C'est pas une raison
Pour tout foutre en l'air
C'est pas une raison, mais
J'étais en colère
Je ne sais plus comment
Demander qu'on m'aime
Je suis impatient, et
Tu me manques tant
Et puis tous les matins je me lève
Et je me demande encore ce qui m'est arrivé là
Et puis tous les matins comme en rêve
Je me demande encore ce qui m'est arrivé là
Oh
Je veux rentrer chez moi
Oh
Je veux rentrer chez moi
On ne m'avait pas dit
Que tant de lumière
Pouvait s'échapper
De dessous la terre
On ne m'avait rien dit
J'ai dû laisser faire
Parler à l'enfant
Du passage du temps
Et puis tous les matins je me lève
Et je me demande encore ce qui m'est arrivé là
Et puis tous les matins comme en rêve
Je me demande encore ce qui m'est arrivé là
Oh
Je veux rentrer chez moi
Oh
Je veux rentrer chez moi
Oh, prends le temps
De faire renaître
La vie d'avant
Lettre après lettre
Depuis tous les matins je me rêve
En quelque chose que le vent soulève
Ne plus jamais donner de nouvelles
Dans ton absence tout se révèle
Et puis tous les matins je me lève
Et je me demande encore ce qui m'est arrivé là
Et puis tous les matins comme en rêve
Je me demande encore ce qui m'est arrivé là
Oh
Je veux rentrer chez moi
Oh
Je veux rentrer chez moi
Sasha Fierce is a very polarising record. On one hand it has some the Beyoncé's most beautiful pop tracks and on the other it has some of her most outdated sounding productions which tarnish her discography.
Production on tracks like Ego or Sweet Dreams (and especially not rated bonus track Why Don't You Love Me) sound like a nice prequel to her next album 4, and tracks like Disappear or That's Why You're Beautiful also have a B'Day touch to them. But tracks that unapologetically sound like Sasha Fierce are outdated and not very worth it anymore (Radio!). If I Were A Boy being the exception.
As much as she delivers incredible vocals here and as always, this project has always felt odd and out of place. She wanted a taste of being a main pop girl, and it worked at the time. But looking back, I'm glad Beyoncé followed her need for new sounds and let herself experiment on future projects.
This is the record I had the least fun re-listening to and I'm convinced it won't change.
The xx followed me all throughout my teenage years but when they released this album I did not listened to it. Doing it in 2024 made me realise I was missing out on a lot and made me remember how much I missed their music.
I See You is a very good album with Jamie's dreamy and floating production reminiscing of their signature sound but with a brighter touch to it. It's more upbeat than I remember their music sounding. The instrumentation reminded quite a bit of Beach House.
Romy's beautiful hypnotizing voice still complements Oliver's very well — as they always have.
I am looking forward to anything they might do in the future and will absolutely go back to their first two albums. Romy released an album last year that I have yet to hear but definitely will.
Listening to Happier Than Ever for the first time in years, hoping it would finally grow on me, wasn't much of a great experience.
The album somehow feels cohesive and the tracks flow pretty naturally but it was hard for me to enjoy many of the instrumentation and most of the effects on Billie's vocals. The thing is, when she tries to deliver beautiful vocals on nice production, it's actually very good, even great sometimes. Halley's Comet being a great exemple : her soft voice on such a beautiful and well written ballad can only create an almost perfect song. I really wish there would be more songs like this one on the album. The harmonies on GOLDWING's intro are so pure and beautiful. For very different reasons, NDA is also another highlight on the album : The pulsating instrumentation with the crushed-electric-guitar sounding synth as well as the punching kicks and snares on the choruses have so much impact on me. (It made me think of Gimme What I Want by Miley Cyrus, I made a mashup back then btw). Also the transitions between some songs are very smooth, I really appreciated that.
On the contrary, some tracks feel like their production was made to feel experimental but failed to grasp my attention and even sounds bad. It felt like Billie wanted to be so different and cool on a song like Oxytocin. A track that I did not enjoy when the album came out and still can't bare. I also blame her brother and the album producer FINNEAS, whose production sounds so outdated to me. I really hope that she will let go of him and his production. I want her to explore new sounds with other producer on her next album, but I get that Billie Eilish is basically like a duo band.
I'll eventually go back to some of these songs but probably won't bother to listen to it in the future...
Still a very solid record. Re-exploring the standard version made me crave the (many) other excellent deluxe tracks from the deluxe version. This is another step forward bringing her on an even higher level.
The tracks are all well crafted, from the production to the vocals and melodies. The lyrics hit and simply work well on all of them. Having Jay-Z twice for a second time is absolutely not a problem as his verses bring a different touch that only makes Beyoncé shine even more when she comes back. While these features are not absolutely essential to the album, their presence is much appreciated, again.
The energy that results from the album is so positive and just makes you wanna bust a move and dance carelessly to the music.
Another great experience.
Suga Mama — 9,9
Upgrade U (feat. Jay Z) — 9,9
Déjà Vu (feat. Jay Z) — 9,3
Get Me Bodied — 9,3
Green Light — 9,3
Kitty Kat — 9,2
Listen — 8,9
Irreplaceable — 8,6
Ring The Alarm — 8,5
Resentment — 7,9
Freakum Dress — 7,0
Encore For The Fans — interlude
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