AtomicMess

Now that I've had at least 4 hours of sleep, I'm coming back to finish this thought with a "the label should/could wake up and push something/give her something to push". I forget sometimes (maybe we all do?) that it's not just SOLELY an artist doing all the work. There's promo and advertising people. There's photographers and videographers. There's people doing a storyboard for a music video. There's producers and mastering engineers. There's a legal team checking to make sure some video or album concept isn't going to get them sued. There's managers above that whole team. There's managers above them, too. You'd think the people at the top would apportion out some cash to all the people below to get all of that together, and then take it to the artist and say "congrats, we've greenlit all this shit for X # of dollars, that's your budget, we think X is a good single to put it behind, here's the slice of the pie where you put your creative input into it". And I'd expect all of that to come with a lot of persuasion and force from the label, because as someone in their roster, it's their JOB to produce content for them, at the end of the day. That's the whole point of a label/contract, right? "You fund me and my talent and make art, and you turn around and take that art and sell it, and then anyone involved gets a cut of the profits." If they don't work/produce/create, nobody is making money here, and the contract is just rotting with no revenue generation. Assets that do not asset generally make bean counters unhappy, unless they're happy to say "your contract says you owe us X, and until that's paid off, you can't even beg for money on the street without us seizing it" and just let an artist dig their own grave. I think any failure of any of our faves to "do literally anything" comes down to more than just them as the sole entity chosing or not chosing to do shit. There's more heads involved. There's got to be. Or maybe I'm just dense and that's not how it goes at all. I mean Azealia basically just does whatever she wants (or doesn't want) regardless of who is involved, so I guess others probably can/do too. TL;DR - Kim's whole team should be getting something coming off Unholy notoriety here. There should be something going on - generating buzz. Visuals. A MV teaser. Interviews talking about an album. Repressing old music on vinyls. Remixes. Something. Kim can't be doing it all; there's gotta be some money hungry bastards trying to turn a buck into a buck-10 off her shit.

Sweet, awesome, wonderful, fabulous, guess I'll just kill myself waiting for Booq Fawn or whatever.

Hi yes I'm tuning into the Grimes news can someone give me a summary of what her hobgoblin ass is up too? She done breastfeedin the babies yet or are we still not getting new music until they're off to daycare?

Foxes had a MV shot where she just went in a circle in a crappy gas station parking lot years ago and it's got over 9 mil views to date. If a local bitch like that can get it done, why the hell can't an artist coming off a huge and hot feature with radio play get the pennies together to do *literally* anything. Fucking record yourself twerking on a 2000s Sony cybershot for all I care - do *something*.

You'd have more than that. I recall someone dropping a link EONS ago to some shit on Spotify - some bland Twink literally ripped off all of XCX world into their own album.

Everything is Embarrassing was supposed to be a singular moment not a career defining anthem.

Omg good for pappy.

Jealous. >>Marina >>"Old" So...some gay in their 30s? (It's me. I'm the 30s gay) 50% can't blame em (prime place to find some trade), but also like, put down the thirst bby and engage with the music.

GDI not me missing the 1k post by....1 post. I'll dump the rest of my (good) photos and vids later. I was 5th row @ her show in DC. It was so lovely - but she spent so much time on the other side of the stage. I was like, center-left, and she spent all her life center-right

Just thinking about when I saw her in concert last year (and when I had my phone on NOT 4K and NOT RAW so my pics and videos came out garbage vs what they could have been )

I love it when you speak, right down to your jump scare image signature.

Watch us get an Adele style power ballad album about love and roses. Goth subversion.

That's my problem with ADIAML - the politicism feels very "14 year old edgy girl on Tumblr in 2012 thinks she just uncovered grand conspiracies about women and the world that 7 billion other people have *NEVER* ever noticed, and is so ANGRY about it that something *NEEDS* to be said, as if Betty Friedan didn't already write 'The Feminine Mystique" 50+ years earlier". It just gave me a lot of "gen Z discovers politics for the first time and is SHOOK", which shocks me because it's Marina, we *know* she ain't a brand new teenager who's like "omg...ppl sexualize women?????? DAE think its creepy???" It feels lyrically reductive for her. I'm so used to a blending of sarcasm and intellectualism and personal experience and emotion that gives me something very high brow and nuanced, but still somehow light and pop; ADIAML's politics served me some weird valley-girl idpol twitter algorithm buzzword salad instead. Venus Flytrap was cute, title track was a vibe, and "I Love you But I love Me More" was a star, but the tracks that were supposed to be more feminist, more political - paper mache, babes. Honestly, that artist Jax with the Victoria's Secret song did "It's a man's world and the fact that our waistlines and tits are being sold to us, by THEM, is just so stupid" better. (And I, personally, still cringe a bit at that song, but it's also not for me, so.) The (political) songs Marina gave open the album just feel immature in their stances, and just so very very green. It was just a jarring step backward Edit - Nah, I'm not done. Like, I think of Sheryl Crow and her fucking "goodbye Trump" song she did; and you know, vibe, camp, celebrate the emotions in the moment, wig, but it's not going to age well, because it's a specific moment, about a specific moment, and outside of that moment, it's got no staying power. That's kind of what ADIMAL did with the politics. I think it picked up on a vibe that several people were feeling at the moment of writing and production, but it didn't turn that into a message that could stand the test of time and be templated to stand in for/with other situations going forward - it just feels very...topical and on the nose, for that exact moment at release. That's the best I can explain it??

I fucking hated Froot for so long. I wanted EH Pt 2. The only thing I liked was the title track (my god will I belt that shit with my off-key vibrato like nobody else; car alarms go off every time), but then one day like 2 years ago I was like "Ugh. Fine." and gave it another go, and just - Blue. Forget. Savages. They HIT.

We're never going to get another proper album or even another 4-5 track EP at this rate; she ain't even giving the labels enough material to cobble something together before she drops/is dropped (schrodingers label exit) Legit wondering why she doesn't just make her own label, self-publish, and use some shit like Qrates to publish/distribute the physical media? Or is it that she'd firebomb the Spotify HQ and drag the top executive's wive's dog's twitter account when some upload doesn't go right and support does't email her back in .00005 seconds so she took it as a slight to her artistry?

So glad for, or so sorry that, whatever happened in this thread happened since I last checked in (I forget what page I left out on and I'm not about to try and figure it out) So I was listening through old leaks and materials - American Dream. Looks like Sky was pissed/fighting against her label/career even back then (song leaked 2011) and put it into a song, and it reminded me a bit of Marina's 'Miss Y', which was a similar vibe expressing frustration over her career and what she'd done and where she was going at that time. It makes me wonder how many artists have tracks buried that came from them being in a place of frustration and stagnation and they just pumped it out in the studio.

Thinking 'bout MOTDF , wishing it would show up soon.

Sky thread soaking up all the drama juice.

Ice Spice could never.

Based on the teaser and beat alone, I thought this would be a...faster song? I guess? I don't hate it, but I don't love it. But I don't hate it.

Speaking of, miss miss did those nuclear seasons stems/instrumentals that our legend dropped two weeks ago make it into any of your masterposts/archive posts? The OG link is already dead.

So......Tilda Swinton?

I feel like there is some lore here, but I'm afraid to ask. (I'm asking)

I think the single/video choices were...a choice. Good Ones was honestly good for me, 8/10, and set the theme IMHO (see below re: Demonic/Sexy) but then the rest didn't feel like it matched up to the energy. New Shapes was ok. Baby should have cooked a few more months in the womb if they were sure *that* needed to be a video. I won't dignify "Every Rule" or Flop4U other than this line. Lightning and Yuck had SUCH potential. Sorry if I Hurt You as well. Conclusion: Sabotage. Riggory. Other shit should have been pushed as singles/videos. Eh, she did tweet that "deal with the devil". The thing for me is that it's not just that she's a singer. She's also a powerful songwriter, as we've seen by all of the leaks and demos that have gone to other artists, as well as writing credits. That's a STRONG asset for any label, and if her contract is up and she's looking at renegotiating, any kind of a deal that includes better coin and spotlight on that front is a strong bargaining chip. Conclusion: depends - do we want coin and kickbacks and a budget, at potential cost of artistry, or do we want music and creativity before dollars? Good Ones? Yes. I wanted that whole black widow/vamp/dark vibe. Everything else just kind of melted from there, for me. (Used to Know Me was cute though.) We got sexy in all of the videos, I'll say that, but it wasn't demonic and sexy. Conclusion: It was....sexy-ish.