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Mr. Mendes

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Mr. Mendes last won the day on May 25 2019

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About Mr. Mendes

  • Title
    Guess what? I don't care!
  • Birthday 01/09/2001

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  1. Mr. Mendes

    Fantastic album. The best of his career and a real AOTY contender.
  2. Mr. Mendes

    Sweetie, it doesn't take being a Swiftie to see that Taylor was the one clearly in the right with this whole situation. I'm not a Swiftie, and many people supporting her in this thread and on the internet aren't either. We're just logical human beings with a basic concept of right and wrong.
  3. Mr. Mendes

    Artist

    I'd look at Discogs first
  4. I've done this for a few artists on the forum and Ari is up next! I've been Ari fan since Dangerous Woman but really became a stan with thank u, next. This my ranking of the albums from worst to best. I'll include a track by track score to show you where the numbers came from. Bare in mind that this is totally my 100% biased opinion and you're free to agree or disagree! I'd love to hear your thoughts and what your own rankings are! Let's get going! 5. sweetener SCORE: 6.3/10 TRACK-BY-TRACK SCORES For an era that started so well, I was shocked at how much I disliked the album from the first time I heard it. It's worth noting that there are a lot of good ideas within the album and it's also worth noting that the album features some of her best songs (including my all time favorite Ari song, "no tears left to cry"). But the good just can't begin to outweigh the poor. By far the biggest issue is Pharrell's producing. While he was an amazing choice in the 2000s, his style never really updated with the times and in 2018, it sounded out of touch and dated. Couple that with features that are completely wasted (especially Missy Elliot) and Ari leaning into some of her worst tendencies as a singer and the whole experience feels frustratingly hollow and disappointingly bland. The album feels almost slapped together in places which is amazing considering it was the one that got a ton of time and attention compared to it's follow up. 4. My Everything SCORE: 6.9/10 TRACK-BY-TRACK SCORES This album was facing a difficult task: following up one of the best debut albums of recent memory. It was almost always going to suffer in comparison to what came before. Surprisingly, it didn't completely drop the ball. There are some amazing songs on this album and almost all of them show off Ari's vocal ability well. The production is, for the most part, solid, and the features are all given a moment to shine even if the song they feature on isn't all that stellar. But what the problem is...is that it didn't do anything that Yours Truly didn't do better. There wasn't much growth between the first album and this one. Some of these songs sound like rejects from the first album and that does a lot of damage to this album's identity. This is also the most purely commercial sounding album of her career. It rode the then current trends for all they were worth and it left a lot of the singles feeling shallow and the album tracks feeling ignored. It's far from a bad album, but it is a disappointing one. 3. Dangerous Woman SCORE: 7.1/10 TRACK-BY-TRACK SCORES In many ways, this is the album where Ari came into her own. It was her first truly confident album and through most of the run time, that confidence drives the album forward. This is an album that bleeds iconic in every note and even when it misses, it doesn't sink to the depths that some of her lesser work does. This is perhaps her strongest batch of singles in terms of strong representations of the different sounds from the album. Ari's vocals are stunning, her attitude is infectious, and the consistency of the album is remarkable. But this is a transitional album so all of the creases aren't quite ironed out. The album does lose momentum as it goes along, leaving the back half feeling like mostly padding. And she hadn't quite yet found exactly what she wanted to say, not really making any definitive statements (which isn't a must, but she does attempt to do this a couple times and doesn't totally stick the landing). It stands as an impressive body of work, even if it's one of her rougher around the edges ones. 2. Yours Truly SCORE: 7.7/10 TRACK-BY-TRACK SCORES Pretty much everyone was prepared for Nickelodeon girl to fail. But this is without question one of the strongest debut albums in recent memory. She comes out of the gate swinging with an impossibly strong batch of songs and heart stopping deliveries. The vocals are the shining point of the album and she knows exactly what she's working with here. She does something not many artists do on their debut and it's stay safely within the realms that they're comfortable with. She never overextends into stuff that she's not comfortable with, but she also doesn't play things totally safe. The production backs her up incredibly well, with a jazzy feel and highlights on some traditional instrumentation where possible. It's a fantastic album who's only real downside is that it's not quite as definitive or confident as her best work. But that's really not something specific to this album, that's pretty general to almost all debut albums. 1. thank u, next SCORE: 8.8/10 TRACK-BY-TRACK SCORES In my opinion, Ari's definitive statement. An album that should've been a failure. Made quickly, released so soon after her previous album...it shouldn't have worked. But remarkably it all does. This is one of the most purely aesthetic albums ever released. It has entirely it's own vibe and it's incredibly identifiable. There's no other album that really sounds like this one, even if it's core elements are used pretty commonly in modern music. What's so impressive about this album is how tight and personal it is. Ari doesn't present herself as the modern pop diva we knew her as and instead presents her as a simple girl who's speaking from her heart. The production is tight, the vocals are as well, and everything meshes together so well. There's not much more to say about that the album that hasn't been said already, but really the work speaks for itself.
  5. Mr. Mendes

    Girl don't come for me being a Madge stan when I've been supporting her on this forum for three, almost four years. All it takes is a trip to her section to see it. You can even look at my profile header if you want. There's a reason she's my #1 stan badge and a reason she's my #1 artist. Just because I deconstructed a faulty argument doesn't make me any less a stan. It makes me logical.
  6. Mr. Mendes

    @Jjang Okay from one Madge stan to another, please stop the reaching. You're actively making an entire fanbase look bad the more you continue to drag up bullshit like this. The songs were in two COMPLETELY different positions. GMAYL most certainly had Super Bowl hype well beyond the US. If you think that only the US cares about the Super Bowl Halftime Show, then you're fucking delusional. If anything, people from other countries care even more because they have to jump through hoops to see it whether on online torrents, streams, etc. Her Super Bowl was not something that only the US was allowed to have, it wasn't our little secret. Her doing the halftime show was international news and there was coverage from around the world. The setlist that she was playing was always going to be a subject of conversation in the days following the performance. And it was not going to go unnoticed that she was playing a new song. Especially it wasn't going to go unnoticed that Nicki Minaj was on it and MIA was having to pay a fine to the FCC for the middle finger thrown up in the song. Add that to the worldwide response that was coming from other celebrities commenting on the show, the acclaim that was being handed down to the show as a whole, and GMAYL was part of a worldwide conversation. So of course it was going to do well on iTunes. And the impact of the SB on the physical charts around the world was felt too. The song debuted at #11 in Canada, #42 in Japan, #37 in the UK and only later reached it's peak on those charts in the charting week following the Super Bowl. So to say it didn't have SB anywhere but in the US is willful stan ignorance. Now did SL arrive under hype? Yes. But the hype mostly came down to the fact that it was ha first single not attached to a film in quite some time. Beyond that, she didn't have many tools at her disposal. . And when we talk numbers, SL wins. GMAYL has 22 million streams on Spotify eight years after it's release where SL has 45 million after less than a month into it's release. Outside the US, the most dominant markets are the UK and AUS and SL peaked higher in both regions than GMAYL. If you're going beyond that, you're getting into countries that don't pose any sort of dominance on the world music market so charting high there is just as impactful as getting a #1 on the fucking Adult Contemporary Radio charts at this point. I appreciate what you're trying to do but for fuck's sake pick a Madge hit that actually was more successful than SL without having this kinda push behind it. I mean 4 Minutes was right there but you picked this dumb ass argument. Your "tea" was bad and you should feel bad.
  7. Mr. Mendes

    Discussion

    The first confirmed case came to my city yesterday morning and in the last 24 hours, it's been a swift shut down of schools and all non-chain businesses. And tbh I'm kinda glad, we could all use a week or two of not going out unless we have to. It may not be setting this town on fire, but we can at least help contain it as much as possible.
  8. Mr. Mendes

    Album

    I know, just give the rest of the post a chance!
  9. Mr. Mendes

    Album

    It took me awhile to admit to myself that I stanned Gaga. Being an almost life long Madonna stan put me at odds with her, but I admired her from afar. I came out as a Gaga stan about three years ago, right around the time I actually began to lose interest. A Star Is Born kinda got me looking at her again and now Stupid Love and Chromatica has pulled me back into being excited. So in anticipation for the release of the new album, I decided to go through and rank her albums. This is my totally, 100% biased opinion, no hint of objectivity shall be found here. I elected to not include C2C and ASIB and I also chose to do TFM independently from TF. With all that in mind, let's go! 5. ARTPOP OVERALL SCORE: 6.0/10 SONG-BY-SONG SCORES: Even as a fan, I've been an ARTPOP "hater". I used to not like a single thing about the album or the era, but over time I've warmed up to some of it. I like some of the songs on the album. Genuinely like them. And I can appreciate what she was trying to do with this album. But the results just didn't do it for me. The album's biggest sin is that it tries way too hard to be different and weird. Whereas the oddity sounds of her previous releases felt natural, here they felt manufactured and calculated. From the laughing on "Aura", the fax rap bullshit on "Jewels N' Drugs", the banal obnoxiousness of "Donatella" and the snorting on "Swine", it all just felt like way too much of a knowing attempt to make something that lived up to the album's lofty title. And because of that it all feels incredibly ungenuine. This is the coldest album of Gaga's career. Save for two songs, she offers nothing in the way of personal connection, meaningful ideas, or important and topical points. You can't really hear and feel Gaga beneath the soundscape and it makes for a negative and hollow listening experience. 4. Joanne OVERALL SCORE: 7.6/10 SONG-BY-SONG SCORES: From here on, we're on the albums I really, really enjoy. I wasn't enthusiastic about Joanne when it came out. I thought it was boring and pretentious with very little of note. But over the years, something has changed in me. I grew to really appreciate the album's ideas, it's simplicity, and the artistic choices that she made. More than any of her albums, this presents us Gaga as an artist rather than a pop star. The traditional instrumentation adds a lot of heart and character to the album and it stands out among her catalogue for this reason. In a lot of ways, this was Steffani and not Gaga and I'm okay with that. Not every song hits and yes it's probably her slowest album and the one that's the most of a challenge to listen to from front to back. But there are a lot of great things happening within this album and it's unfortunate that it wasn't given a proper chance. 3. The Fame OVERALL SCORE: 7.7/10 SONG-BY-SONG SCORES: It's hard to think back and consider how much of a shot in the arm this album was when it came out. It's rare that a debut album showcases such a clear and concise set of goals and such an identifiable image, but that's exactly what this album was. It didn't exactly branch out from the sounds that were popular at the time, but what made it stand out was how it took a familiar formula and twisted it. Gaga was able to take the sounds of the era and adapt them to her voice and contort them to fit her lofty ambitions. She never went into territory that she couldn't handle which makes this an extremely confident album. Gaga is clearly having a ton of fun with the music and she invites us all to have fun with her. It's very dated in 2020 but there's so much happening and so much fun within the runtime that it's almost unnoticeable. 2. The Fame Monster OVERALL SCORE: 8.5/10 SONG-BY-SONG SCORES An EP so legendary and packed with quality that it's treated as an album. There was no warning for The Fame Monster, no indication at just how much Gaga had grown up since her debut. I would argue that this remains one of the biggest leaps in quality and vision between projects in the history of pop music. Gaga knew exactly what she wanted and what sounds she wanted to push to the mainstream on this EP and she never once fails to reach her goals. The writing is deeper and more expressive, the production is more detailed and encompassing, and the vibe is more cohesive and impressive than her debut. Each of these tracks has gone on to become classics in their own right, leaving behind nothing but fond memories. This was the moment Gaga became Gaga and because of that it remains perhaps the most important release of her career. 1. Born This Way OVERALL SCORE: 8.9/10 SONG-BY-SONG SCORES I wasn't excited for the album based off of the song "Born This Way". I never fed into the whole rip-off song controversy, my issues with the song all came down to the cheesy and cliche presentation of admirable ideas. But that couldn't be further from what the album as a whole turned out as. The album is, for my money, the definitive Gaga album. All of the elements that make her Gaga came together for the first time. The big and bombastic production of The Fame, the lyricism and confidence of The Fame Monster, and a newfound sense of purpose and vision came together to craft one of the most unique albums of the 21st century. It's chaotic and full of ideas, never staying on one thing for more than a single song and while it could've been a mess, it just....works. It works beautifully.
  10. Mr. Mendes

    Discussion

    I mean I think she still is tbh
  11. I did! I decided to watch them that afternoon before we saw it because I was afraid I'd be lost sksk
  12. I just saw this! I was surprised that I actually liked it tbh
  13. Well I can respect him for walking away if he knows he's not gonna be able to turn in his best work. Mangold is a very inspired choice though so my interest is still there. If Harrison Ford trusts whoever is given the job, then I don't think we've got a reason to be worried. He's really protective over Indie and he won't just let someone horrendous take it over.
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