A thing like that.

Side B too. She had slam dunks she left off!!

Emotion was a damn near perfect album. CTTF and this song are both just pretty alright.

Who’s gawking? 30+ year old men listen to her cos she consistently drops bangers.  Looks have nothing to do with it.

She’s 32 and this is a song about masturbation with a video where everyone present is older than a teenager (one performer drastically so), even ignoring the incredibly obvious overtures to the LGBT community in her music CRJ isn’t really writing music that is intended exclusively for teenagers.

I only recently heard “Cut to the Feeling” for the first time (yes, yes, I’m old and out of touch), and while this song is good, it can’t help but feel like a bit of a letdown after that. Then again, it’s hard to top absolute perfection, which “CttF” is, in pop song terms.

You’re not my supervisor!

Check out Garfunkel and Oates “Go Kart Racing Accidentally Masturbating” on YouTube.

After my disappointment with pretty much the entirety of Robyn’s new album, my gay heart is glad that the Queen of Self-Love and Queen of Gay Product Placement came out with a great song. Who needs all the saints today when we just need the one that is CRJ.

OMFG. GUESS WHAT COMES OUT TOMORROW:

Was hoping there’d be word of the new Chaka Khan album—I love that single.

I haven’t winced so much at a childbirth related story since, well, this:

That ostensibly edible arrangement appears to be like ninety percent honeydew.

Really sad to see no mention of Philip Glass’s Candyman score. I’m not sure if it fits into any discernible trends or if it is just unique, but it is haunting in a good way. I would very much like to understand more about how it fits in with the schema: it seems to mix synthesizers, voices, repetition of notes, and…

Being a sucker for “sounds like a horror movie”-type music, I fell easilly into the dark ambient genre... Lustmord (aka Brian Williams) is one of my favorites and has scored quite a few film and tv creepshows...

How horror film scores evolved in general: They went from actual music to gigantic slams on the soundtrack designed to force you to jump out of physical pain.

I think the explanation for phenomena such as Max Martin, Ace of Base, and Roxette is that the Swedes are a fussy, buttoned-down, milquetoast people who can be relied upon to produce the weakest, most watered-down and lifeless version of anything, be it international smash chart hits, vaguely reggaeish electronic pop,…

I didn’t realize how much I love Swedish pop or pop adjacent music. This was top marks all around.

and no mention of Elliphant

You missed the best ones: