“Oodles O’ Noodles Babies” by Meek Mill Review

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Oodles of Noodles isn’t a sensible dinner choice if you have more than a few dollars, but when it’s all you can afford, instant ramen might as well be five-star linguini. It's a meal that has come to represent the struggle of low-income families, but when revisited during better times, it can taste like nostalgia, a feeling that Meek Mill mines lovingly and completely on his new single “Oodles O’ Noodles Babies.” Taken from his upcoming album Championships, “Oodles O’ Noodles” takes a poetic, haunting look at Mill’s tough beginning and road to success.

Mill recalls his hardships over a smooth sample from “Love Changes” by Mother’s Finest, touching on everything from the memory of his father to one judge’s keenness on keeping him behind bars. He’s uncharacteristically calm, with his usual fiery resolve replaced with tranquility. Though his emotions threaten to break after the first verse, he eases into an interlude about his relationship with law enforcement (“We ain’t never believed in the police, they was shootin’ us”). Meek acknowledges that many won’t ever make it out of poverty; capitalism is draining the poor and engorging the rich. Yet he remains hopeful: “And the story goes on/If you make it, you amazing.” In Meek Mill’s mind, living with the possibility of change makes the struggle worth it.

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“Say, can you hear” by Men I Trust Review

, Download New Movie The Montreal dream pop trio Men I Trust make such warm, delicately twee bops, a single spin will make you want to buy gingham. But don’t be fooled: Beneath the surface of their sepia-toned, blissed-out sound are sharp, biting lyrics. “Say, can you hear,” the lead single from their forthcoming first album with frontwoman Emma Proulx, Oncle Jazz, celebrates the power of observation. “You’re self absorbed, raving about your cryptic ways,” Proulx sings nonchalantly over a burst of vintage synths that sound like organs and bright, reverberant guitar. Proulx’s observations only get more cutting from there, as she notes how her subject walks through life with a ceaseless air of narcissism: “Waiting for the world to bend around you,” she sings with cool detachment in the refrain. The self-absorption comes across as chilling, and when met with the song’s perfectly chipper melody, “Say, can you hear” becomes jangle-pop fit for a David Lynch film. 3D song download download

XXX: Language Album Review | Pitchfork

, Download New Movie Hip-hop in South Korea has made it over to the mainstream, partly due to the massively popular music competition show “ Show Me the Money ,” which is like is like “X-Factor” with more hypebeasts in bucket hats. As the reality TV program has gained popularity, major Korean record labels have become more willing to invest in burgeoning rap stars instead of the typical idol or group. XXX’s Kim Ximya, who raps on top of production by the duo’s other half FRNK, has suggested that the commercialism of Korean rap has killed the authenticity of the genre, as it increasingly mirrors the formulaic nature of K-pop. “For most of the Korean rapper population, I feel they did not write about what they actually felt or what they were actually doing,” Kim said in an interview with Billboard . “They were making music they thought people would like to hear.” On their debut album Language , XXX present themselves as the alternative to the sanitized, hyper-glossy rap music typically p...

“Flicker” by Rina Sawayama Review

, Download New Movie People of color are constantly stigmatized for their names, whether from biased hiring managers or teachers who butcher pronunciation while reading attendance sheets. These moments are often demeaning, like one of the most fundamental elements of someone's identity is burdensome or atypical. But on “Flicker,” the latest single from the Japanese-British artist Rina Sawayama , such experiences are transformed into an ecstatic, self-assured pop song meant to uplift people who, in her words, are “misunderstood for who [they] truly are.” “Flicker” reflects on Sawayama’s experience of having a “difficult” name herself; in the process, she subtly critiques social constructs that dictate what a “normal” name is. Over fluorescent synths and jittery drums, she urges listeners to take pride in their names and remember that they are better than the homogeneous faces on TV screens. “They flicker but they ain’t gonna shine like us,” she croons in the catchy, jubilant chorus...

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