Power Trip | “Nightmare Logic”
The third single, and title track, from the crossover thrashers’ forthcoming record is the best yet. Vocalist Riley Gale has always borrowed Chuck Schuldiner’s tortured snarl, but here he sounds utterly terrified. It’s difficult to sound scared over catchy metal, but somehow PT pull it off. Without the needless reverb of their debut, their new material demonstrates the true potential of the band. Better songwriting and clearer production? Yes, please.
Katy Perry | “Chained To The Rhythm”
We’ve finally hit peak ’70s music nostalgia worship with Perry’s bouncing ball synth-laden disco comeback single, and since Max Martin is involved you know it’s catchy and immaculately-constructed. Meanwile, Skip Marley is featured seemingly to give the song’s reggae flavor some back door legitmacy. It’ll likely hit number one, so let’s deal with being sick of hearing it now.
Desiigner | “Outlet”
I still don’t get his appeal. He’s this bizarre amalgamation of Future, Young Thug, and Fetty Wap, but his music just makes me wanna listen to those artists instead. On the plus side it’s (slightly) less repetitive than his previous single, and, of course, the hook will burrow into your head with shocking immediacy. As with most of his songs, though, the production is the best part. Here, he rides an arena-trap beat with lyrical brilliance such as, “That’s that guy snake/ Watch out for that guy snake/ Big bullets with the U-Haul truck/ So we move his ass ’round my place”. Can he go away now?
Fetty Wap | “Flip Phone”
It’s not as hook-tastic as his previous offerings, but as pedestrian pop-trap it’ll do. As trap music continues its total domination over radio hip-hop, guys like Fetty will have careers. Perhaps “Flip Phone” is most notable for its unusual song structure: hook, verse, bridge, outro. It’s unclear where this song gets its title from, and that seems oddly fitting for him.
Bush | “Mad Love”
What happened to the guy who wrote “Glycerine”? Sadly, this is further proof that Gavin Rossdale is a shell of his former songwriting self. “Mad Love” continues where Man on the Run left off, which is to say: milquetoast radio rock. Lyrically, it’s tempting to read this song (especially the chorus) as Rossdale addressing his former wife. But with such a lifeless melody, who cares what he’s singing about?