#zak abel
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REVIEWING THE CHARTS: 04/05/2024 (Taylor Swift, Tommy Richman, Kendrick Lamar's "euphoria")
Just a week after her album’s impact, Taylor’s been dethroned by… Sabrina Carpenter! She grabs her first #1 on the UK Singles Chart with the smash hit “Espresso” and welcome back to REVIEWING THE CHARTS!
content warning: language, Yeat praise
Rundown
As always, let’s start with the notable dropouts, which are songs exiting the UK Top 75 - that’s what I cover - after five weeks in the region or a peak in the top 40. Now this week, we bid adieu to: “The Tortured Poets Department” by Taylor Swift (it got three-song-ruled and dropped out from #3, more on that later), “act II: date @ 8” by 4batz featuring a remix by Drake (not his best week, more on that later), “Von dutch” by Charli XCX, “Kitchen Stove” by Pozer, “Whatever” by Kygo and Ava Max, “Murder on the Dancefloor” by Sophie Ellis-Bextor and FINALLY, “Lovin’ on Me” by Jack Harlow.
As for our gains, we see healthy boosts for “Pedro” by Jaxomy, Agatino Romero and the late Raffaella Carrá at #60, “Outside of Love” by Becky Hill at #54, “Evergreen” by Richy Mitch & the Coal Miners at #46, “The Sound of Silence” by Disturbed at #42 (yeesh), “These Words” by Badger and Natasha Bedingfield at #22, “I Don’t Wanna Wait” by David Guetta and OneRepublic at #20 - I guess obvious covers and remixes have a good week - then finally, a song hitting the top 10 I’m personally very happy with: “A Bar Song (Tipsy)” by Shaboozey at #6. #1 incoming? Please?
We also continue to see the rise or, rather, resurgence of Amy Winehouse’s catalogue due to the biopic, with “Valerie” with Mark Ronson at #38, “Back to Black” at #39, and a re-entry for “Tears Dry on Their Own” at #49, which peaked at #16 when Ye’s “Stronger” was #1 in 2007. On that same album, he says he hates Nazis, look how far we’ve come. Anyways, “Tears Dry” contains a sample of “Ain’t No Mountain High Enough”, made famous by Marvin Gaye and Tammi Terrell, which didn’t chart in its original form for the longest time here. It peaked at #6 in 1970 but only in the form of a cover by Diana Ross, whose version charted whilst Freda Payne’s “Band of Gold” was #1 - just shows that we don’t really remember the bigger hits of the time. The Boys Town Gang reached #46 with their cover in 1981, Whitehouse and Jocelyn Brown both charted with covers coincidentally in August of 1998 - they peaked at #60 and #35 respectively - and finally, the original first charted at #80 in 2013, amazingly still its peak, and briefly re-entered earlier this year. “Tears Dry” itself was sampled the last time Amy made the top 40 in 2023, with Skepta’s #28-peaking tribute “Can’t Play Myself”.
As for our top five this week, we start in the dregs with “i like the way you kiss me” by Artemas at #5, “Beautiful Things” by Benedict Cumberbatch at #4, “Too Sweet” by Hozier at #3, then of course Taylor Swift’s “Fortnight” featuring Post Malone at #2 and “Espresso” at #1. It’s an interesting one today, folks, with a lot of unique and frankly, fantastic stuff to cover, so let’s start with… Kygo?
New Entries
#75 - “For Life” - Kygo and Zak Abel featuring Nile Rodgers
Produced by Kygo, Nile Rodgers, Ollie Green and Franklin
I’m honestly a bit surprised Kygo is still notching chart hits, especially without a big name attached this time. Sure, Nile Rodgers is a legend, but he’s doing so much dance-pop garbage in his later years that I don’t think many people check specifically for his collaborations, so there’s got to be something in this that’s unique, right? Aaaaaaand it’s a sample. It’s a nostalgia bait sample of a 2000s EDM track because of course it is. French house act Modjo debuted with “Lady - Hear Me Tonight”, which spent two weeks at #1 in 2000 and is an absolute classic I still return to today, even if Modjo were basically a one-hit wonder. “Lady” of course is built on a sample of “Soup for One” by Rodgers’ own band CHIC, which comes from a 1982 soundtrack album, never charted and kind of been eclipsed by “Lady”, largely because the original is honestly pretty bad, uninteresting and surprisingly stiff for an 80s funk track, with some of the weakest and most slap-dash implementation of synths. “Lady” really took the best parts of that song - its undeniable guitar melody, that isn’t even put to great use in the original - and constructed an entirely new, incredible song out of it. So I can’t tell if it’s pathetic and desperate for Rodgers to try and reclaim it, or something that speaks to the power of musical transformation. Oh, what am I kidding? It’s Kygo, it’s just kind of boring. It’s a rote piano house track that goes for the same tropical atmosphere Kygo has been doing for years - a lot of the same festival synths are there, it’s all full of bubbly swooshing that actively sound like pastel colours. The only real hook of the song is taken from Modjo and re-sang by Zak Abel, with slight lyric modifications taken from the “I’m Good (Blue)” department of refusing to allow for fun in your dance songs, and even that just feels desperate. What did Nile Rodgers even do here, man? Sign a legal document saying you can use the hook? It’s not even his Goddamn hook.
#69 - “Solo” - Myles Smith
Produced by Peter Fenn
Myles Smith is a singer-songwriter I hadn’t heard of until today but has been active since at least last year and is making at least some consistent buzz so I was interested to see what his first slow-burning chart hit here has to offer and… are we just, IN, 2012, 2013 now? We had festival house with the last song, the next song is heavily Yeezus-inspired, and this is a full-on Aloe Blacc stomp-rock song. It isn’t bad either - I actually had to get used to hearing his richer voice on this kind of scattered clap-stomp-holler folk track, and whilst this is nothing unique given the solemn pianos, spattering of strings and of course, that jingling indie folk rolick, that doesn’t feel particularly organic on this one, it still is far from bad. The lyrics are somewhat generic but not in an awful way, and the “so low”/”solo” double meaning is somewhat clever or at least, would be if in the context of the song, they actually meant separate things. It’s a bit annoying that it’s the main conceit because both have negative connotations for Mr. Smith here, so it just feels like he’s repeating himself rather than elaborating on his feelings or presenting a dichotomy. I imagine it’ll be a lost on a few people due to botched execution, which bothers me because it was an active attempt at clever songwriting that gets kind of lost in sonic translation. This sounds like I’m picking apart the song’s flaws but it is really just a fine little woodlands jams with a great singer, infectious hook and by the end, a damn fine melodramatic string section. I can see it growing on me, especially due to its gorgeous outro, but for right now, I’m somewhat lukewarm, not going to raise a fuss if it ends up smashing though and in a Noah Kahan world, I suppose it’s quite likely.
#64 - “If We Being Real” - Yeat
Produced by Synthetic, Radiate, Fendii, LRBG, Perdu and Dreamr
So terrible news: I like Yeat now. I’m still not granting him his silly little umaluts, and I won’t go too in-depth here, mostly because there’s another song worthy of in-depth analysis, and every piece Yeat’s put out fits into the jigsaw of the album’s narrative as a whole… it would require a lot more time and space, and frankly words, that I’m willing to give #64. No track feels unnecessary on 2093, the atmosphere is consistent across all 24 tracks, and lyrically, it’s a concept album, which I would have never expected from Yeat and he pulls it off brilliantly both sonically and thematically without straining himself to areas he probably couldn’t reach like trying to be super lyrical or stepping away from rage pads. Given the album’s experimentation and length, I wasn’t surprised by the lukewarm commercial reception, but I did at least expect maybe the songs with Future, Wayne or Drake on the deluxe, to have charted by now, when this hasn’t even happened in the US. So when the penultimate track on an album that’s over an hour in its standard issue becomes his first solo hit in the top 75, I have to assume TikTok virality is involved.
Regardless, I’m glad it’s here because it’s brilliant. Sonically as a separate track, it’s one extended verse over a corrupted industrial beat that cracks in right after a mystical intro full of textured but meandering strings, that get swooshed out of existence by a cinematic, malfunctioning clunker incorporating Yeat’s inhuman ad-libs, manipulated behind vocal recognition, into infectious loops within the beat. This is one of few songs - another’s coming later - where I can understand the sheer amount of producers. Lyrically, the title refers to Yeat or more accurately, his psychopathic billionaire character, attempting to shed some of his CEO veneer and ultimately failing, adopting a lot of the violent, power-hungry rhetoric the rest of the album relies on, making it a pretty ironic and depressing title, especially when considering its place in the rest of the album, coming right before the… actually honest and heartbreaking closer, “1093”. In the backhalf of this album, Yeat’s bragging sounds increasingly monotone and routine, and him rapping in and out of distorted filters or going up and down from his traditional murmur to a choking yell, exemplifies how sick and tired he is of the lyfestyle he curated for himself. This song in particular ends with him barely on beat for a beat that doesn’t even really have a beat, becoming a factorial ambiance more so than anything coherently rhythmic. I have no idea why this song in particular is going viral - it doesn’t have a chorus or even really some of the catchier, more potent lyrics on the album, and its beat barely functions as such for the vast majority of the song - Hell, it’s not even one of the album’s integral moments like the opener, “Bought the Earth”, “ILUV”, “Shade”, “Riot & Set it off”, or really countless others, but I’m not complaining because the sound design, the care placed into thematic and narrative consistency, it’s all still here. This is a 10/10 album, and if this song gets more people to check it out, I really can’t be upset with that.
#58 - “Love Me JeJe” - Tems
Produced by Guilty Beatz and Spax
So what’s “Love Me JeJe” actually mean? Well, in Nigerian Pidgin, it means “gentle” or “tender”, and the use of a more regional term rather than the English actually contributes greatly to why I think this song works: Tems’ buttery voice has always been able to display both coldness and a sensual warmth, often at the same time, but on some of the bubbliest guitars I’ve heard over an Afrobeats rhythm since the genre started charting consistently, she’s fully in that second category. Hell, most of the lyrics are pretty basic here, especially the practically meaningless chorus, but that’s to its benefit because thinking too much about this song defeats its purpose: to be gentle. It’s a frankly adorable expression of love and care at its most optimistic extent possible. Despite the clean, tropical percussion, it still feels cute and homegrown. Hell, the second verse, after a nice back-and-forth choir vocal, even references the Nigerian electricity provider that’s apparently nationally infamous for its power outages, with the lyric comparing the love she feels with her partner to the feeling when electricity comes back on in the village and all her neighbours inform the locals. Combine that with how breezy this is, the easy-flowing bridge into an outro full of murmuring, chatter and reverb-drenched laughing, it just makes for a really cute, likeable song. Not necessarily what I expected out of a lead single from Tems, but a delightful surprise. Now to balance that with pure hatred.
#50 - “euphoria” - Kendrick Lamar
Produced by Cardo, Kyuro, Sounwave, Johnny Juliano, Yung Exclusive and Matthew “MTech” Bernard
There’s part of me that finds it quite funny that Drake gets into serious beef with an incredibly analytical and perfectionist rapper like Kendrick right after putting out his own exposé of himself. For All the Dogs is as much of a dissection of Aubrey Drake Graham, albeit perhaps unintentionally, as Kendrick or really anyone could perform, as long as you’re paying attention. It’s been like that (no pun intended) for a while, but his latest is the most obvious and desperate attempt at clinging to status and image that it places his insecurities fully on display. You could recite lyrics from that album on a jazz beat and call it a diss track, so the fact that Kendrick went back to back with damn near dissections of Drake’s paranoia - especially on the Instagram follow-up track he made that is chilling - as well as a myriad of different issues he has with Drake, simply because… well, he doesn’t fuck with Drake. One could argue that this feud is complex and storied, with so many different beligerents… but the motives behind it are genuinely a lot simpler than most rap feuds, and the diss tracks that are made from it are way more straightforward. They just outline the reasons they dislike each other, almost systematically, it’s genuinely refreshing, or at least a lot more than what’s going on with Quavo and Chris Brown, yeesh.
This track in particular is as calculated as can be, acting as a dissertation on why K-Dot doesn’t really like Drake too much. It’s condescending, damn near academic, with its smooth jazz intro and categorical shoot down of each possible avenue you could hit Drake from. We have sextuple entendres on this thing, a total of three beats, two of which are cheap-sounding but absolutely murderous drill bangers, and Genius annotations that rival War and Peace when combined. I’m not a lyrical expert, and there’s so much in here that I didn’t get until I was pointed towards that direction by Genius annotations, Reddit, X, or, embarrassingly, YouTube Shorts. You don’t need to research or analyse for this to hit hard though, there are plenty of lines that aren’t going over anyone’s heads… until you look into the exact way the bars are constructed and suddenly they have 20 double meanings and hidden easter eggs. This is really sheer venom, filled with so many layers that I wouldn’t be surprised if he genuinely wins a GRAMMY for it - and it would be in character considering Drake doesn’t even nominate his songs anymore. It’s already having an effect too, that 4batz album came out today, and he’s not signed to OVO as rumoured. Ye’s on the record… but not the already existing and heavily-streamed Drake remix. Already, he may be losing some of that prestige.
As far as it is sonically, it’s six minutes of murder, and Kendrick’s delivery is energised, violent, damn near deranged at times, to perfectly balance how, somewhat subtly through his meta commentary about his own bars and albums, the lyrics are basically an essay. It has an introduction, a conclusion, a hypothesis, written examples, he even presents counter-arguments and weaves them into his own analysis. By the time he was going extremely in-depth about his experiences as a father, and just repeating that Drake knows nothing about that, it almost felt like overkill. My personal favourite lines and ideas presented here are the concise slow dagger of the intro verse, the “Demun”/”throwaway” scheme, the voice and character he puts on between “Cutthroat business” and “I’ll explain that phrase” - he’s like a disappointed teaching assistant, obviously the YNW Melly line and its set-up, the incredible Daft Punk line that got a cackle out of me on first listen, then followed up by a mocking interpolation of one of Drake’s most revered songs, the straightforward rant about everything he hates that references an iconic moment of DMX’s trademark honesty (rest in peace), the “record” scheme in verse three, and when he started the fake Canadian accent, I just lost it. Drake’s biggest weakness here is that when he’s funny, I’m laughing at him, but when Kendrick’s funny, I’m laughing with him, and much louder. If he does respond, unless the man tells us that Kendrick’s whole life and career has been a farce, or he brings, like, the actual former President Obama on the track or something, I can’t see how it tops this. This is one of the best diss tracks ever in terms of sheer detail, and might honestly be one of the greatest throwaway rap singles period. It’ll be tough to beat.
#31 - “MILLION DOLLAR BABY” - Tommy Richman
Produced by Max Vossberg, Jonah Roy, Mannyvelli, Sparkheem and Kavi
This is the sudden breakout hit for Virginia rapper-turned-singer Tommy Richman, which actually comes in two versions on Spotify, the original and a more distorted “VHS” version. Also, this is brilliant. Sure, Richman just sounds like Brent Faiyaz, but a trend I haven’t been able to talk about on here necessarily but has been very exciting for me is the return of grittier, groovier synth funk and hyphy beats into underground hip hop and R&B, with this representing the more melodic end of that sound, which is typically restricted to Midwest and Dirty South rappers. The sound design on this one is actually even unique to that sound, starting with a bizarrely British-sounding Memphis rap vocal loop which I think isn’t a sample and is just him doing a bad impression, filtered below an infectious beat that actually took me by surprise. It even has cowbells and the type of punchy jabbing drums that I love from classic southern rap, but instead of the smooth-talking rappers you usually expect over this, we get a Brent Faiyaz impression that didn’t click with me until hearing this song. I never really got his appeal until I hear it over this and I start to realise the very distinct new jack swing element to his vocals, as he pretty seamlessly transitions from soulful double-tracked harmonies to much more rhythmic, half-rap flows. Now this ISN’T Brent Faiyaz… and I still don’t really like Brent Faiyaz, but hearing his wannabes I think helped me gather what was distinct about him, and the literal Richman North of Richmond here pitting his filtered splatter of vocal ideas and riffs over the beat in a very Devil-may-care fashion exemplifies the elements I do like about him, just with an instrumental that I personally like a lot more. Also, the VHS version is labelled as such but is really just like a bass-boosted version of the song that sounds like it was done in 10 seconds in Audacity, though the vocal mixing sounds a bit different too. I would love for someone to explain why that was the version I ended up adding to my playlist, because I couldn’t tell you.
#8 - “I Can Do It with a Broken Heart” - Taylor Swift
Produced by Jack Antonoff and Taylor Swift
I know I wrote my whole Taylor spiel last week, but I’m not bothered about this one at all, and I really did expect it to be a fan favourite, mostly because, as the one track I actually enjoy on the standard version, she’s having fun! The lyrics are actively vapid, which doesn’t feel like the intention when she’s singing over soppy adult contemporary but very much feeds into the almost childish character she plays here over synthpop with an actual pulse. The synths here sound like a theme park she’s taking the boy to, especially with the backing vocals and chatter samples implemented into the ambiance and classic Antonoff wonky synths - though some of this doesn’t even sound like it’s in his ballpark. Like were Marian Hill or Sofi Tukker ghost-producing this? Some of these loop choices and flashy sound effects are frankly ridiculous, in the best way of course because the song is camp and fun. Sure, some of Taylor’s lyrics still come off a bit awkward, mostly because of her choice of slower melodies sometimes clashing with the fast-paced patter of the synthscape, but that’s a nitpick. I do love this song, I think it’s fun, Hell, I think it’s funny which is something Taylor has always kind of failed to translate to me in the past, so that is something. I just don’t think we have the same sense of humour. Does she like Norm Macdonald? I don’t feel like she does. Correct me if I’m wrong, Swifties.
Conclusion
It should be incredibly obvious who gets Best of the Week, it’s Kenny, easily, with “euphoria”, and I’m sorry, Swifties, but Yeat better. “If We Being Real” takes away with the Honourable Mention pretty easily as well, though really, strong competition and strong week all around - Tems was close too. There can’t be a Dishonourable Mention in this climate so, Worst of the Week goes to Kygo and Zak Abel for “For Life” that “features” Nile Rodgers, it genuinely just is a lazy template of a song. As for what’s on the horizon, I’m not sure. Dua’ll have some impact, but outside of that, time may have to tell. For now, thank you for reading, long live Cola Boyy, and I’ll see you next week!
#uk singles chart#song review#pop music#kendrick lamar#drake#taylor swift#kygo#zak abel#nile rodgers#yeat#tommy richman#tems#myles smith
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Release: July 14, 2023
Lyrics:
Endless summer
Lost love, now it's back again
I've been right here waiting
One touch and somethings in the air
Got my heartbeat racing
I got that feeling again
Like it's an endless summer
I got that feeling again
Like it's an endless summer
I got that feeling again
No time for regrets
No time for sleep, yeah
Not fucking leaving
When your with me, yeah
I got that feeling again
Like it's an endless summer
I got that feeling again
Hands up, raise them to the sky
'Cause I got you by my side
It's all love every single time (single time)
And it takes me higher
I got that feeling again
Like it's an endless summer
I got that feeling again
Like it's an endless summer
I got that feeling again
No time for regrets
No time for sleep, yeah
Not fucking leaving
When your with me, yeah
I got that feeling again
Like it's an endless summer
Ohh-whoa
I got that feeling again
Rain, rain go away
Summer's here to stay
Cheers to better days (endless summer)
Rain, rain go away
Summer's here to stay
Cheers to better days
I got that feeling again
Like it's an endless summer
I got that feeling again
Like it's an endless summer
Songwriter:
No time for regrets
No time for sleep, yeah
Not fucking leaving
When your with me, yeah
I got that feeling again (that feeling again)
Like it's an endless summer
Ruth Anne Cunningham / Mats Lie Skare / Alan Walker / Gunnar Greve / Fredrik Borch Olsen / Zak David Zilesnick / Marcus Arnbekk / Ollie Green / Oliver John Marland
SongFacts:
Get ready to witness the remarkable collaboration between Norwegian multi-platinum artist Alan Walker and British singer-songwriter Zak Abel for their latest single, “Endless Summer.” The vibrant dance-pop track embodies the carefree and blissful essence of the season, with rich, organic melodies that seamlessly blend into a euphoric chorus accompanied by groovy bass-lines and subtle percussion.
Zak Abel’s soaring vocals perfectly complement the positive and hopeful message of the song. Already generating over 1.5 million impressions on socials, “Endless Summer” promises to be a staple for unforgettable moments with loved ones this summer. With Walker’s impressive track record and Abel’s rising star power, this collaboration is an absolute gem in their forthcoming careers.
Speaking on the track, Walker explains “”Like most people, I’m always looking forward to summertime. It’s the most exciting and blissful season, and it’s the best launchpad for joyful moments with family and friends while I’m on the road. It was these bright moments that inspired me to create a song that captured the buzzing mood into an everlasting summer soundtrack, and Zak Abel’s talent brought it to life in a way only he could do.”
#Youtube#Spotify#Alan Walker#Zak Abel#Endless summer#hit of the day#music#music video#video of the day#youtube video#chaos radi o#good music#2020s#2020s charts#2020s music#2023#dance#dance electronic#dance pop#progressive house#lyrics#songfacts#pop#387
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🌴
#music#palm trees#electronic music#house music#edm#dance music#kygomusic#kygo#tropical house#zak abel#for life#new music
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Song Review: Kygo featuring Zak Abel & Nile Rodgers - "For Life"
I previously reviewed “Whatever,” Kygo’s collaboration with Ava Max. I didn’t enjoy that one as much as I had hoped, but when I saw that Kygo had released another track, I decided to give it a chance and see if I would appreciate this more. “For Life” is a collaboration with Zak Abel and Nile Rodgers.
Musically, it sounds pretty good for an EDM track. However, I was disappointed to hear that the…
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#2020s#2020s music#dance music#electronic music#Kygo#music#music review#Nile Rodgers#Zak Abel#aeschtunes
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ei pessoal, faz tempo... finalmente voltei pois estou agora com um computador novo, vocês ainda querem uma stuff do zak?
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Alan Walker & Zak Abel - Endless Summer (Official Music Video)
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Rising Star Zak Abel Delivers Emotive One-Shot Video For New Single ‘What Love Is’
Rising Star Zak Abel Delivers Emotive One-Shot Video For New Single ‘What Love Is’Directed by Dumi Siwo (Anne-Marie, Ella Henderson, Bree-Runway, Tom Grennan)EU / UK Headline Tour 2023Plays London’s Brixton Electric – May 23rd
Zak Abel, currently putting the finishing touches to his forthcoming album for new label BMG, today unveils the fantastically emotive one-shot video for his recently…
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Zak Abel and Sheku Kanneh-Mason perform Sam Boat ft. dancing by Nikita and Amy
#zak abel#sheku kanneh-mason#strictly come dancing#scd 2022#nikita kuzmin#amy dowden#week 8#results#Youtube
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Release: March 30, 2018
Lyrics:
I guess this is what you get
Throwing pebbles in the ocean, yeah
Watching ripples as they spread
Turning to waves and come back again
Over your head
Oh, darling, darling, darling
I had so much love to give, you took it all
I ain't falling, falling for it
Do you hear these words the way they're meant at all? Oh
You probably think this is your love song, baby
This ain't nothing like a love song, baby
Just because I let you drive me crazy
You probably thinking it's love song, baby
Promises you never meant
Sick of going through the motions (yeah)
But your messing with my head, messing with my head
You made me question the devotion, yeah
Oh, darling, darling, darling
I had so much love to give, you took it all
I ain't falling, falling, falling
I ain't never falling for your tricks no more, oh oh
You probably think this is your love song, baby (love song)
This ain't nothing like a love song, baby
(This ain't nothing like a love song)
Just because I let you drive me crazy (drive me)
You probably thinking it's your love song, baby
You probably think this is your love song, baby
(This ain't your love song)
This ain't nothing like a love song, baby
(Good bye)
Just because I let you drive me crazy
(This ain't your love song)
You probably thinking it's your love song, baby
Badu-bu-du-dub-du-du
Badu-bu-du-dub-du-du
Badu-bu-du-dub-du-du, du-du, du-du
So I'm letting go
Badu-bu-du-dub-du-du
Badu-bu-du-dub-du-du
You don't even try
Badu-bu-du-dub-du-du, du-du, du-du
Dub-dub-du-bud-du-du
I guess this is what you get
Throwing pebbles in the ocean, yeah
You probably think this is your love song, baby
(Got me think this is)
This ain't nothing like a love song, baby
(Nothing like a love song)
Just because I let you drive me crazy
(Drive me crazy)
You probably thinking it's your love song, baby
Oh ho, this ain't your love song
You probably think this is your love song, baby (oh ho)
This ain't nothing like a love song, baby
(This ain't)
Just because I let you drive me crazy (oh)
You probably thinking it's your love song, baby
Songwriter:
Wayne Anthony Hector / Steve Mac / Zak Abel
ArtistFacts:
👉📖
Homepage:
Zak Abel
#new#new music#my chaos radio#Zak Abel#Love song#music#spotify#youtube#music video#youtube video#good music#hit of the day#video of the day#2010s#2010s music#2010s video#2010s charts#2018#pop#soul pop#funk soul#electronic#r&b#tropical#lyrics#songfacts#1450
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#20 -- Because I can
For @adallegra
I know I will get yelled at for this but when has that ever stopped me?
Because for all intents and purposes, you and Lost Frequencies are the same person in my head.
BECAUSE
ALSO BECAUSE, YOU EDM GREMLIN OF MY HEART
And don't think you escaped, @lil-grem-draws.
The Lily of our Hearts.
The Evader of Hugs.
For our shared love of the most epic band to have ever existed
For the absolute peanuty chaos
SING IT LOUDER FOR THE BACK
#sebastian's musical owls#three song asks#lil-grem-draws#adallegra#no limit - lost frequencies/zak abel#high on life - martin garrix/bonn#dance the night remix - dua lipa/verdun remix#don't stop me now - queen#judith - a perfect circle#don't rain on my parade - barbra streisand#Spotify
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(DJ AG64) OVERTIME 285 in Podcast is ready. New features on this week: Taylr Renee, Stadiumx, Suncatcher, Exolight, Nile Rodgers, Kygo, Zak Abel, Markus Schulz, Daxson, Alex Sonata & TheRio, Equinøx. Have Good Fun
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Emma Bürklin (@plush__baby):
Earlier this year we completed 6 videos for @panicatthedisco filmed over the course of 9(.5) days. This was a massive undertaking for our crew and cast and this entire team knocked it out of the park. I will never get over the intricacy and care of every aspect. Thank you to everyone who made these happen❗️
Directed by @breadandwalter
Executive Producer: @jesyodio
Producer: @plush__baby
Director of Photography: @ericbader
Production Designer: @sokocreations
Editors: Brendan Walter, Kevin Hindriks
Production Company: @teenager.ent
Color: Bryan Smaller, Kevin Hindriks
UPM: @doriansthomas
1st AD: @taylormade215
Script Supervisor: @andishezohoori
Choreographer: @monikafelicesmith
Costume Designer: @stylistbrooke
Key Hair & Makeup Artist: @makeuphair_mayra
Groomer: @aikafloreshair
Gaffer: @kylebartreid
Key Grip: Anthony Schrader, James O’Connor
Sound Mixer: @life_jedy
Location Manager: Pete Abrahams
VFX: Taylor Armstrong
Animators: Kevin Hindriks, Gon Borela, Glen Dones, DJ Belga, Paula Gohing
SHIFTai @fotokem_la
Stunt Coordinator: Travis Wong
Casting: @rebelcasting
AE: Jonathan Rosenblit
1st AC: Rich Hawkinson
2nd AC: Brian Freeman, Kyle Deven, Greg Hatton, Deepak Adhikary
DIT/Utility: Jacob Seldes
Ronin Op: Ben Fredman
Steadicam: Will Sampson, Quaid Cde Baca
B-Cam Op: Geoffrey Brent Shrewsbury
BBE: Justin Sadler, Jim Ed Willis, Sam Needham
1st SLT: Mike Winokur, Paul Kane
2nd SLT: Sam Needham
Best Grip/Driver: Richie Brush
Dolly Grip: James O’Connor
Grip: Nick Limina, Abel Soto, Rich Ferrat, Christian Andrew, Shane Greavette
Boom Operator: Ethan Rhanielle, Alex Gilroy
Art Directors: Devin Parker, Spencer Trent
Set Dresser: Mitch Dillon, Reno Bennedetti
Leadmen: Shay Turner, Zach Riddle
Pyro Tech: Anthony Delzio
Lifeguard: Tony Whitmore
Production Coordinators: Kalid Hussein, Nathan Vaughan
Office Production Coordinator: Ariel Hutchins-Fuhr
2nd AD: Alexandria Cardiel
2nd 2nd AD: Teck Holmes
AD PAs: Nafeisa Johnson, Anthony Sturdivant
Office PAs: Jubilee Daws, Jane Kim, Hollis Dohr
Truck PAs: Alex Reyes Méndez, Colin Hagiwara, Sean Lass, Jay Arias, Jordan Pelzl
Set PAs: Collin Wade, Kyle Ali, Jem Murillo, Corey Cunningham, Skylar Conner
Assistant Costume Designer: Anastasia Magoutas
On-Set Costumer: Maggie Kimball
Costume Assistant: Lucas Ciotti, Rachel Apatoff, Brooke Mulkins
Seamstress: Olga Podymova
Costume PA: Marissa Channing
SPFX Makeup Artists: Brittany Fontaine, Sam Tansey
HMU Assistants: Rob Sheppy, Sophie Guzman, Julie Dinh, Ashley Lee, Kandi Hernandez, Charde Thompson, Stacey Gonzalez, Nadine Robinson, Megan Gray, Carmen Martinez
Assistant Choreographer: Riley Roberts
Key Crafty Attendant: Sabino Salas Miranda, Raul Aguirre, Josh Gresham
COVID Officer: Stephen George, Caitlin Hiroto
Set Medic: Melissa Reed
Security: Crew Protection
Stunt Double: Nikita Teterev
Studio Teacher: Bettina Russo
Drivers: EJ Smith, Bill Colino, Josh Collins, Malik Riley
Starring:
@onlyleah as Maggie
Mike Naran on Guitar
Nicole Row on Bass
Dan Pawlovich on Drums
The Beer Boys: Mike Viola, Rachel White, Jake Sinclair
Robert Javinett as Manager
Jesse Merlin as Host & Stage Manager
Angel Ahabue as Salesperson
Galen Howard & Nafeisa Johnson as “The PAs”
Mauricio Marte as Medic
Zak Cassar as Masked Man
Monika Felice Smith as Teacher
Christian Valentino Maita as Young Brendon
Nora Harriet as Young Maggie
Kids: Dominic McDonald, Aurora Lewis
Jester: Galen Howard
Dancers: Crystal Chestnut, Cierra Crowley, Edith Morales, Genna Moroni, Katherine Cheng, Adriano Bettinelli, Cedric Thane Sanders, Hugh Aparente, Nicolas Karosy, Robbie Bianton
Cameos: Mike Naran, Nicole Row, Dan Pawlovich, Morgan Kibby, Butch Walker, Brandon Dermer, Suzy Shinn, Rachel White, Pete Wentz, Betty Who, Spencer Smith, Evan Taubenfeld, Nina Jordan, Tatjana Vujovic, Jake Wesley Rogers , Sam Barbera, Linda Ignarro Smith
Funeral Extras: Hannah May Evans, Jasmine Wilson, Abraham Baltazar, Robert "Rexx" Gonzales, Galen Howard
Extras: Ronee Collins, Chibuike Nwuda, Born M'Allah, Graham Selden, Gigi Ganza, Toky Mahamaro, Ludovica Rossato, Elise Biscaro, Jimmy Lee Nguyen, Stephanie Paige, Daniel Stonewall, Olivia Lodge, Hayley Olivia Strubbe, Mariah Salae Jackson, Mary Morgan Bond, Laura Dromerick, Drake Williams, Molly Malin, Shreya Jhalani, Zachary Colvin, Hakop Mkhsian, Michael Parker, Brittany McVicker, Umar Saqid, Romy Evans, Harsimran Ghotra, Andreina Boada, Richard Follin, Brianna Gurdzhyan, Andejela Belosevic, Cairo Spencer, Angela Lin, Robby Ché, Jonel Awit, Pearrie, Darius Levante, Stefan Freeth, Julia Cornell, Gordana Simunovic, Cort King, Robert Rodriquez, Ramona Tibrin
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Here for the unusual asks stuff !!
41,94 . Also, i wanna add smth of my own .
I'm assuming you live in Norway. So , have you gone on one of those road trips with those jaw dropping views that the internet talks so much about? I love those kinda places so much . Norway seems like such a dreamy place to live . Do you really see that kinda view often?
I'd love to know the answers , if you're comfortable sharing them.
Have a nice day :)
DK, my darling, thank you so much! ❤️
41. top 10 favorite songs
Ooof, this is a tough one, and it changes all the time. But currently, I'd have to go with:
1. You're Losing Me - Taylor Swift
2. Trust Me Mate - Dean Lewis
3. Empty Room - Jamie Miller
4. champagne problems - Taylor Swift
5. Cruel Summer - Taylor Swift
6. Calm Down - Rema & Selena Gomez
7. Endless Summer - Alan Walker & Zak Abel
8. Wish You The Best - Lewis Capaldi
9. The Middle - Jay Filson
10. How Do I Say Goodbye - Dean Lewis
94. favorite lyrics right now
"'Cause there's a light gone from your eyes
Like the whole world's not as bright until you find another high
There's so much pain inside your voice
And you try to drown it out with anything to fill the void" - Trust Me Mate by Dean Lewis.
As for your final question: I do live in Norway, yes, and I can confirm that those breathtaking views are every bit as breathtaking in real life, and it's so easy to experience. You can practically drive from anywhere, in any direction and experience some truly wonderful sights here in Norway.
I'm originally from a city on the west coast, but I've lived in Oslo for eight years, which is on the east coast, so I've driven from there and to my hometown many, many times, and there are so many roads you can take just for that distance alone that lets you see some truly gorgeous parts of Norway. So yes, you definitely get to see those kinds of views if you go on a road trip here, regardless of whether you drive west, east, north or south!
I hope you're having a wonderful Tuesday. ❤️
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