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July 18, 2015 / bloggenstatt

Dope or Nope for the Week of July 19

This week, I’m taking another look at Spotify’s U.S.A. Viral 50 Chart. The Top 50 Chart is still pretty much the same handful of songs as last week, and one would thing the term viral would mean there’s a certain amount of innate turnover. A cursory scan of the chart verified not only had I never opined about any of the most viral songs, I had never heard most of them.

1. “Lava” by Kuana Torres Kahele, Napula Greig, James Ford Murphy

This song is basically an extended take on that one overly precious version of “Somewhere Over the Rainbow” people pretend isn’t a travesty. I’m appalled that somehow three people are credited with the creation of this song, but I suppose every hijacker received credit for 9-11, so maybe wrongdoing of this horrific scale needs to be a coordinated effort.


2. “Locked Away” by R.City, Adam Lavine

From the second I saw Adam Lavine’s name, I suspected I would hate this song. It was an extremely prescient thought, because this song, which makes a vague, misguided effort to sound like world music; is terrible.


3. “Jordan Belfort (Feat. Dyl)” by Wes Walker, Dyl

This is the NASCAR driver of song titles. You could reverse the order of song and artist, and it would be equally plausible. This song is mostly fine. It’s got a sauntering piano sample and a catchy hook. However, the lyrics border on insipid. A classic bikini-Lamborghini reference made me wonder if I could expect a party-Bacardi couplet at some point. Also, “Jordan Belfort”;s Molly and “Wolf of Wall Street” references already seem weirdly antiquated. Were Wes Walker and Dyl simply too busy making dirty money and ingesting narcotics to release this song when it was clearly written in 2013?


I never like to be unabashedly negative, so I perused the chart until I found a recommendation I could feel good about.

25. “Sparks” by Beach House

Throw on some headphones and enjoy some shoegaze-y layered noise about searching desperately for singular, renewed purpose!  It’s the lead single off of Depression Cherry, so you’ve probably already heard it, but it’s good. There’s some cool organ-guitar interplay, and the ethereal background chanting  becomes a kind of hook.


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