Flirt Flip - Single | DESKPOP
Pop Corner: Niall Horan is flirty and aloof, and is working with Adele's Meanwhile, Niall Horan said in a twitter Q&A that he worked Adele's team on his new single. Albums of A big year for recording acts of all sizes. "Come On to Me", one of the singles from the new album, has been making the rounds of night shows and pop-up concerts; it's also on the set. The experimental edge of her debut album, 's Aquarius, is fully realized on the new album. Tinashe continues pushing genre boundaries.
'Come on to Me' Is Paul McCartney's Guide to #MeToo-era Flirting
Echoing her heroes like Saint Pepsi and the Avalanches and especially DJ Shadow during his looser momentsI'm Dreaming bursts with color, bringing in horn sections to blare over spoken-word samples, twinkling bells to give meaning to pounding floor-shaking dance grooves, and a litany of guest vocalists who bring to each track a profound sense of personality.
This album intoxicates you with its sense of pop wonder. By the end of it you'll be dreaming too. It immediately sets the tone for what's follow: The excellent single "Bloom" has turned into an anthem for bottoms but so coyly dances around its subject that your mom can easily mistake it for something else. While many artists have used pop songs to examine gay culture through a sense of triumph, tragedy, or even kitsch, Bloom may be the first in a long while to revel in fun and flirtation.
Filipino pop punk band Flirt release new record and music video - Unite Asia
Bloom will soon have you dancing along with it. For Uchis -- born in Virginia but spending most of her youth between the US and Colombia where her parents are from -- her guest features on records by the likes of Tyler, The Creator and Gorillaz lead to some wondering what this sultry young vocalist was going to do for her full-length debut. Would she lean more into hip-hop? Would she go full-bore dance diva? Would she aim squarely for the Top 40?
Such questions were of no interest to Uchis, who spent time crafting Isolation into a pop record unlike anything else in While Camila Cabello found success in flirting with Latin textures inKali Uchis goes full-on bossa-nova, wrapping up her witty, sometimes acidic, and even fatalistic lyrics in a litany of styles that include Thundercat-indebted funk guitar, Damon Albarn-produced electropop, and Bootsy Collins-assisted funk asides.
Uchis represents Colombia's diverse musical styles in a contemporary context, sometimes switching languages mid-song just because she can. Although the stars behind the board stretch from Kendrick Lamar's in-house producer Sounwave to Tame Impala's Kevin Parker, Uchis -- co-writer of every song -- remains the stunning ringleader of this sultry circus, sometimes cooing out fierce political diatribes in as sweet a manner as possible.
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In the final part of the song, prior to the chorus's return, he goes into the deeper part of his vocal register, which has always signified Macca's sexy, burning desire, as in "Oh! He repeats "Yes I will", his own expression of consent to pursuit.
Later, his repeated "yeah, yeah, yeah" is a toned-down version of the yells that conclude the sweaty, hot performance of "" on David Litchfield's film, One-Hand Clapping Just as he optimistically approaches the puzzle of flirtation, McCartney is not bemoaning the loss of youth and vigor on Egypt Station. In the song that follows "Come On to Me," he ages gracefully: McCartney, after all, has always loved his birds, and here they are to signal hope once again.
McCartney's function as a cultural touchstone in conversations about age, gender, and sexuality is nothing new. When he arrived in the US the first time, McCartney and the other mop-topped Beatles, were visions of freedom, liberation from the boring conventionality of '50s gender boxes.
As the Beatles' looks and music revealed, boys could act more like girls, girls could act more like boys, and life could be a lot more fun in But those Baby Boomers who would go onto participate in or at least witness the sexual revolution, did not solve the morass of gender and sex-related problems we are still facing today. And McCartney himself wasn't always the perfect feminist in Beatles' songs, either. In "For No One" Revolver,the speaker bitterly observes his partner's process of preparing to go out, implying that her career stands in the way of attention he deserves.
In "Getting Better" Sgt. Pepper's Lonely Hearts Club Band, his speaker glibly confesses to being a physical and emotional abuser; the rhyme of "I know it's mean" and "but I'm changing my scene" strikes a trite note in the promise to change. It's not until he partners musically with first wife Linda after the break-up of the Beatles that McCartney's songs begin to express solidarity with women.
It's an understatement to say that this couple's oeuvre celebrates reciprocated sexual pleasure. They also wrote feminist-leaning third-person story-songs critiquing bad men in "Another Day" and "Beware My Love"which is the tradition that "Come On to Me" falls into. But what of the audiences who didn't follow McCartney into Wings and other solo work, but still think of themselves as Beatles fans?
To many of them, McCartney is and always will be a Beatle first, so in spite of his vegetarian ethos, he remains a favorite among Baby Boomers on both sides of the aisle. On other Egypt Station songs, McCartney lectures climate-change deniers, calling out their "captain" i.