop, Missy Elliot, Sigala, Walk the Moon

2016-02-27T15:18:00.000-05:00

February flew by, now didn't it? March will mark the end of Q1 and we've already got a full selection of bangers and potential advocates for Best Album of 2016. Not too shabby. Click to the cut to read more about (some) of the tunes I've been jamming to this February.

Click the song titles to hear the song or watch the video.

CARDIKNOX - "Wild Child"

They've gotten an opening slot for Carly Rae's Gimmie Love tour, so I'll be seeing them at Terminal 5 next month. Lots of fun, lots of energy.

CHARLI XCX - "Trophy"

Thanks to Sucker, I thought Charli really found her groove. While I applaud her trying to experiment, her Vroom Vroom EP (out this past Friday) did little for me. "Trophy" is the exception -- there's something vaguely Britney-cerca-"Do Somethin'"-"Freak Show" about it.

GWEN STEFANI - "Make Me Like You"

I'm still calling BS on this whole Gwen-Blake Shelton thing because it just screams of PR stunt but if they're both happy, then cool, I guess. "Make Me Love You" is my favorite from Gwen's upcoming new solo project I've heard so far (but that's not saying too much, really). It's much lighter and poppier but still lyrically relatable and relaxed.

HAILEE STEINFELD - "Rock Bottom (feat. DNCE)"
The song is familiar, lifted from her HAIZ EP, and revamped with (I'm assuming) Joe Jonas' vocal on it. I'm not really hearing much of the rest of DNCE on it. It's worth blaring a few times as a hype ticket.

ICONA POP - "Someone Who Can Dance"

FINALLY. I was waiting for my Swedish gals in Icona Pop to come back swinging. After a handful of mediocre false starts, "Someone Who Can Dance", gets me really excited for what comes next. Fingers crossed for another brilliant era like that of their Iconic EP. The ladies recently performed the song live at the Grammis in Sweden with a special guests Zara Larsson (!!) and Elliphant (!!). Fingers crossed a studio version with both ladies is also coming soon (or will be on the upcoming album). I'm so here for this Swedish Lady Marmalade.

KAT DELUNA - "What A Night (feat. JEREMIH)"

I'm here for vintage song interpoles, like here with the Frankie Valli & Four Seasons' "December, 1963 (Oh What A Night)" -- bonus points because no one would have expected this from Kat DeLuna (or Jeremih). But it loses some points for the casual use of the "b*tch" word. Can't you just say "woman"? "Lady?" "Girl?" (eyeroll)

KING - "The Greatest"
Fab new girl group alert! There's something so great about a trio of strong women calling themselves KING. Their melodic soundscapes envelope you and take you way. I need to see them live. Need.

THE KNOCKS - "Love Me Like That (feat. CARLY RAE JEPSEN)"
I'm excited for almost anything Carly does at this point, aren't I?

MACKLEMORE & RYAN LEWIS - "Light Tunnels (feat. MIKE SLAP)"

Don't you go and read me the riot act on this. While I don't think Macklemore is necessarily speaking some kind of new truth, he's no less deserving for having a plausible point of view as a Caucasian in a primarily non-Caucasian genre. "Light Tunnels" is the type of hip hop I like because it tells a story and takes you on a real journey -- here, he talks about going from indie nobody to sitting at the Grammy's next to Taylor and Bieber and what a headtrip it is/was/will always be.

MIGUEL - "Waves (REMIX feat. KACEY MUSGRAVES)"
I. Love. Unlikely. Collaborations. Especially. When. Both. Artists. Are. So. Freakin'. Talented.

MISSY ELLIOT - "Pep Rally"
LET ME SHAKE MY JELLY.

RA RA RIOT - "Bouncy Castles"
There's something vaguely Queen about this. The entire Need Your Love album is worth your perusal.

SABRINA CARPENTER - "Smoke and Fire"
Current Disney Channel darling Carpenter is best known to fans for her role on Girl Meets World and "Smoke and Fire" is the first peek into her upcoming sophomore album. Super catchy, great voice.

SIGALA & DJ FRESH - "Say You Do (feat. IMANI)"
Might be too Euro-dance for America but something about this makes me keep wanting to listen to it again and again and again. Also, the chorus is a thinly veiled Mariah's "Always Be My Baby" reference. Also, Sigala - girl. You are #hairgoals.

TOVE LO - "Scars"
Divergent replaced Ellie Goulding with Tove Lo. Makes sense. The song could really work for either artist, to be honest.

WALK THE MOON - "Jenny (LIVE)"

I enjoyed WtM's live album (out this past Friday) much more than I initially expected to. They sound like they'd be a blast to see in concert. Catchy "Jenny" was the set's opener and isn't even from their breakthrough Talking Is Hard album (that spawned "Shut Up and Dance").

ZEDD - "Candyman (feat. ALOE BLACC)"

I could listen to Aloe Blacc sing the phone book, to be honest. #shrug

FRESH OUT THE BOX: Foxes, Majid Jordan, St. Lucia, Sia, Zendaya, Grease! Live!, & More

2016-02-08T10:00:00.000-05:00

The past three #NewMusicFridays have offered up some stellar stuff, including four albums I'm putting on my list as 'The Best of 2016 (So Far)'. That's some big shoes to fill. Last week saw an important anniversary in Janet Jackson's Control turning 30 (so make sure you do your homework and listen to the whole record). Also, if you didn't watch Grease! Live! on FOX (aka Vanessa Hudgens real star-making moment), you were missing out.

Read on for all the tea in terms of what I've been listening to for the past three weeks.

ALLIE X - "Old Habits Die Hard" (watch/listen here)
...but you can't keep a good Popstar Lying in Wait down.

ALUNAGEORGE - "I'm In Control (feat. POPCAAN)" (listen here)
Familiar. Enjoyable.

CHAINSMOKERS - "Don't Let Me Down (feat. DAYA)" (listen here)
Her debut "Hide Away" gave her the Billboard / radio hit spotlight. "Don't Let Me Down" proves she has genre-bending staying power.

EARTH, WIND & FIRE - "MegaMix 2000" (listen here)

RIP, Maurice White. 2016, stop taking our legends. Listen and try not jamming out to those funky horns.

GRIMES - "Kill v. Maim"

Reminder that Grimes kills, maims, and slays.

FOXES - "Scar" (listen here)

Foxes's excellent All I Need album is exactly that. It's full of great, catchy pop song-writing and solid vocal performance. Lyrically, "Scar" stands apart as my current favorite.

JANET JACKSON - "Control" (watch a live performance here)
Theme Song for 2016. Theme Song for Life.

JORDAN FISHER - "Those Magic Changes" ('GREASE' Live!)

This cutey played a small role in Grease! but was snatching up hearts like he belonged in a boy band with his cute glasses and guitar playing.

K.MICHELLE - "Not A Little Bit" (listen here)
Don't let the cover art fool you. This is a legit, no-nonsense, R&B midtempo.

MARIT LARSON - "Traveling Alone" (watch here)
The former member of M2M offered up a great solo record at the end of January. It's worth a listen from front to back.

MAJID JORDAN - "My Love (feat. DRAKE)" (watch here)

Do not -- I repeat -- do not write these fellas off as one-trick ponies. Yes, they are the team that brought us the earwormy "Hold On, We're Going Home" with Drake but their debut self-titled album is everything I never expected it to be. Not a bad tune in the entire bunch. And in 2016 that's saying something.

MICHAELA MAY - "1954" (listen here)
A feminist anthem in pop clothing is my favorite kind of feminist anthem. And also, thank God it's not 1954.

RIHANNA - "Desperado" (now on Spotify -- finding a non-pitched version on YouTube is damn near impossible)
ANTI's roll out remains a stain on Rihanna's career but "Desperado" is easily my favorite of the set.

SIA - "Cheap Thrills" (listen here)

Speaking of, Sia released This Is Acting the same week ANTI dropped, featuring a handful of cuts she wrote for said Rihanna project that were rejected. One such track was allegedly "Cheap Thrills" which I will hereby state is 1000x more fun than anything on ANTI. Yup, I said it. This Is Acting has a lot of high points going for it in addition to "Thrills" -- my other faves being "Unstoppable" (written for Demi? or maybe Katy?), "Bird Set Free" (demoed by Adele), and "Move Your Body" (meant for Shakira?).

ST. LUCIA - "Home" (live version here -- and damn, I need to see them live like right now)
Matter is an early favorite for Album of the Year. Putting this album on means instant smiles and happy vibes.

TIGERTOWN - "Lonely Cities" (listen here)

One of those jams that is lyrically sad but the tempo convinces you to be happy.

TWENTY ONE PILOTS - "Stressed Out" (watch here)

A bonafide hit on the Hot 100, it reminds me more of those late 90's/early 00's radio hits that were both relatable and sad. Perhaps its the old-twentysomething in me.

VANESSA HUDGENS - "There Are Worse Things I Could Do" ('GREASE' Live!)

What's to be said here that hasn't already been said? She was properly amazing as Rizzo and earned a legion of fresh fans for the right reasons. Good on you, Vanessa.

ZENDAYA - "Somethin' New (feat. CHRIS BROWN)" (listen here)

CrazySexyCool TLC aesthetic is all up in this with a strong interpolation of "Creep". As much as I love this sound (and song) for Zendaya, it does lose major points for having Chris Brown on the feature. Why is he doing so many feature spots with vibe gals with potential? You're trying to tell me there was nobody else available for this? Get out of here. Sigh. Patiently waiting for the non-CB version, thanks.

WATCH THIS: 17 Thoughts while Watching Beyonce's "Formation" Return

2016-02-07T12:00:00.000-05:00

I guess you can say the Return of Beyonce was unexpected -- but considering the debacle TIDAL is facing with their Rihanna Rollout, someone needs to reinforce that they serve a real and potentially powerful purpose in the industry.

Queen Bey dropped a "surprise" music video featuring the first new material we've heard from her in what feels like forever. Don't have TIDAL? Watch it here.

My initial thoughts & feelings were:

What is this? And why does it feel like overnight Beyonce went from proper pop chanteuse to Voice of a Generation?
I also feel reckless when I rock my Givenchy dress, because I cannot reconcile that amount of $$$ for one piece of clothing I'll probably wear in public two or three times total in my lifetime, k?
Does this remind anyone else of "7/11"? That bounce beat both grates on my nerves and makes me want to dance.
I TWIRL ON THEM HATERS; RIDE ON ALLIGATORS (also someone get me a shirt that says I TWIRL ON THEM HATERS stat, kthanks....and in the time I took to type that, I'm sure it already exists) UPDATE: Yes, it already exists.
If you were curious as to why Beyonce is a Queen to so many, this video is Exhibit A-Z. She's striking and on top of a pedestal, she's making statements on top of a flooded police car, she's bad ass by flipping gender roles in music, she's making moola and staying "country".
Drag Queens better be already preparing to lip synch this for...their...life. (SLAY TRICK OR YOU GET E-LIM-UH-NATED.) Drag Culture really is everywhere, huh?
This might be the most non-pop thing Beyonce has ever done and unlike with other artists, I'm not side-eyeing her for it.
I've got Hot Sauce in my Bag.
BLUE'S HAIR AND THAT SMIRK!
Beyonce slays. Metaphorically and perhaps literally, too. For all we know, she may have actually murdered potential musical threats.
We knew that already and yet we all are like BEYONCE SLAYS!!!
She slays so hard, she temporarily makes me want to shout from the rooftops that I slay by proxy. #BeyonceEffect
OK LADIES LET'S GET IN FORMATION
I know it's already a meme and all but I just can't get behind the Red Lobster line. Nope. Sorry. No. I get it. I do. It's funny, sure. But no. Just no. And get out of here with Red Lobster's tweet retort. #lameo
This choreo takes names and how I dearly wish I would look like Beyonce when attempting to mimic it (but we all know I won't).
Tell me the whole album drops for on iTunes imminently (but not for free and not just on TIDAL).
If it does, I hope it's not all sonically similar to this. I still need my vocals, B.

The song itself upon first listen isn't something I'd put on heavy repeat over and over but it's quite indicative of this current "phase" of her career in that it uses visuals, talking points, and quotables to get right up in there inside your brain. It's less about being vocally beautiful and more about being viral and making grand statements, and in that case, it sounds like it could be puzzle piece #1 of Beyonce Part II. If Drake is the best at playing that game in hip hop crossover, Beyonce is undoubtedly the best in the mainstream.

Now...it's Super Bowl Sunday. Where's my Hot Sauce?

SECOND TIME AROUND: Smashes Covered by JoJo, Travis Garland, Andra Day, & Elle King

2016-02-07T10:00:00.000-05:00

Because sometimes it's just as good (or better) the second time. Four of my favorite artists at the moment -- all fab in their own right, all with track records of being excellent at elevating material even when it's not their own -- have dropped some awesome cover versions that have either: 1) made me rethink how I felt about the original tune, 2) done exactly what a good cover should do: re-invented the original.

Read on for more and to hear the covers...

JOJO - "White Iverson" (POST MALONE)

Man, I'm so glad JoJo is back in business to melt faces with her raw talent. Her album needs to get here right now, alright? "White Iverson" is one of those songs that is pretty "of the moment" right now -- vibey, spacey, repetative, all about the swag. JoJo makes it all her own in a live performance with super-stripped down accompaniment that's able to convert even those who don't care for (or haven't even heard) the original.

ELLE KING - "Jealous" (NICK JONAS) / "Can't Feel My Face" (THE WEEKND)

Elle is a master at covers. When I saw her perform at CMJ a few years back, she offered up an unexpected blue-grassy version of R.Kelly's "Ignition". Considering I'm not really even a fan of that song (or R.Kelly for that matter), the fact that I was obsessed with her cover spoke volumes. I already adore Nick J's tune though, and Elle proves she can really sing anything by mashing it up with The Weeknd smash in the UK's iconic Live Lounge, complete with 80's synth backing.

ANDRA DAY - "I Want It All"

Have you seen those Diet Coke commercials airing recently featuring a soulful, vocally-astonishing, stripped down version of Queen's "I Want It All"? The voice behind the ads is Andra Day, whose debut album, last year's Cheers To The Fall, is chock-full of dizzying good 'uns. The Queen cover (apropos) was apparently recorded for the ad campaign but I'm assuming it will be available for purchase soon (or at least one can hope).

TRAVIS GARLAND - "Should Have Been Us" (TORI KELLY)

Tori Kelly is my girl crush for a lot of reasons (including her fab, covet-worthy curly hair) -- the main being her ridiculous, seemingly effortless vocal delivery is so flawless, it blows my mind. Travis Garland is one of those few vocalists who can do Tori's original justice, simply because he also has that innate, insane vocal talent. Remind me again why both of these artists aren't everywhere. They should and need to be.

HEAR THIS: Moxiie causes "Chaos"; drops FREEBIES

2016-02-06T19:42:00.001-05:00

Moxiie (with two 'i's) is one of those so underrated artists with so much potential to be great, it's criminal. Let's add it to our collective list as a Resolution for 2016: no more with that B.S.

Her brand of 'Jungle Pop' (also the title of her 2011 EP) feels both familiar to the scene and totally fresh. Overall, her sound is dance-floor friendly but she lends herself quite well to this burgeoning dark disco movement. So much of her music is so multi-layered, allowing her vocal performance to stalk her proverbial prey, calculated and contained.

Her snare-drum thrashing dance stomper "Animal" was one of my favorites when it came out and since then she's been releasing great jam after great jam. "Anyway" quietly lurks with a electronic bass thrumming throughout. "Jilted" soars with an emotional delivery over a lush, electric mid-tempo beat.

Her latest -- "Chaos" -- a heart-wrenching ode to moving on after losing someone is yet another triumph. The lyrics are movingly picturesque and she sounds incredible.

Moxiie is offering "Chaos" (along with an alternate version of the beautiful ballad) for free through her social media accounts. You can download the song here. Do it now. You won't be disappointed.

I can't wait to hear what's next. My fingers are crossed for tour dates -- something tells me she'd be so much fun to see live on stage.

RIHANNA: Is #ANTI Truly a Platinum Success Story?

2016-01-30T16:00:00.001-05:00

It seems like everyone and their mother has an opinion about one thing this week: Rihanna and the unconventional release of R8, now dubbed ANTI. If you're curious as to where I fit in, settle in -- it's gonna be a long one.

Let's begin with this -- I don't consider myself a hardcore Rihanna fan, but I do enjoy quite a lot of her music. So much so that she ranks as #14 on my current Overall Most Played Artists at my Last.FM. I've enjoyed her sound since the very beginning, back in the good ol' "Pon De Replay" days. Back when everyone -- including me, I admit it -- assumed she very well might become a One Hit Wonder.

A lot has changed since those days and Rihanna has become a bonafide Pop Star. It's a title I know that she has some issues with and fair enough. The reality is a lot of what's made Rihanna successful as an artist has been her "pop" material. "S.O.S". "Umbrella". "Only Girl (In The World)". "S&M". "We Found Love".

Stylistically (and sonically), she inspired a multitude of imitators -- and is still doing so despite not releasing an album in more than two years, an arguable eon in the mainstream music scene.

This past week, she unleashed her eighth album set for "free" and given the obvious snowball of interest, the album was declared platinum -- one million sold -- in one day. The question is: does this distinction have any real merit? And if it does, have we as 2016 Music Lovers, gone down the proverbial Point of No Return when it comes to real album sales?

Rihanna has been and should be embraced because she's willing to experiment and play with her sound. At its core, a Rihanna Record tends to always sound like her, regardless of tempo, style, or feel, but she is able play with colors, shades, and genres. Good Girl Gone Bad will always be her Magnum Opus for straight ahead Pop. Loud is untouchable in terms of being perfectly dance-floor ready. Rated R and Unapologetic, although they have their pop moments, are darker and edgier (and angrier).

I give her a lot of credit simply because she doesn't cater to what's expected. I'm sure she easily could have whipped together another set that contains a dance banger, a few urban-twinged midtempos, some dirty double-entendre cuts, and a ballad or two. The formula is tested, tried and true.. Instead, in the run up to ANTI, we got a smattering of random: a soundtrack single, a brooding anthem for life in "American Oxygen", a snappy clapback in "B*tch Better Have My Money", and the weird-but-kind-of-wonderful "FourFiveSeconds" with Kanye West and Paul McCartney.

After literally months of speculation in terms of just when this surprise-yet-not-a-surprise album would make it's debut, ANTI landed with an unceremonious plunk on Thursday, January 28th. Not on a #NewMusicFriday. Not on iTunes. Not in stores. Not even for money. Oh, and not with any of the "singles" the radio and music bloggers have been literally wearing out for months attached to it.

Instead, ANTI was released initially ONLY on TIDAL -- after being "accidentally" (which I don't believe for one second) "leaked" (eyeroll). And then heralded as FOR FREE via TIDAL. The set emerged on other digital download outlets the following day and physical copies will be sent to stores next week.

I suppose one could call that innovative and perhaps it is. It certainly doesn't follow the "rules" that make up this Music Industry, that much is certain, but then again -- why should Rihanna follow the rules?

Queen Rih or Samsung Sell Out?

I'm not here to debate the content of ANTI. Have I heard it? Yes. Most if it basically went right through me. I stand with a lot of the folks who were -- sue me -- hoping for more dance bangers rather than mumbly tepidness.

I am and always have been a proponent of the old adage -- "If you don't like it, don't complain. Just don't listen to it." Rihanna herself has said that she mainly made this album for herself and not for commercial success. She's certainly earned the right to take risks in her career and for that, I applaud her.

Full Disclosure: Good Girl Gone Bad and Loud were standouts in her catalog to me for a reason. I like pop music and I don't give a flying eff who knows it. It also should be said that Rihanna didn't write much on either of those albums, while on ANTI she received a writing credit on almost every track. If this is her truth, go ahead, girl, and do your thing.

What does bother me is the approach to this album campaign -- rather than feeling progressive and fresh -- simply comes across as haphazard, second-guessing all decisions, reactionary.

I'm not saying an artist should always have a pre-conceived vision; I'm saying for a project that has been hyped for so long as something with artistic merit, the promotional roll out felt like an unsupported hot mess.

The free download concept -- whether than was the intentional release plan or not -- is great for fans but it's nothing new. What is new here is unlike with, say Miley Cyrus's recent free album push (which, like ANTI, was created mainly "just for herself") Rihanna's record is very much a part of a Marketing Strategy for Roc Nation and TIDAL, both under the thumb of JAY-Z.

When something is free, there's no emotional or monetary repercussion if you don't like it. You'll try a new food or drink at the supermarket if there's a free sample offered, despite having no intentions of purchasing it possibly ever. Rihanna is at a level in the Mainstream Music Consciousness where not everyone is a fan, but there's a very high percentage of possibility you enjoy at least one of her singles. Why not take a listen -- especially if its free?

Rihanna doesn't need to be releasing music for free and yet she seemingly has. Meanwhile, thousands of struggling artists (and Taylor Swift and Adele) have been trying to find the right balance between promoting your work and supporting yourself, spawning a backlash against the popularity of streaming services like Spotify (and TIDAL).

The difference here between what is assumed by the public (Rihanna has released ANTI for free) and the reality is what's really important. TIDAL was offering a limited quanity of free downloads of the album (upon signing up for their own services, of course). Samsung, who's been the main benefactor for this promotional roll out, has pre-purchased a number of copies of ANTI as a tie-in with the "free album" campaign. So when someone downloaded ANTI for free, it was counted as an album "sold".

Perhaps you're seeing why this makes 0 sense to me.

I've already made my thoughts on TIDAL known shortly after its launch early last year. In fact, I said:

"These artists have serious muscle in persuading music fans to shell out the $$ to subscribe, sure, but they are also brands in themselves. TIDAL's mantra is to take the Music Industry back for the artist but when artists who are already monetarily successful are used as its face, it feels less like a social movement and more like petulant strong-arming in order to pad their already impressive payouts in the existing streaming world."

The RIAA (Recording Industry Association of America) announced that ANTI is now certified platinum in the United States, one day after it's "release". Platinum signifies one million albums sold. Sold. As in traded for money. Except in this case, it wasn't.

.@rihanna's 'ANTI’ is certified Platinum by the RIAA, but not by ‘Billboard’ and Nielsen https://t.co/9Vxl65iKl9 pic.twitter.com/YrWA9hUqD5
— SPIN (@SPINmagazine) January 29, 2016

wait. A free download went platinum in a day? https://t.co/AkytiGTHHm
— Claude Kelly (@ClaudeKelly) January 29, 2016

Pre-Bought "freebies" aside, it's clear ANTI was positioned -- as many predicted -- as motivation for consumers to buy in to TIDAL, a streaming service with a monthly price tag (like the current industry standard, Spotify). For whatever reason, TIDAL doesn't suffer from the same artist backlash that Spotify does and yet you don't see these gimmicks being pulled by Spotify, now do you?

Billboard has been using Streams in its chart counts for a while now, including in its weekly Top 200 Album Chart. But how many Streams should equal one sale of an album? There's albums I've bought that I've worn out by listening to over and over, and there's album's I've bought that I've played a few times before only reaching for it on occasion. How do you define a success formula for Streaming?

UPDATE on 2/1/16: RIAA has announced they are taking into account Streaming and Track Sales in their album certifications going forward. 1,500 streams will be the equivalent to one album "sale". They will also include official video streams in the counts. Billboard has been including on-demand Streaming in their charts since December 2014.

Rihanna has proven herself as a strong seller in the past. I have no doubt that ANTI would and will sell very, very well. But calling it platinum in a day is just plain ridiculous in this situation and is the straw that breaks the camel's back when it comes to this Album Release campaign.

It's unfortunate that this will forever be the album with an asterisk next to it in terms of her stellar release history, but so be it. Who am I to judge? All I'm saying is, if ANTI's "sales strength" or popularity is put on the same pedestal (or even above) artists who rely on actual monetary support from fans and not pre-bought virality, then where is the line when it comes to true success?

I have no doubt that Rihanna will top the charts but only time will tell how the public perception will shake out.

FRESH OUT THE BOX: Alex Newell, Stooshe, Tiggs Da Author, Felix Snow, that Panic! album, & more

2016-01-21T09:42:00.002-05:00

This past week's new releases were flooded with lots of excellent collaborations -- and an excellent Panic! At The Disco album. It also solidified Conrad Sewell, Lady Leshurr, and Alex Newell as ones to watch in 2016. Read on to discover the tunes you need to be listening to...like right now.

ALEX NEWELL - "This Ain't Over"
Alex's big voice is used perfectly here -- it doesn't overwhelm but it still fills the room up.

FANTASIA - "No Time For It" (listen here)
A perfectly lovely and repeatable midtempo.

FELIX SNOW - "Running Out Of You (feat. CONRAD SEWELL)" (listen here)
Banger alert. And it features Sewell on the vocal -- look out for this kid, he's gonna be everywhere.

IDA LAFONTAINE - "Go Again" (listen here)
Not as much of an instantaneous earworm as "Anthem" was but still very catchy.

KEYS N KRATES - "Save Me (feat. KATY B)" (listen here)

This has been out for awhile but Keys N Krates just released an ace EP and I can't resist the urge to keep spinning this fave.

LAURA MVULA - "Overcome (feat. NILE RODGERS)" (listen here)
Two talented artists -- you can't go wrong with this.

MORTEN - "Beautiful Heartbeat (feat. FRIDA SUNDEMO)"
File this under dark disco Scandipop scorcher. Painfully descriptive...in the best way.

NATHAN SYKES - "Over and Over Again (feat. ARIANA GRANDE)" (listen here)
The former ~~arranged-couple-for-publicity~~ couple that is Sykes (now post-The Wanted) and Grande team up again with very pretty results on this romantic piano ballad.

PANIC! AT THE DISCO - Death of a Bachelor album
I can't pick a fave, it keeps changing. Mere days into 2016 and we already have a contender for the 'Best Of' shortlist.

TAYA - "More (Goldsymth Edition)" (listen here)
Via a recommendation from none other than Nicola Roberts herself, via her excellent interview/dialog with The 405. It's aces. The song is a Tamia cover from her album of the same name released back in 2004 -- however, the song was revamped as a dance cover in the UK via Blonde & Melissa Steele last year. Taya's cover sits somewhere in between the original and the cover.

TIGGS DA AUTHOR - "Run" (feat. LADY LESHURR)"
Tiggs reminds me quite a bit of what I love about K'NAAN. His flow feels organic and more like poetry than your typical hip hop posturing. The hook is super catchy as well.

STOOSHE - "Lock Down"
This filtered out into the ether a few weeks back in the UK but finally made it's way to the US Spotify. It's more of a slow burn but once it hits, it's on perpetual replay. I missed these ladies.

BACK IN THE DAY: #HighSchoolMusical 10 Years Later

2016-01-20T10:00:00.000-05:00

It's a fact, Wildcats. It's been ten years since the Disney Channel Original Movie (DCOM for those in the know) to end all movies literally changed the teen pop game. Tonight, the Disney Channel will celebrate with a special *anniversary* reunion featuring the main cast (except Zac Efron who was too busy pretending he doesn't remember the lyrics & choreo and flexing his pecs).

Back in January of 2006, I was a college freshman that got suckered in to the weirdly wonderful Disney machine and a lot of it began with High School Musical. It was Grease (only slightly) re-imagined with super catchy bubblegum pop songs and super awkward banter. Did we really think then that so many of these "kids" would still be relevant stars to this day? Did we?!?

It's so awesomely badly good.

The overwhelming success of High School Musical literally took everyone older than their tweens by surprise. It's humble debut was the first few snowballs in the proverbial avalanche that became the Disney Channel in the mid-00's, one part of a Power Trifecta that also included Miley Cyrus/Hannah Montana and the Jonas Brothers/Camp Rock (and would later include Selena Gomez/Wizards of Waverly Place and Camp Rock's Demi Lovato/Sonny With A Chance). Seemingly overnight, the soundtrack sold almost four million copies in one year and became the biggest TV movie in Disney's history. Out of nowhere, Disney found itself sitting on a gold mine.

Then came the onslaught. A live concert tour. Solo pop albums by more than a few of the franchise's stars. Another television movie sequel (with an arguably even better soundtrack). A theatrical third film. Followed by the "backlash" and over-saturation. Cast members stepping out of line of the Disney formula (by being young human beings) -- nude photo scandals, dating rumors, desiring to be less like Annette Funicello and more like Britney or Rihanna. Just like that, the "kids" were all grown up, on to new projects, and the tweens fell for something else.

Would Hannah Montana have blown up so huge without all the eyeballs drawn to the network for High School Musical? Would we have had Glee without it? Would it have been as successful if we did? America saw a revival of mass market/Broadway-influenced theatrical films afterward (Hairspray, Mamma Mia!, Sweeney Todd, Fame, Footloose). Did High School Musical help open the door for this? What about the return of live musical productions on NBC (The Sound of Music, Peter Pan, The Wiz) and now FOX (the upcoming Grease, co-starring...Vanessa Hudgens of High School Musical fame)?

Ten years down the road, let's see where our favorite Wild Cats are..

ZAC EFRON
HSM Highlight: Considering Zac's singing voice was dubbed in the first film (by Drew Seeley), it's a no brainer his highlight is his solo pop monologue jam from the first sequel: "Bet On It".

I had a hunch Zac would stick around thanks to his teen idol aesthetic but I never would have thought he'd get as handsome as he has. Growing up has been good to him. Evolving into another Leonardo DiCaprio, not so much, but he has gotten quite a few comedy films under his belt -- including an upcoming feature co-starring Robert DeNiro so I guess...who are we to make fun? Beyond High School Musical, he basically stepped away from singing (with the exception of his role in Hairspray -- released during the eye of the HSM storm).

VANESSA ~~ANNE~~ HUDGENS
HSM Highlight: Gabriella's lament about how boys can be confusing from the original film, "When There Was Me And You" (strangely similar to Rizzo's lament about life, "There Are Worse Things I Could Do", in Grease. Interesting.)

Baby V released two solo albums (2006's V and 2008's Identified) which saw some success but were still very much within the teen idol realm. She's arguably had the most range in her acting career, taking risks in her choice of roles (Sucker Punch, Beastly, Spring Breakers, Gimme Shelter) and even tried Broadway last year in Gigi. She's now gearing up for her role as Rizzo in FOX's live production of Grease so I suppose the circle is officially complete.

ASHLEY TISDALE
HSM Highlight: The diva of HSM should always stay "Fabulous". The lyrics for this song are just plain ridiculous (do kids say "tote" and "hair band" and "go for a float"?).

Ashley, already "famous" to tweens when the telefirm first aired for her role in The Suite Life of Zach and Cody, also released two solo albums (2007's fabulous Headstrong and 2009's Guilty Pleasure). Rather than really stretch her wings in her acting career, she had a more lucrative run with animation voice acting (Phineas & Ferb, Sabrina: Secrets of a Teenage Witch) and producing (Young & Hungry -- starring fellow Disney alumn Emily Osment and about to launch its third season on Freeform).

CORBIN BLEU
HSM Highlight: People like to pick on the second film's super jam "I Don't Dance" because it's basically about Grabeel's character -- a "theater kid" -- convincing Bleu's character -- a "jock" -- how cool and easy dancing is, despite the fact that Bleu has already shown in the first film he's a capable dancer. I'm pretty sure this proved my theory that all jock boys really do love Broadway tunes but are afraid they'll get teased for it. Right?

It's hard work to be the other male teen idol in a Disney franchise but in comparison to Efron, Corbin was more of an all around catch when it came to performance. He released two solo albums, too (2007's Another Side and 2009's Speed of Light). Fun Fact: his debut album included the Jay Sean jam "Deal With It", which was later bought and re-written with new Korean lyrics to become SHINee's smash "Juliette". Like Hudgens, he also tried Broadway but with better results in the award-winning musical In The Heights (which I saw -- he was fab). In 2013, he tried his hand at Dancing With the Stars but was ultimately outshone only by the incredible Amber Riley of Glee fame (and to be fair -- she's pretty damn amazing, too).

MONIQUE COLEMAN
HSM Highlight: Beyond the group sing-alongs, Monique kind of got shafted despite being included as a "main" cast member.

I wish I could say more for Monique. It's a shame, too, as she's proven herself as a philanthropist, using her influence for good. Post-HSM, she -- like Corbin -- tried her hand at Dancing With the Stars and was pretty darn great at it, finishing in fourth place.

LUCAS GRABEEL
HSM Highlight: The its-so-bad-its-good "Bop To The Top" with Tisdale. That was the point of this number, right? Either way, the waves of secondhand embarrassment are so real with this one.

How to deal with being the somewhat stereotypical gay kid in a high school? Hmmm. Lucas was also a part of another Disney telefilm franchise that to this day remains to be a cult classic -- Halloweentown -- appearing two installments, the first released before High School Musical even aired. Like his DCOM sister Tisdale, he's done a lot of voice acting. He currently appears on the teen drama Switched At Birth, beginning it's fifth season on Freeform.

HEAR THIS: Nina Nesbitt's "Chewing Gum"

2016-01-19T12:50:00.001-05:00

The world might finally be ready. It's time to talk about Nina Nesbitt, Potential Popstar of 2016.

The Scottish singer-songwriter meets indie-pop darling is a (former?) protege of Ed Sheeran and made her mark by eschewing the traditional formula of label molding, releasing a fistful of EPs (and then some) via a smart marketing plan focused on digital sales. She released a full length album, Peroxide, in early 2014.

Fast forward to now. A new EP, Modern Love, is due for release in early February -- to impact mostly just the UK at the moment -- on the back of the truly stellar single, "Chewing Gum" (not an Annie cover).

While much of her previous material strengthened the comparison to Sheeran (whom she dated a few years ago) with it's rootsy, acoustic-esque sound, "Chewing Gum" is her Taylor Swift Welcome-To-The-Pop-Mainstream-Officially offering. Lyrically, it's bitingly sassy -- an empowerment anthem about who holds the power & control (Marina reference) in a relationship.

Overall, it's much more in line with the dark-pop alt-girl changing of the guard that's being shouted about, led by Halsey, Tove Lo, Charli XCX, Phoebe Ryan, etc. etc.

So much yes.

INTERVIEW: Kota Wade is a "Force to Be Reckoned With"

2016-01-18T12:16:00.000-05:00

"I wrote this song as a way to show people that no matter how many times you’ve been knocked down or told “no”, to always keep fighting."- Kota Wade

Collaboration can be a beautiful thing. So is never giving up on your dreams.

My girl Kota Wade (of YouTube, Bad Wolf, & recently The Voice fame) managed to combine the two with a brand new digital single: "Force To Be Reckoned With". The song features Summer Schappell, her Voice co-contestant and roommate, and has a decidedly more rootsy, almost country-esque vibe than the more straight-ahead pop or pop-rock styles we've heard from her before.

Kota wrote the song as an anthem to empower -- especially after being told "no". Surely that's something we all can relate to! The song was released officially this past Friday and is available for purchase on iTunes. It was also produced by Tim Atlas, another Season 9 Voice "Team Gwen" alum. He also makes a cameo in the video (above) playing guitar and banjo.

BONUS: I had the chance to ask Ms. Kota herself about her Voice experience, what inspired "Force To Be Reckoned With", and -- of course -- working with Gwen Stefani. Read on below...

MEL: What made you decide to audition for 'The Voice'?

KOTA: I initially auditioned for The Voice about 3 years ago and made it through the callbacks. Something told me I wasn’t ready though, so I backed out. This past year they contacted me about coming back for Season 9 and something just “clicked”, and I felt in my heart that it was a good time to do it. I felt like it would push me and help me grow as an artist and a person. Of course, it didn’t hurt that my idol, Gwen Stefani, would be one of the coaches!

What was your biggest take away from the experience?

My biggest take away was that no matter what, it is most important to stay true to yourself. At the end of the day, I’ve always considered myself a writer first and foremost, then an artist, THEN a singer. I wanted to stay true to myself as an artist, and chose songs that resonated with who I was. The choices I made didn’t always work out, but at least I did it my way. You can’t please everyone, so at least try and please yourself.

Clearly you made a lot of friends in the 'Voice' camp -- did you keep in touch with any other contestants?

The friends I made through the show was one of the most important parts of my entire experience. I’m a bit of a hermit and have social anxiety, so being thrown into a situation where you have roommates and a team was very new to me, but it pushed me to get out of my comfort zone and connect with the artists around me. I have formed such strong bonds with a few of the artists on the show and I know that bond will never be broken. Summer and I were roommates throughout battles and knockouts and we became like sisters, which is why I knew we had to collaborate on a musical project outside of the show.

Everyone's probably thinking it -- or at least I am -- what was working with Gwen like?

Working with Gwen was definitely surreal. Standing in front of someone you’ve idolized your whole life is super intimidating, but she has such a calm and cool vibe that as soon as you get over the initial shock, it’s really easy to forget that she’s the voice of a generation.

"Force To Be Reckoned With" is an anthem to keep fighting for your dreams. Do you have any (other) advice for musicians thinking of trying out for reality television performance shows like 'The Voice'?

I wrote this song as a way to show people that no matter how many times you’ve been knocked down or told “no”, to always keep fighting. I’ve been doing music since I was 9 years old and I’ve had my share of heartbreak and disappointment, but you ALWAYS have to keep going. You never know what’s just around the corner, so if music is something that is truly in your heart, never give up on it. My advice for anyone trying out for a reality TV performance show, is to always listen to your instincts. Know who you are as an artist, and stay true to it. Don’t be a diva, listen to the advice from those around you, but never lose who you are as an artist and a person.

What's next for you? Can we expect more solo music?

I fully believe that 2016 is going to be the best year of my musical career. Less than two weeks into the year I’ve already released two singles and music videos (one with my band, Bad Wolf, and “Force to be Reckoned With”), and am in pre-production for a music video for the next single that I’ll be releasing with Bad Wolf in February! I’m so excited to get the wheels rolling and keep the momentum going throughout the rest of the year!

For more on Kota, click HERE to read my interview with her two years ago -- where we discuss her then tenure in JC Chasez's mega girl-group Girl Radical, her band Bad Wolf, KPOP comparisons, and more!

NOW KPOPPING: The 10 Best KARA Singles

2016-01-15T10:00:00.000-05:00

KARA is best known for being a girl group that not only saw admirable success in South Korea but in Japan as well, nabbing hits on the Oricon and selling out Domes, the latter being a feat few Korean artists can boast.

Recently, news broke that three of KARA's current four member lineup are choosing to not renew their contracts with their entertainment company, DSP Media (also home of fellow girl group Rainbow and, well, little else). This left many fans of KARA and KPOP in general to come to a sad conclusion: the group is pretty much kaput.

If you were a fan of KARA, you already know that with this group, there was no half-stepping in their brand of dance pop. They're sassy, they're sexy, they're super fun to dance to. Hence my super sad face emoji feelings about this news.

We've gotten no "official" word from DSP Media on KARA's disbandment (yet), although media outlets are reporting a targeted date at early February. But still, I figured now was as good a time as any to remember what made KARA so great as a group -- part of the generation that made me fall in love with the genre in the first place.

UPDATE: DSP has officially confirmed KARA's disbandment. :( #ThankYouKara

Yes, I think this calls for a KARA dance party...

------

Lineup changes aren't anything new to these ladies. Original member Sung-hee left the group shortly after debut in 2008. Popular member Nicole and baby Jiyeon left the group (and the company) in 2014, resulting in the launch of the reality competition television show Kara Project to find one girl to fill the member vacancy and continue on. This was not without controversy, however. One of the girls competing on the show, Ahn Sojin, reportedly committed suicide after not being chosen (and being a DSP trainee for years).

Now, with the announcement of the exit of leader Gyuri, original member Seung-Yeon, and visual/occasional solo artist Hara, the project now only includes Young-Ji, who won the Kara Project reality program. Normally, I'd say anything could happen in the world of pop music but on the surface, this doesn't look good. Sure, Wonder Girls was able to turn it around (and so did TVXQ! after the exit of three singers) but considering only one gal is left...

DSP may choose to re-cast (again) but it would make more sense to give her a new project to perform in considering she's only been with KARA for about a year. They recently debuted a six-turned-five member girl group called APRIL who hasn't really rocked the boat in terms of sales. Perhaps they could retool the APRIL project and include Young-Ji? Time will tell.

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Below are my favorite KARA jams. Let me know your faves in the comments or on Twitter via @melismaticdiva.

10. MAMMA MIA (2014)

Sorry, Young-Ji. This is the only one that features you. If that isn't proof that this poor girl got the short end of the stick, I don't know what is. But considering the Girl Group Curse of 2013, it's a miracle we got something this great after the big blow of losing Nicole & Jiyeon.

9. ELECTRIC BOY (2012)

The gals were already long into their Win Streak in Japan when they released this one (cutesy "Jet Coaster Love" hit #1 on the Japanese Oricon the year before) but this was more in line with their synthy dance style that I enjoy so much. It also went to #1 on the Japanese Hot 100, compiled by Billboard.

8. SPEED UP (2012)

Another Japanese dance jam.

7. BREAK IT (2007)

A red herring in style -- this was KARA's first single/debut song in South Korea. The lineup excludes future visual member Hara as it was before she was in the group and the sound style is decidedly more R&B / 90's girl group ethos. Those clothes!

6. HONEY (2009)

After lineup changes and stylistic changes, "Honey" marked the beginning of their popularity in South Korea (and later Japan).

5. MISTER (2009)

You can't talk about KARA and not mention the butt dance. The dance routine became regularly copied in the Korean music scene and is, to this day, one of the most iconic dance moves of the genre. Everybody and their mother was doing it.

4. WANNA (2009)

"Wanna" marked the first song by KARA I really put on backhole repeat. It doesn't get catchier than this.

3. PANDORA (2012)

Slick production, stylish visuals, all of the girls look and sound incredible. Banger.

2. STEP (2011)

It was hard for me to put this at #2 since I adore the song so very much. Disco outfits, Disco Concept -- you can't really go wrong. I still play this song a ton. It definitely holds up.

1. LUPIN (2010)

At the height of the "dark" trend that took over KPOP for awhile (arguably started by Girls' Generation's "Run Devil Run"), "Lupin" represents (to me) KARA at their ultimate peak.

FRESH OUT THE BOX: Conrad Sewell, Lady Leshurr, M.O, Panic!, Simon Curtis, & more...

2016-01-14T13:41:00.000-05:00

For those who are new to the class, Fresh Out The Box is a weekly (usually) rundown of great, just released music. Basically, I'm doing the heavy-lifting of listening to everything for you. ;)

The first tally for 2016 includes one of my fave up and coming girl groups, a Pop Prince, and a The B-52's-sampling jam. Are you ready?

AUDIODAMN! - "Radar" (listen here)

Fun and funky. "Radar" in particular is a falsetto-soaked bop. The whole AudioDamn! EP is worth your perusal.

THE BEATLES - "Come Together" (listen here)
Have you heard of this great new group? They're everywhere lately. (Pause for Sarcasm.) The Fab Four's catalog finally hit digital streaming over the Christmas holiday and people are calling this move a huge endorsement for Spotify and it's ilk. Read into that as you will...

BIRDY - "Keeping Your Head Up" (listen here)

More uptempo and full-bodied than her previous hit "Skinny Love". If you're a fan of Sia or Florence + The Machine, give it a try.

CONRAD SEWELL - "Who You Lovin"
The MJ vibes are strong. If you love The Weeknd's "In The Night", this is a must listen.

DAVID BOWIE - "Let's Dance" (watch here)
RIP. :( I could pick a handful of songs but in terms of my overall, absolute, hands down favorite -- it's gonna be this one.

J SUTTA - "Damn! (I Wish I Was Your Lover)" (watch here)
The former Pussycat Doll Jessica Sutta has re-branded as J SUTTA and has recently offered up her cover of the 1992 Sophie B. Hawkins classic.

KRISTINIA DEBARGE - "Problem" (listen here)
Remember Kristinia? She won everyone over with her pop smash 2009 "Goodbye". Post-radio hit, she's still been hustling and finally saw some traction this week with the release of her EP, Thinkin Out Loud.

LADY LESHURR - "Queen's Speech 1"
This UK rapper is a lot of fun. Her Queen's Speech EP is a collection of freestyles in the vein of a mixtape with more new material on the way. Her cadence and delivery set her apart in a saturated market. Think Nicki Minaj at her comical best mixed with Missy Elliot's flair for the surreal and Lady Sovereign. It says something that I'm not much for hip hop but I can't stop playing this EP.

M.O - "Love The Most (feat. THE HEAVY TRACKERZ)" (listen here)

A bit of a departure for one of my favorite up and coming girl groups but still great all the same. An ode to all haters tryin' to steal attention from your significant other on the 'Gram.

NATALIE COLE - "This Will Be (An Everlasting Love)" (listen here)

RIP. :( To this day, I can't listen to this song without a smile on my face. Still can't get that quick poetry flow bit at the end, either. Natalie is an icon who will be sorely missed.

PANIC! AT THE DISCO - "Don't Threaten Me With A Good Time"
Panic!'s new album is due out soon and -- I never thought I'd be saying this in 2016 -- I can't wait. This new hype release has an unexpected sample in The B-52's "Rock Lobster". It's safe to say they're feeling encouraged by Fall Out Boy's breakthrough mainstream template ("Uma Thurman", anyone?) and I'm not complaining. This..."LA Devotee"..."Hallelujah"...the Death of a Bachelor album seems solid.

SIMON CURTIS - "Brainwash (Super 8Bit Heart Version)" (listen here)

Yes! Our Prince is back! Simon unleashed an unexpected gift for fans via iTunes & Spotify with the release of Super 8 Bit Heart, a collection of remixed/revamped tracks previously featured on his official solo debut album 8 Bit Heart, released back in 2010 (read my review of it here).

TROYE SIVAN - "Heaven (feat. BETTY WHO)" (listen here)

We're gonna be seeing a lot of Troye's name in 2016. This exquisite midtempo features another should-be-everywhere artist -- Betty Who.

WET - "All The Ways" (listen here)

Shimmering and super-singable chorus alert.

HEAR THIS: OHLAYINDIGO's "Love You to the Moon"

2016-01-11T10:00:00.000-05:00

File this one under fab Scandipop.

Norway has brought us a lot of stellar pop music -- M2M, Annie, Margaret Berger, Raylee, just to name a few. New act OHLAYINDIGO is gunning to join that list and if their new single "Love You to the Moon" is any indicator, they are already well on their way.

The duo group is made up of vocalist/songwriter Hanna (the face of the project) and drummer Zak. The group is originally from Oslo but relocated to San Francisco. "Love You to the Moon" is melodic dream pop at its best -- simple, catchy, and effective.

Their debut EP is slotted for a summer release and I can't wait. Fingers crossed for NYC tour dates before then!

Love the song like I do? The song is available for purchase on iTunes and for streaming on Spotify. Want to hear more? Visit their website and put your e-mail on their mailing list for a free download of their song, "Heartbeat".

HEAR THIS: Monica goes 'Code Red'; Sings "I Miss Music" (and Don't We All?)

2016-01-10T10:17:00.000-05:00

"It's like we're scared to take a chance / ... / You're trying so hard to cross-over / And just end up gettin' looked over / The label ain't reachin' they quotas / And we all know money's the motive / Don't let that... / Don't be that... / Don't sound like... / State of Emergency, hol' up"
-- Monica, "Code Red"

If you weren't aware that R&B legend Monica released an album this past Christmas, don't worry -- you're not alone.

Her much delayed album project, Code Red, was basically just thrown out there with as little support by RCA as seemingly possible.

That's a total bummer because:

A) Monica is superbly talented,
B) the R&B genre on the whole is annoyingly lacking, especially when it comes to the ladies being given a fair shot at mainstream success,
C) the album has a lot of great songs.

The record sees production by familiar Monica/late 90's-early 00's collaborators: Missy Elliot, Timbaland, Danja, and Polow da Don. Monica herself co-wrote every song on the album.

My only real complaint is for an album called Code Red, I expected more uptempo bangers than what was provided. That shouldn't even be a complaint really, considering Monica is a capable and talented vocalist, but still. Semantics, I guess.

I love the title track simply because -- not only does it feature the great Missy Elliot in a much more exciting way than her recent collab with Janet Jackson ("BURN IT UP!") -- its a not so subtle jab at the current music industry on the whole. I wish she showed that fiesty-ness throughout the entire album. It's words that a lot of artists need to hear.

My favorite cut (for right now) is the dripping-with-nostalgia ballad "I Miss Music", co-written with the criminally underrated Priscilla Renea (Fifth Harmony's "Worth It", Selena Gomez & The Scene's "Bang Bang Bang", Miranda Lambert & Carrie Underwood's "Somethin' Bad", Cheryl Cole's "Promise This", and Girls' Generation's "I'm A Diamond" -- she's been all over the place).

Want a complete list of artists Monica name-checks and references in this song? Why, sure -- I'll oblige:

Michael Jackson
Whitney Houston
Tina Turner
James Brown
The Fugees / Lauryn Hill
Kurt Cobain / Nirvana
Stevie Wonder
U2 ("One")
John Lennon ("Imagine")
Prince ("Purple Rain")
TLC
Aerosmith
Notorious B.I.G.
Sting
TuPac
Aaliyah
Jodeci
*NSYNC
Nas
Boyz II Men
Babyface
Bobby Brown
Faith Evans

Monica, you are literally singing about my life as a music listener when I was 8-14. It's like she knows me. I always knew the lady who brought us "Don't Take It Personal (Just One of Dem Days)" (can you believe that song was released twenty years ago?!?) was a kindred spirit.

WATCH THIS: Fall Out Boy & Demi Lovato find *NSYNC "Irresistible"

2016-01-07T20:04:00.000-05:00

In case you might not yet have heard -- the year 2015 will go down in history with a very special footnote that is dear to my heart. It's the year that *NSYNC's reign as Kings of One Week Album Sales officially ended thanks to a little known lass named Adele (perhaps you've heard of her).

2015 was also very good to the boys in Fall Out Boy. Their sixth full album release, American Beauty / American Psycho had much longer legs than anyone really expected. It was released about a year ago in January of 2015 -- a normally pretty dormant time for album releases -- and it was, in my opinion, their most solid album release yet. It featured hype single "Centuries", namesake "American Beauty/American Psycho", the everywhere earworm "Uma Thurman", futuristic "Immortals" was in Big Hero 6 (at the end of 2014), and now the group is continuing the hot streak with a re-cut version of the album's opening track, "Irresistible", with a little help from Demi Lovato.

The music video just dropped and it patterns its concept in homage to *NSYNC's "It's Gonna Be Me" music video with a personal twist. For those of you who aren't boy band supernerds, that particular little ditty was actually *NSYNC's sole #1 hit on the Billboard Hot 100 and was the second release from the group's now iconic No Strings Attached album in 2000, also known as the album that Adele's 25 just pushed aside for the most copies sold in the shortest span.

The song was another Max Martin-penned smash (fast forward and the man's still crafting hit after hit) and featured the five members posing as (admittedly kinda creepy) dolls on a store shelf. It was a not-so-subtle allusion to the overall statement of naming their sophomore album No Strings Attached. They had escaped the clutches of Lou Pearlman, they had jumped labels to the Cool Kids in Pop party at Jive Records (also home of Backstreet Boys and Britney Spears at the time), and were pretty damn adamant in quoting Pinocchio by addressing the haters to say they "got no strings to hold [me] down".

That's right, boys & girls -- long before Zayn was giving interviews about how he felt stifled because One Direction was too under its handlers thumb, my heartthrobs were making jokes about being products themselves.

Not only was the premiere of the above video an event in my young life -- watching the MTV "Making the Video" half hour docu-special was one, too. Remember when MTV actually aired programs about music? Good times.

Now here we are, almost sixteen years later (yikes, I'm old) and Fall Out Boy not only bagged the original director of the "It's Gonna Be Me" video for the "Irresistible" vid treatment -- Wayne Isham (who also directed "Bye Bye Bye") -- but offered Chris Kirkpatrick and Joey Fatone cameos. Those terrifying actual *NSYNC dolls that were sold in stores in 2000 also made appearance, complete in their original packaging. If you're silently asking if I had one of those dolls, the answer is obviously yes. And obviously I had Justin.

Put it this way: Demi Lovato was barely 8 years old when "It's Gonna Be Me" hit television screens (and would join the cast of Barney & Friends with pal Selena Gomez two years later).

It's official -- my teenage obsession is now the stuff of pop culture nostalgia.