The Best Pop Music of 2023 – Warungku Terkini

Listen: Charli XCX, “Speed Drive”


Because Music

Christine and the Queens: “To be honest”

On “To be honest,” Christine and the Queens scales a mountain of self-actualization, shedding earthly anxieties—heartbreak, gender dysphoria—as he ascends toward the pearly gates of enlightenment. Uplifted by swirling synths and angelic coos, he heralds a Franglais party in the clouds where vulnerabilities can be belted out and no shadow self goes without a toast. Lofty as it all sounds, “To be honest” is Chris’ easiest-to-love song in years; at its beatific apex, it practically glows from within. –Owen Myers

Listen: Christine and the Queens, “To be honest”


EASYFUN ELECTRIC EP

easyFun: ELECTRIC / ACOUSTIC EP

As PC Music prepared to close its books, longtime label affiliate and Charli XCX collaborator easyFun (aka Finn Keane) released this stereo pair of solo EPs showcasing his exuberantly overlapping takes on dance-pop, EDM, and pop-punk. His playfully outsized tracks indulge googly-eyed humor in full knowledge that it’s all been done before: The respective EPs open with electric and acoustic versions of music-production anthem “Audio” (“All I Ever Got”), but only the ACOUSTIC version sounds suspiciously like it’s about to play you “Wonderwall” (lol). –Anna Gaca

ELECTRIC EP: Amazon | Apple Music | Bandcamp | Spotify | Tidal
ACOUSTIC EP: Amazon | Apple Music | Bandcamp | Spotify | Tidal


Fever Ray Radical Romantics

Fever Ray: Radical Romantics

Trace the path of Karin Dreijer’s glinting scalpel as they dissect the many mutations of love. On Radical Romantics, the Swedish pop provocateur’s third album as Fever Ray, Dreijer digs around in the viscera of relationships, whether they be sexual, estranged, or familial. The thrust and surrender of Dreijer’s voice on “Shiver” mimics the thrill of desire as a squirming synth phrase boomerangs around them. Their silvery whisper on “New Utensils” gives a primal instruction: “Pull up a skirt/Grind the beasts.” On the menacing “Even It Out,” Dreijer takes a PTA meeting into their own hands, threatening a boy who once tormented their kid in school. Like the muck of emotions, these different strains of devotion are liable to bleed into each other without warning—sharp electronics stab into a trembling vocal, brutal lyrics spur a slick pop hook.

Dreijer—along with a cadre of co-producers including their brother Olof, Trent Reznor and Atticus Ross, and batida beatmaker Nídia—injects Radical Romantics with textures that are as sticky as sex, and as crackly as stockings snagging on dry skin. Their register bounds between ecstatic highs and a subterranean timbre, with their most sumptuous delivery slinking through “Kandy.” The song deals with lust in its slumbering state: “Can you bring me back?” Dreijer sings, their voice coated in a downy, fungal film. Their attention to detail feels both clinical and human, as if Dreijer has discovered the exact vibrational frequency of a forlorn voice, and decided to paint it rather than punch in the formula. –Madison Bloom

Listen/Buy: Rough Trade | Amazon | Apple Music | Bandcamp | Spotify | Tidal


Jessie Ware That Feels Good

Jessie Ware: That! Feels Good!

The exclamation marks punctuating That! Feels Good! telegraph its spirit with lightning precision: Jessie Ware’s fifth album offers an enthusiastic celebration of pleasure. Deliberately avoiding the glassy surfaces that coated her previous work, Ware and producers James Ford and Stuart Price opt for an unabashed revival of the glory days of disco, eschewing electronic pulses for full-bodied arrangements that skew close to Chic’s classic thump. Although Ware sometimes sings with an obvious smirk—the litany of double entendres on “Shake the Bottle” flirts with camp—That! Feels Good! is the furthest thing from ironic pastiche. Its bright, bustling hedonism lives by the words Ware sings on “Free Yourself”: “If it feels so good, then don’t you stop.” –Stephen Thomas Erlewine

Listen/Buy: Rough Trade | Amazon | Apple Music | Bandcamp | Spotify | Tidal


Kali Uchis Red Moon in Venus

Kali Uchis: Red Moon in Venus

A little over a decade since getting her start with a DIY trip-hop tape, Kali Uchis has blossomed into a consummate Latin torch diva. Red Moon in Venus, the Colombian-American singer’s third album of sultry, bad-bitch anthems and emotive reflections on growth, sees her vamp, whistle-tone, and murmur sour-sweet nothings into a lover’s ear. This bilingual, slow-burning ode to self-empowerment offers a guide to healing a broken heart while staying pretty, perfumed, and a little petty. Uchis isn’t afraid to be cocky about it, either: Musing on her ex’s new boo, she sing-raps, “At the end of the day, she’d eat my pussy if I let her.” –E.R. Pulgar

Listen/Buy: Rough Trade | Amazon | Apple Music | Spotify | Tidal


Kelela Raven

Kelela: Raven

Raven is an uneasy sound bath of an album where soothing, ambient club tunes mask bitter realizations that standing in your truth is often lonely and destabilizing. But Kelela doesn’t wallow in despair. It’s an open invitation to everyone who seeks refuge in the bumping bass and kinetic energy of grinding bodies, who are reeling from implosive friendship breakups and dodging calls from parents back home: Take off your shoes, hang up your coat, and vibe. –Heven Haile

Listen/Buy: Rough Trade | Amazon | Apple Music | Bandcamp | Spotify | Tidal


BMG

Kylie Minogue: “Padam Padam”

“We don’t need to use our words,” Kylie Minogue reminds us near the end of “Padam Padam.” The Australian pop lifer has long been an expert at the non- or barely-verbal: the la la la of “Can’t Get You Out of My Head,” the yeah yeah yeah of “All the Lovers.” And she just knew this heartless year called for more hearty onomatopoeia. Pumped up by producer Lostboy’s thumping bass and engorged whooshes, Kylie didn’t just give the gays and girlies a new pop standard, she gave us a secret code. We hear it and we know. Padam. –Jesse Dorris

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The Price of Pop Fandom – Warungku Terkini

The Price of Pop Fandom

So why is this happening? For the biggest tours, it’s a matter of demand, with millions of fans competing for a limited amount of tickets. (Some of those tickets are held back by ticketing companies to create even more demand.) Then add the scalpers and the bots. There’s also the reality that costs associated with producing a huge tour have risen right along with inflation, as well as the broad trend of performers needing to make the bulk of their income from touring. Together, these factors have created a tense, financially stressful ticket-buying market for anyone not willing to gamify, strategize, or pay exorbitant prices.

It is a massive, multifaceted problem that, depending on who you ask—fan, artist, ticket seller, or scalper—features a different enemy, and a different solution. Ticketmaster’s airline-style “dynamic pricing,” for example, supposedly solves the problem of resellers taking a cut by allowing the artist to charge what often ends up being sky-high prices, based on high demand. Springsteen was convinced enough to try it for the first time with his current tour, and subsequently angered his biggest fanzine so much that it ceased publishing. Still, there are fans in smaller markets like Tulsa who can see the Boss for only $17 (plus $5 in fees).

A Ticketmaster stub ripped in half over a dollar sign
6 Ways to Fix the Broken Concert Ticketing System

The high-profile debate over scoring tickets reflects a stark reality around class divide in the United States in particular: While somebody out there could expect to pay as much as $43,622 for a single Drake ticket, fewer than two in three Americans would be able to pay a $400 emergency expense in cash, and nearly 75 percent of millennials live paycheck to paycheck. Are pop tours still a populist artform when large swaths of average music fans can no longer afford to attend them?

We explore this question through a series of infographics focusing on ticket prices, drawing on numbers provided to warungku by Pollstar Boxoffice (for all shows worldwide) and TicketIQ (for North American shows), both calculated in U.S. dollars. We also talked to fans and secondary-market enthusiasts about their buying experiences, ranging from the rare cases of reverse sticker shock to strategies for boosting your place in line. We found fan coalitions that receive funding from resellers and bent the ear of the head of a ticket brokers organization, who argues that Ticketmaster, not scalping, is the common enemy.

Oh, and there’s a semi-happy ending for our Swiftie Julie—read on for more.

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Chappell Roan’s Gloriously Unserious Pop – Warungku Terkini

During that time, she also came to terms with her own queerness. She had never encountered any gay girls growing up, so she thought seeking validation from boys was the only option; after going out with a few, she slowly realized it was not. “I’m never dating a man again,” she tells me bluntly.“I’m not attracted to them, I don’t like having sex with them, I don’t think they understand me, I don’t think they make good art.”

Though exaggerated and fictionalized, the songs on The Rise and Fall of a Midwest Princess map a real-life journey to self-discovery. On “Naked in Manhattan,” she propositions a female friend to blur the lines between them: “Oh I’ve never done it, let’s make it cinematic/Like that one sex scene that’s in Mulholland Drive.” While many sapphic anthems can be coy, Roan’s are frank in their desire. She notes that this a wishful, and somewhat false brazenness: Three or four years ago, when she wrote about really wanting to fuck another woman on “Red Wine Supernova,” she had never even kissed a girl yet. “I was so scared of a girl being more experienced than me and judging me for that,” she says. “But when it all happened, it was like, ‘Oh my god, this is so natural.’”

Roan is now signed with Nigro’s Amusement Records imprint, and her latest run at stardom is proving more fruitful than her first. She is expecting to sell out most of her forthcoming fall tour, which includes two dates at the 1,800-capacity Brooklyn Steel. “Every week something massive happens,” she tells me. “The whole year is just me trying to catch up to the process.” Even this weekend has been overwhelming. Amazon Music named her their Breakthrough Artist of 2023, plastering a giant mural of her dressed as a gothic pageant queen in front of a luxury hotel in Williamsburg. She attended Kim Petras’ release party for Feed the Beast, where she was recognized by two local drag queens. Fans approached her nearly crying at the Greenwich Village gay bar Pieces.

Roan shows me a video from a fan, taken a day earlier, from the New York City Dyke March. In it, people splash around the fountain in Manhattan’s Washington Square Park, singing “Pink Pony Club.” “I’ve always wanted to go to a Pride parade, I just keep fucking getting COVID or I’m busy,” she says wistfully. “Next year, I will be playing.”

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How Regional Mexican Music Became the Year’s Most Refreshing Pop Breakthrough – Warungku Terkini

warungku Contributing Editor Isabelia Herrera’s column covers the most captivating songs, trends, and scenes coming out of Latin America and its diaspora.


On any given summer weekend in Brooklyn, you can roll up to a barbecue in Prospect Park and catch the magic of corridos up-close. On a dusty stretch of grass in the park’s southeast corner, families and friends celebrate birthdays, graduations, and good times with a slab of meat sizzling on the grill and a massive speaker on a plastic folding table blasting Peso Pluma. You can hear the 24-year-old’s voice at these daytime hangs, at the club, or, if you’re like me, at the after-parties where your friend insists on ending the night with drunken karaoke at 3 a.m. In 2023, the artist born Hassan Emilio Kabande Laija is everywhere, collecting billions of streams and spreading traditional Mexican sounds across the U.S. like never before.

Pluma is just one face in a much larger movement. Loosely assembled under the imprecise catchall term “regional Mexican,” artists like Fuerza Regida, Grupo Frontera, Eslabon Armado, Natanael Cano, and Yahritza y Su Esencia have been storming the charts. Decades after the category of regional Mexican emerged as a radio format in the middle of the 20th century, Pluma and Eslabon Armado’s “Ella baila sola” became the first regional Mexican Top 10 hit on Billboard’s all-genre Hot 100 in April; earlier this month, Pluma boasted 14 concurrent appearances on the same chart. While the subgenres that exist within the regional Mexican category—sierreño, corrido, norteño, banda, grupero, Duranguense, and others—have existed for decades (some for centuries), they have rarely appeared on the overall U.S. pop rankings.

And corridos tumbados, which have become the driving force of this commercial takeover, don’t sound like anything else on the charts either: Artists from both sides of the border are breaking through by combining the unabashed stunting of mainstream hip-hop and reggaeton with the rugged, sentimental sounds of traditional Mexican music. Instead of obvious pop hooks, you’ll hear trumpets, tubas, or a 12-string guitar, occasionally accompanied by trap snare rolls, a glossy dembow riddim, or a flurry of 808s. Rather than capitulating to the mainstream, they’re making the mainstream come to them.

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Isu Topik: Menghapus Review Album Pop Internasional. – Warungku Terkini

Di dunia kekuasaan pop, Tujuannya bukan untuk mendapatkan gadis itu, tetapi untuk menulis lagu terbaik tentang gadis itu. Ellison tidak hanya terpesona oleh subjeknya, tetapi juga oleh sejarah musik pop; Dari “Opportunity of a Lifetime” dan moral yang tegang dari “Problem” hingga soft rock yang lambat dan cerah dari “A Very Good Idea,” setiap kali lagu-lagu itu berubah menjadi romansa dengan angka. “Hei, ini hari ulang tahunmu” di jembatan “Li’l Christine” —sebuah sulih suara kecil — membawa mereka ke jalur punk dan Brill yang khas dari Material Issue. Masalah Material selalu memiliki melodi dan melodinya ada di eter, dan Ellison merekamnya. Ansani dan Zelenko telah membangun dunia pop yang terdengar lengkap sejak awal, seolah menunggu mereka.

Penggulingan Pop Internasional Itu dirilis pada Februari 1991, dan bulan berikutnya mereka membawakan “Diane” untuk saudara kandung berpakaian neon di MTV. musim semi. Ellison dan timnya mengira mereka ambisius ketika mengirimkan 60.000 eksemplar rekaman mereka, tetapi pada akhir tahun, Mercury telah menjual lebih dari 200.000 unit. Mereka segera beralih dari kancah lokal ke salah satu band rock paling sukses di Chicago. Mereka kembali ke Zion untuk bekerja dengan Murphy pada rekaman kedua atas permintaan Ellison, dan meskipun label Ellison memberi mereka kebebasan untuk meninggalkan Illinois, mereka kembali ke keakraban studio Shoes, keakraban Ellison dengan proses Ellison. hasil, 1992 Alam Semesta Tujuankait yang sama; Vokal berlapis yang sama; Kedengarannya seperti pengulangan lirik girl-crazy yang sama dari debut mereka, tapi tidak ada yang benar-benar menonjol. Penggulingan Pop Internasional Arus listrik.

Band ini dengan berani menganggap “What Girls Want” masih menjadi hit. Pertunjukan Dennis Miller– Tapi albumnya tidak laku. Meski merekrut produser baru. 1994, termasuk kontribusi dari Mike Chapman (yang pernah bekerja dengan Blondie) dan Rick Nielsen dari Cheap Trick untuk rekaman ketiga mereka; Lagu kota anehTidak bisa menarik band keluar dari kemerosotan mereka. Dalam bentuk paling murni Ellison, ide mereka cukup kuat untuk menghasilkan album tanpa anggaran atau keahlian mahal, dan suara mereka terhambat oleh uang dan waktu ekstra. Album terjual kurang dari 50.000 eksemplar dan Mercury keluar dari band dalam setahun.

Ellison tidak dapat mendamaikan kejatuhan mereka dari kasih karunia karena masalah material memprediksi momentum ke depan. Dia mungkin vokalis yang terkenal sombong, tapi itu karena dia yakin dia berbicara tentang kebenaran pop kolektif yang melampaui bandnya. “Dia pikir dia menyukai sesuatu yang kosmik,” kata Steve Albini kemudian dalam film dokumenter 2021 Material Issue. Abadi. Ellison menyelidiki apa yang menurutnya adalah inti dari kesadaran pop Amerika, menemukan detak jantungnya dalam waktu 4/4 dan kerinduan untuk membuat seseorang merasakan bukan hanya seseorang, tetapi juga patah hati. Meski band terus menggarap musik baru di tahun-tahun berikutnya. Lagu kota aneh— teman dekat Ellison; Posting yang baru diunggah:Pengasingan di Guyville Liz Phair—Saya merasa masalah konten telah berhenti.

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China telah meremehkan budaya pop dalam upaya untuk ‘mengendalikan’ kaum muda. – Warungku Terkini

Saat Beijing mendorong kelahiran untuk memerangi krisis populasi yang terus meningkat, Peng mengatakan kepada AFP bahwa langkah-langkah tersebut merupakan upaya untuk menunjukkan kepada calon orang tua bahwa aman untuk “membesarkan anak-anak mereka” di China.

Kualitas anak muda yang ditentukan oleh partai terancam oleh hiburan dan budaya anak muda China.

anting-anting Mengontrol apa yang dapat dilihat, didengar, dan dibaca oleh pemuda China telah menjadi kebijakan dalam beberapa tahun terakhir, dengan penyensoran internet dan tindakan keras terhadap pria yang memakai tato atau lirik hip-hop yang “vulgar”.

Dan sekarang kontrol ini diperluas ke permainan yang dimainkan oleh anak muda Tionghoa.

Peraturan tersebut telah memerintahkan perusahaan game top China untuk mengekang “sikap tidak sehat”, dan ratusan perusahaan telah berjanji untuk tidak menerbitkan konten “pemujaan uang” atau “membahayakan secara politik”.

Partai mendorong model yang sangat berbeda untuk anak-anak — Presiden Xi sendiri memperkenalkan istilah tersebut kepada siswa sekolah dasar dalam hal pemikiran politik.

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