Bree Runway & Yung Baby Tate: “Damn Daniel”
Over old school snares and with post-retro aesthetics, collegiate ingenue Keisha describes her admiration for one Damn Daniel, as does Felicia from further round the way, and suddenly it becomes clear why neither of them show up on his Instagram. By the time we get to “If you fuck with him, he’ll fuck all your friends”, it feels like the culmination of a 30-year pop feminism syllogism.
Rico Nasty: “iPhone”
Gecs gecs gecs but with a soon-to-be major vocalist, who’s not entirely wasted. Featuring a mask reference that predates the pandemic and a Tamagotchi reference that postdates the Nineties.
John Anderson: “Years”
A pretty straightforward song that achieves resonance once his voice drops six feet under to reassure his tombmate their descendants will survive them. Anderson’s control mocks Dan Auerbach’s high-drama arrangement.
Cardi B & Megan Thee Stallion: “WAP”
It’s called an uvula!
Hellbound Glory: “Dial 911”
Finally, a song from the point of view of the husband after his wife has stabbed him—for good or bad reasons, only they know. Yet he thinks their relationship can be saved even if he can’t, which is sweet.
Haim: “The Steps”
I know I already praised/complained about the chorus in the last Semipop Life, but I want to make special note of its shapeliness leading up to the big jump, as if Danielle’s pressing down hard on a spring, waiting for the right moment to go boing. That closing second “baby” is just mathematically incorrect though.
K. Michelle: “Table for One”
“Heartbreak is hard to swallow”! “You didn’t reserve it/So you don’t deserve it”! It would be a shame if no one wrote and sang lines like this anymore.
Travis Scott & Young Thug: “Out West”
Flute aficionado Scott relieves his psychic pain by reassuring himself that his friends are loyal. One of said friends, our Thugga, shows off his luxury-branded weaponry and explains how after enjoying “fire hydrant pussy” he wants to “cuddle and shit.” A good time is had by some.
Red Velvet - Irene & Seulgi: “Monster”
The synth pitchbending here is at least as subtle as that on any extremely serious Berlin post-dubstep record, and at least as fun as that on any extremely unserious Californian post-dubstep record. Happy Halloween!