Welcome to Viberant’s weekly song roundup; where we take a look at some of the big releases over the past seven days and tell you our thoughts on them. Last week saw new singles from the likes of BROCKHAMPTON, Muse and of course, The 1975. Here is what we thought of them:
BROCKHAMPTON – 1998 TRUMAN: 8/10
It’s been a tough few months for America’s favourite boyband, losing member Ameer Vann after sexual misconduct allegations but the band have washed their hands with him and moved on in an explosive way with 1998 TRUMAN. The beat is crazy, it really seems like BROCKHAMPTON are trying to experiment with sounds beyond what we heard in the Saturation trilogy and they’ve definitely done that. Dom and Matt Champion deliver stellar verses while Merlyn is a beast on the hook and Bearface is his typical beautiful self in the bridge. Is it as good as the standouts from the trilogy of albums? Not for me, but it isn’t far off; and they seem laser focused and it hasn’t done anything to harm their progress towards upcoming album ‘The Best Years Of Our Lives’.
Billie Eilish – you should see me in a crown: 9/10
SIXTEEN YEARS OLD. Billie Eilish is an insanely talented, forward-thinking vocalist who at such a young age has already sent shockwaves throughout the industry, crafting bangers alongside Vince Staples and Khalid over the past six months. On her new song you should see me in a crown, she sounds dark and sinister over an insane, bass-heavy beat; proclaiming that she will “run this nothing town”. The title is taken from an infamous quote from Sherlock villain Moriarty which is very cool and if her future releases are anything like this, Billie Eilish will be here to stay.
DRAM – Best Hugs: 6.5/10
DRAM is one of the most adorable rappers on the planet, his happy-go-lucky positive attitude alongside his love of dogs proves this; and he is back with a new EP titled That’s A Girls Name. This is the lead single from that and while it is quirky with a catchy beat, it doesn’t seem to have much replay value, to me at least, and that is a shame because DRAM is usually so good at making straight hits (see Cash Machine and Broccoli as evidence of this). It’s enjoyable and I do like listening to it, but I won’t be coming back to it as the year goes on.
Greta Van Fleet – When The Curtain Falls: 7/10
Close your eyes and listen to this and you’d think it was a deep cut from Led Zeppelin or AC/DC. This is a comparison Greta Van Fleet have been cursed with since they rose to prominence but they don’t seem too eager to change their sound and for the most part I can understand that. When you can get a guitar riff that sounds that good and a vocalist whose delivery rolls back the years like Josh Kiszka can, why would you want to change? The song is good, no denial of that, but it will lose points on originality for obvious reasons.
Muse – Something Human: 2/10
I saw someone refer to Muse as “space Nickelback” on Twitter a couple of days ago and quite frankly I couldn’t have put it better myself. They sounded washed and unoriginal over a decade ago, what makes anyone think it would be any different here? They have tried to do something different and well it fell flat on it’s face. Those synth lines in the chorus are tragic and Matt Bellamy is his typical ‘please let me be Thom Yorke just for one day’ self on this snoozefest. Basically Muse are losers and you shouldn’t listen to this song because it sucks hard.
The 1975 – Love It If We Made It: 9.5/10
Oh, well go on then. Matty, George, Adam and Ross, aka The 1975 have released the second single from their upcoming album A Brief Inquiry Into Online Relationships and as far as context goes, it is a phenomenal teaser. It contains references to Donald Trump’s bizarre quotes, Lil Peep’s death and the daddy fetish, not to mention Matty’s frustration at the world as he sings about “a beach of drowing three year olds”. This is some of the best lyrical work of The 1975’s career and you’ll do exceptionally well to hear a better line than “Jesus save us modernity has failed us” this year. The instrumental is futuristic and as our very own Callum Galloway described it: “musical crack for the ears.”
88rising – History: 7/10
88rising is a mass media company that has gained recognition for it’s growing label of Asian music stars such as Keith Ape, Rich Brian and Joji. These artists have begun releasing songs under the 88rising name and History is the turn of perhaps the group’s most famous artist, Rich Brian, to show what he’s made of. The hook is catchy despite Brian’s fairly lacklustre vocals but it seems to work for the most part, somehow. The verses are strong and this is a song that will put a smile on the face for sure. I will be interested to see what is next on the horizon for this emerging label of artists, a collaborative project maybe?
Chance The Rapper – I Might Need Security: 8/10
Chance snaps on this song, really speaking his political mind on the current state of affairs over a chopped up sample from Jamie Foxx’s 2002 stand-up I Might Need Security; the title of this very song. He has never sounded this aggressive before as he seems genuinely irked and with a message he wants to send to the targets mentioned in this song, including Donald Trump and the police. It is far from PG and takes somewhat of a step away from what we usually hear from Chance, but his flow is still on point and his delivery is still classic of himself.
Imagine Dragons – Natural: 2/10
Do you really need me to justify the score of this? It is Imagine Dragons in 2018, they had like two decent songs in 2012 and they have tried to copy the formula of Radioactive ever since. Newsflash, they’ve fallen flat on their face every single time and their latest single, Natural, is no different. The mixing is appalling, like the drums genuinely sound like something from a distorted meme and don’t get me started on Dan Reynolds’ vocals… He sounds in pain in the chorus while you can barely hear him in the verses? I’m gonna be real with you chief, this ain’t it.
The Prodigy – Need Some1: 4/10
The Prodigy are back! Remember when they were making important, innovative music that was deemed ahead of their time? Well, buckle up because this certainly isn’t no Out Of Space or Smack My Bitch Up, this is a really bland ordeal of a listen which just sounds like a tiny development on some otherwise bog-standard EDM music. The breakdown in the bridge is cool on this song, I can’t lie the ending is decent, but the rest of it? It leaves a lot to be desired and makes me wonder what they have come back for? My main guess is that they need a few extra quid because this ship has long sailed, we aren’t in the acid house stage of music anymore.