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Exactly!

this is actually such a fascinating argument you can make here on a certain level, von dutch and brat is just the usual result of charli doing something inauthentic and commercial for the previous project - vroom vroom and xcxworld happened as responses to sucker, the overcommerical and overproduced crash was a response to the super diy how i'm feeling now, and sonically whenever charli feels too far from home, its back to the clubs. while uk pop music has been moving in a 90s/2000s dance/garage direction for the last few years (which she did acknowledge on crash with beg for you and selfish girl), technically even though they didnt deliver on it, both dua lipa and doja cat were talking about their next records being 90s rave inspired in like 2021. you can actually kinda hear the beginning stages of brat on 'what you think about me' on crash too, including what i think is a (sub)conscious interpolation of 'love me or hate me' by lady sovereign, which is kind of exactly the era that brat lives in. when it comes to von dutch, it is technically par for the course "commercial" in a world where perfect (exceeder) is randomly back in the charts after 20 years - but von dutch 100% predates saltburn, and no one could have predicted perfect (exceeder) and murder on the dance floor to make such huge comebacks on the heels of that film - it kinda seems like in this case, instead of charli being ahead of her time or "chasing trends", the zeitgeist actually set itself up for the release of von dutch and she kinda got lucky that that particular synth sound became popular again with perfect exceeder at the exact right time cool to think about

NOTG is one of her best tbh

When the album has Earthquakes and I Talk To Jesus reworked Lasstropico

OB cover has such a classic album look to it and we can tell she really put time and thought curating the visuals despite it looking pretty simple. Such a shame we only got one MV.

i'm starting to believe lana will properly announce the album and the roll-out will start after coachella as many others have mentioned here, it seems the most likely (watch her do this on a random thursday instead tho, i wouldn't be complaining)

I think she forgets she’s as big a star that she is, and she probably doesn’t even consider her mentioning the album when she did as ‘announcing’ it

She’s acclimating us to the desert landscape of lasso. That’s why it’s so dry. Her mind

They look like they’ve been expelled from the garden of eden or something

Me coming back to this thread every 2 days

Some albums were worse than others to be fair. UV and HM had relatively smooth rollouts. LFL wasn’t that bad, in hindsight, although it was frustrating, not having a solid release date until late May. NFR was insufferable. BB was a pretty short pre-release, although a bit messy because we didn’t get much info from anybody until songs were released. OB was a step in the right direction, with no misleading info or album title too much in advance, but Lasso is back to the basics, I guess

The Henry snippet is so Nectar of the gods coded. I know half the people complaining about it being boring would be begging for it to leak if it was labeled a 2013 tropico outtake

''fans who attended the exclusive listening experience reported that a slower version of the 365 song featured in the Boiler Room announcement snippet was played, but with no drop'' possibly to avoid giving away too much too far away from the release of the album Charli decided to use a remix instead of the album version of the 365 song in the Boiler Room announcement so the snippet from the second Boiler Room tease is a remix as well consequently since the passage which was in the second Boiler Room is part of the ????? track it means that the ????? track is the instrumental of dub remix of the Club Classics song with which she opened the main Boiler Room set tbh it sounds logical. it is safe to assume that the second single will have a late April release so I don't think she would put out the instrumental of the album version of the single nearly one and a half month before its release. putting out the instrumental of the remix is a fun way to spread excitement and hype without spoiling almost anything at all. what if the song about Italy which people who attended the listening party reported is actually a diss track to that Rose Mulet bitch who after writing the most pick me tweet I've ever seen was playing it cool by saying that she would now enjoy her vocation in Italy? this would be fire! hopefully Charli will have a savage diss track about her on the album (all these were just my shower thoughts. I apologize for the text having zero coherence at all)

I could do with that terrible AI cover of Charli singing Daddy Knows. The one where she can't hold a note and her lungs are giving out. It was amazing!

does anyone have the lois griffin ai cover of no angel because i kinda need it rn

Although i wish she’d do that, it’s not very much like her, to have a proper rollout

Taylor Swift - Midnights: The Complete Edition Dics 1: Anti-Hero Maroon Paris Snow On The Beach (feat. Lana Del Rey) Bigger Than The Whole Sky You're On Your Own, Kid Midnight Rain Vigilante Shit Bejeweled Karma (feat. Ice Spice) Labyrinth The Great War Dear Reader Disc 2: Mastermind Question...? Hits Different Glitch High Infidelity Would've, Could've, Should've Sweet Nothing You're Losing Me Lavender Edition (Target Exclusive Bonus Track): Lavender Haze

this is kinda what I've thought. did she even know they were filming her speech since the event wasn't filmed? It seemed like she was mentioning it casually, especially bc September is pretty far out. I know she dropped the come on Henry snippet, but I'd assume she would "officially" announce it by directly addressing her fans. It's prob more likely she'll do an official announcement during Coachella or on insta after/around Coachella.

IMO the Portals outtakes clear the entire album like

.

Announcement coming at or around Coachella performance

Someone else can edit and paste the text, I'm lazy https://www.abc.net.au/news/2024-03-15/jack-antonoff-take-5-interview-taylor-swift-lorde-lana-del-rey/103587884

So Von Dutch is not my fav song I've ever heard from Charli but it played constantly during my dream(s) last night 😭 so now it has finally clicked with me, so to speak I'm your number one I'm your number one

WAIT, this could be why she chose to announce the album this early, to get the press mediaplay about her releasing a country album before anyone else because she wasnt lying when she said the whole industry is going country - we are definitely going country.

it’s getting boring tbh

I'm glad though she announced her country album so early though because it looks like so many artists are on this train now, so she won't look like a copycat then 😅 Really curious for the cover but I don't dare to expect too much. Her covers are more often miss than hit to me 😅🙈 I think the only covers I really love are OB standard, and some alternate covers like BB red vinyl, Honeymoon UO and Chemtrails blue vinyl. I don't hate the others (except white OB), they are OK usually, but far away from favorite pics.

This one also seems great, the only complaint for me might be that after Snow on the Beach, there are basically just sad songs to the end of the album, so it might be a bit tiring for me

S - Sad Girl, Salvatore, Say Yes To Heaven, Season Of The Witch, Serene Queen, Serial Killer, Shades Of Cool, Smarty, SOTB, Spender, Stargirl Interlude, Starry Eyed, St. Tropez, Summer Bummer, Summertime Sadness, Summer Wine, Swan Song, Sweet

P - pawn shop blues, put me in a movie, pretty when you cry, paris texas, peppers, paradise, pin up galore, playing dangerous, prom song, put the radio on, pink champagne, puppy love

Taylor Swift - Midnights (2022). I cut many songs I still enjoy but I wanted to mix the standard album and the 3am bonus tracks almost at the same proportions so this came out and sounds... good? Lavender Haze Bejeweled Anti-Hero Snow on the Beach (feat. more Lana Del Rey) Maroon High Infidelity Midnight Rain You're on Your Own, Kid The Great War Bigger Than the Whole Sky Labyrinth Would've, Could've, Should've You're Losing Me

Jack Antonoff is pop's A-list producer. Here's what he's learned about songwriting By Al Newstead and Zan Rowe for Take 5 Posted Thu 14 Mar 2024 at 3:10pm, updated Thu 14 Mar 2024 at 6:08pm "There's always a door to kick down…" This is sage wisdom from Jack Antonoff — a man who, at this point in his career, appears to possess the keys to the entire pop kingdom. He's been the creative force of indie rock band Bleachers for 10 years and been touring and writing music for more than a decade before that, but Antonoff's solo artistry has been overshadowed by his status as a producer. That's an occupational hazard when you've worked with recognisable acts like Taylor Swift, Lana Del Rey, and Lorde on some of the most influential and universally lauded records of the past decade. From The 1975 and Florence + The Machine to Amy Shark and Harry Styles, Antonoff has shaped the sound of modern pop. But his credits also extend to indie darlings like St. Vincent, Clairo, and ex-BROCKHAMPTON ringleader Kevin Abstract, as well as legends like Diana Ross, Nick Cave and The Chicks. His CV has never looked more impressive, and the super producer recently attributed one person for his rise to being coronated as one of music's go-to names. "Taylor Swift kicked that f***ing door open for me," Antonoff said at the 2024 Grammys, accepting the award for Producer of the Year (non-classical) for the third year in a row. He talked about Out Of The Woods (from Swift's 2016 pop blockbuster 1989) being his big break as a producer. They've worked together ever since, including earning Swift four Album Of The Year trophies — the most in Grammys history. "She was the first person to let me produce a song, because there's such gatekeeping going on in mainstream music," Antonoff tells Zan Rowe for Double J's Take 5. "Like anyone's career, there's a list of people who didn't believe [in me], that stretches around the universe, but there's a few people who [did]." He'd have little trouble with gatekeepers these days, but Antonoff remembers the come-up all too well. "When I was a kid, it was 'how do we get to play this venue?' 'Well only bands at this level can play this venue'," he says. "I think a lot about what it's like to be a new or younger artist right now and what the avenues of trying to get your stuff out there are. "How do you get your music on the radio? On this playlist?" Antonoff doesn't have the answers but, much like his production and songwriting processes, simply asking what's possible is a crucial first step. Inspiration comes 'by any means necessary' Antonoff says the music he's drawn to hasn't changed considerably over the course of his career. "Stylistically I'll gravitate this way or that, but I'm always interested in the feeling of something and where it can take me. And that is bigger than genre or sound," he says. "The part you can't really describe feels the same but then it's always dressed up different. "I'm always trying to find that unnamed feeling. I know when I have it and I know when I don't have it. And when I don't have it, I long for it." Even after doing this for more than half of his almost 40 years, Antonoff says there's still no exact science for reaching those special, ephemeral moments. "I've used some of the most absurd words to try and describe a sound. Often, it's a lot of playing: 'No, there, there! Go'. It's almost like Marco Polo — you're guiding," he says. "Sometimes you know specifically 'oh shit, this needs this' Boom, put it in. 'Wow, that's exactly what it needed'. "Sometimes it's this esoteric journey of finding it. Sometimes it's literal: 'Hit it harder'. Sometimes it's 'Hit it like you know you're in trouble'," he chuckles. "It's literally by any means necessary." Antonoff's 'anything goes' method for translating abstract ideas into meaningful music is what a bevy of respected artists admire about him. Spirit vs technical skill He's been likened to chart-topping pop Svengali Max Martin, but Antonoff is closer to philosophical mega-producers Rick Rubin and Brian Eno with a healthy dose of Pharrell Williams — a prolific hit-maker with his finger on the pulse of the zeitgeist but not defined by it. Antonoff admits he's not a technical wizard. He's quick to clarify he isn't someone unable to switch off their 'producer brain' — dissecting how a song is made as he's listening to it. "Honestly, no! Because all that stuff is the top layer. Songs have such deep feeling to them that I'm not sitting around being like 'oh, the drum sound…'" he says. "Parts of the [craft] you master… and trust me, I spend more than enough time obsessing on that side of it. But I'm definitely more interested in things that you can't really define but are resonant. "I'm thinking more about what I feel from it, and that's the magic part. "There's only so many instruments out there, right? There's only so many notes, and notes between notes and what not. And yet, music just keeps coming out that feels new and exciting and the expression of one person. That's what I'm thinking about mostly." Antonoff's strength seems to be creating a cosy, mates-in-a-room space for artists to conjure that magic, comfortable to chase down and capture spells to their full fruition. "It's not that much deeper than that weird excitement of 'Oh, I can't wait to go to the studio tomorrow and be with so-and-so, who knows what we'll do?'," he says. As he's grown in ubiquity however, Antonoff's Midas touch has become the centre of a lot of online discourse. Depending on what you read, he's either revolutionised pop music or ruined it, and regularly faces criticisms that there is a 'sameness' to his sound. (The 'Antonoffication', as one essay has put it). Rather than spend his time getting frustrated scouring social media opinions, Antonoff is focused on the work. And he has a long list of artists seeking out his services to keep him busy. In the case of Swift, Lana Del Rey and Lorde, they've made multiple records together, striking up a bond that goes deeper than just professional. "Not necessarily friends," he explains. "But for me, I must have a very strong bond. It's very hard for me to get somewhere if there isn't some kind of magical connection there." "The more I work with someone the more I know about them, sometimes the more… I dream about what's possible." Artists love that sense of possibility, and like historic music partnerships — The Beatles and George Martin, David Bowie with Brian Eno and Tony Visconti, Michael Jackson and Quincy Jones — their comfort with Antonoff gives us revealing moments. "I want the person I'm in the room with to be on the recording," he says in a Mix With The Masters video, on the process of recording Del Rey's A&W. "Obviously that's going to happen with her vocal — but she's also the person who's like, sending a text, taking a hit of the vape, laughing about something… there's more of her in the song." Antonoff's origins Though he started writing songs at age "11 or 12" and cut his teeth playing rowdy folk-punk venues with teenage bands (called The Fizz, Outline, and later Steel Train), Antonoff never saw music as a viable career path. "I was of the generation where the gospel was 'It's an impossible job. Good luck!' So, I didn't think about it as 'this is how I'll support myself'," he says. Instead, making music was a compulsion. A way of life. "It was the language of how I communicated myself to the world… as time went on, I had to keep doing it. It's how I recognise myself." "I got pretty acquainted with imagining living with my parents forever," jokes Antonoff, who only moved out of home in his 30s. Born in 1984, Antonoff was a Jewish kid raised in suburban New Jersey. All three elements have become defining qualities of Bleachers, beginning with 2014 debut album Strange Desire. Even if you've never hit play on a Bleachers record, you've heard its members before. Antonoff regularly enlists his bandmates to play in sessions for his A-list clients. There's even a self-conscious wink to his status on Bleachers' new self-titled album: Coming in the wake of Antonoff's chart-baiting 2000s pop trio fun. (remember their huge hit We Are Young? Antonoff probably prefers you didn't), Bleachers has always been a deeply personal songwriting project. It wraps his love for Jersey idol Bruce Springsteen and anthemic 80s music ("it's a part of my duty to bring it into the future", he remarks) with open-hearted musings on home, family, and the devastating loss of his younger sister, Sarah, at age 13 to brain cancer. "It's so baked in: how you grew up, the things you saw, the things you were told, the way you were raised and where," he says of those recurring themes. "On a personal level, we can all spend, frankly, all our time re-looking at [it]. But if I can find the threads of that loop in my head that is also conversational to other people then I can usually find interesting songs in there." Lessons on songwriting He's a well-documented acolyte of The Boss but Antonoff's love for Tom Waits often gets overlooked. On Alma Mater — a track from the new self-titled Bleachers record featuring a brief cameo from Lana Del Rey — Antonoff sings about listening to the gravelly-voiced artist's album, Heart Attack And Vine. "Yeah, he's real formative to me," says Antonoff. "We all love lots of music but there's really very few artists or bands that you really know everything, right? Every album [and] song, every moment, every live recording. You only get a couple of those in your life — he's one of those for me." Hearing Hold On, from Waits' acclaimed Mule Variations album, was a "turning point" for Antonoff's songwriting. "Because it led me to this place of a tiny chorus, which I love," he says. "Sometimes you say so much in the verse, like 'God, he's saying so much in the verse. He's telling this whole Tom Waits story [with] all this poetry. And the chorus is just 'oh you gotta hold on, you gotta hold on…' YOUTUBE: Tom Waits 'Hold On' music video "It just, boom, says it. I like that because sometimes the chorus can be such a burden as this epic, biggest part of the song… wrapping it all up. But sometimes it can be simple." Hold On was a direct influence on his early Bleachers song I Wanna Get Better, "which is an important song to me." Like Waits', the song title anchors the refrain and an unabashed honesty, as Antonoff sings: "It makes so much sense," he explains. "And then, if you allow yourself to have that simple, straightforward chorus, you almost give yourself more space to be able to f**k it up in the verse and really go nuts in the story. "Because you're like 'well, even if I'm losing someone here, even if it's a bit much and they're going to have to listen 10, 20, 30 times to really get this whole story, at least they'll be able to have this moment that's very clear'." Whether it's with Bleachers or working in the room with some of the biggest names in music, Antonoff's process has always been led by intuition and leaving his heart "wide open". "I can't really do it any other way. I don't really finish songs if I don't put everything into it," he says. "That's what it is for me — I'm all there or I'm not there at all." Hear Jack Antonoff's full interview with Zan Rowe on the Take 5 podcast and ABC Listen app.

Taylor Swift - Lover (2019). The album is very very bloated in my opinion, and I keep changing my mind about it but here's a current list I have for it. Lover Cruel Summer I Think He Knows Miss Americana & the Heartbreak Prince The Archer Soon You'll Get Better (feat. Dixie Chicks) Cornelia Street Death by a Thousand Cuts All of the Girls You Loved Before London Boy False God Afterglow Daylight Deluxe edition disc 2: You Need to Calm Down Only the Young The Man Beautiful Ghosts Paper Rings It's Nice to Have a Friend Lover (First Dance Remix)

every time she tweets about ai i want to report her account for harassment

if she announced it for September idk what we could get at this stage, i don’t think we’re getting a preorder 6 months in advance (ocean blvd was 3 months and it was already long as hell) so it makes sense to me that she’s silent, it’s weird that she mentioned it last month but i can’t see anything substantial happening in the near future

V - Venice Bitch. On loop. That's all i need

Are you ok? No bitch I ain’t

tell me why I came here to say smth similar this era right now is totally fitting the Lasso aesthetic:

that's also why we got such hot photos recently

still holding out for a new song @ coachella

agreed! It’s been one of my all time favorites since it leaked maybe that’s why I like the Henry snippet so much

They are indeed mixed differently, slight instrumental and vocal adjustments. Mike is from 2012

I've never been successful in trying to rearrange Stars Dance. I want the bonus tracks shuffled into the main album and end the album on Love Will Remember but I can never figure out a flow. Especially with just how flawfree the album is as it sits. (though I can do well without Music Sounds Better) Birthday Slow Down Nobody Does it Like You Like a Champion (this track 4-5 flow doesn't work) Stars Dance Come & Get it Write Your Name BEAT Save the Day I Like it That Way Undercover Lover in Me Forget Forever Sad Serenade(?) Love Will Remember I also don't have Sad Serenade right now to know where to put it.

I tried doing this myself the morning The Eras Tour was released on Disney + but I could only reduce it to about 16 tracks. I don't have it on my phone but I think I removed; Paris High Infidelity Bejeweled Question...? (Might've kept this one idk, but i definitely removed the other ones) Sweet Nothing Labyrinth My only problem was trying to put the songs in a good order that flows well and makes sense lyrically.

I use this tracklist, can confirm it's a banger

i love & respect your strange takes always, but please - how is this her most commercial lead when Good Ones exists?

I personally think she’s sending us a subliminal message that we should leak more of her music

I’d even take the same snippet again at this point tbh that way she teases something, and she still doesn’t spoil anything else