Much credit must be given to The Stereotypes, a multiethnic production team with a knack for matching artists with songs and arrangements that match their strengths. Meg Myers’ “Numb” is a capital-P Pop-rock song; it’s really into the Pixies but its favorite album in high school was Avril Lavigne’s Under the Skin. The last exquisite throwback comes at the end, an interlude of besotten (and suddenly very British) spoken-word: “I don’t want to get too attached, but I feel like I already am,” Mai says. Dalia Aliphas Instructor, Triathlete + DuVine Guest | Velocity Studio, Mexico City. (The juicy bass line, torn right out of the ’80s electronic R&B playbook, is the whipped cream on top.) The melody was too strong, the message too relatable, the white-knuckled final surge too familiar to anyone working in the freelance economy without a net, feeling both the courage to want it all and the fear that they might have to settle for scraps. This could end up as Grande’s signature song, which is funny because she’s never been more Mariah-like than when waving her hand at “confessional” songwriting. The latest in a tradition that includes “Backseat Freestyle” and, ’s “King’s Dead,” an amorphous collage that’s far less of a mess than it should be.

It’s a hilarious moment that’s easy to mock. Copyright document.write(new Date().getFullYear()) Tracey is never that easy to pin down. Young Thug demonstrates that you can have your head in the clouds while thinking things through to the clarity of crystal. Get your classes amped up for an amazing ride. Jay Rock ft. Kendrick Lamar, Future, & James Blake, "King's Dead", For someone with a reserved public persona, Kendrick Lamar is gifted at making war cries.

“I’m not in the mooood / I’m tryna make mooooves,” she sings, and then later: “I’m just tryna turn up in the country / I ain’t in the city cuz they ain’t got lawns.” In a year that begged for it, “Mooo!” is the ultimate escapist fantasy. Monthly Playlists January 2017 February 2017 March 2017 April 2017 May 2017 Spinning® Flat and Fast Cadence Interval Ride. —, Rich the Kid makes a hilarious admission a few seconds into “Plug Walk,” and again several more times after that: “I don’t even understand how the fuck my plug talk.” Maybe the plug is coming up from south of the border, maybe he’s the kind of paranoid dealer who speaks exclusively in arcane code words, maybe Rich the Kid is already zonked out past the point of comprehension. This ride will give your students a significant amount of time to experience each cadence, so that they can get a feel for the full range of speed. —, 57. — WILL GOTTSEGEN, The best Wizkid song of the year, at least under his own name (“Soco” is every bit its equal), “Fever” staggers lopsided from room to room, yet also seems to never truly touch the ground. — JOSHUA MINSOO KIM, “Ye” rises slowly like steam from the sidewalk, its supple guitar lines curling up and around the Nigerian superstar Burna Boy as he calmly mutters about his gilded life, his boasts and threats carrying almost no emotion.

In a high-pitched squeal that nods to the empathetic phrasing of ’80s giant Cyndi Lauper, Remy sings as if she’s singing to a naughty-boy lover when in fact she’s directly addressing presidents past and present, putting an ingenious spin on pop’s tried and true what-have-you-done-for-me-lately formula. What a genius.

But on “Bite The Hand,” the lead track off their EP as Boygenius, they come off as a quiet, dynamic, and masterful combo. Also check AEROBIC 2020. Here, Kenny Beats adds kicks and claps that could crunch steel, plus money-counting FX for thematic clarity, while Rico leads a car chase with her top off, her cadence matching the sample. The track was bound to be huge, thanks to collaborations with Latin trap powerhouses J. Balvin and Bad Bunny, and a well-placed sample from Pete Rodriguez’s enduring 1967 boogaloo hit “I Like It Like That.” Those ingredients combined make an ideal vessel for Cardi’s boundless charisma and breezy humor, showcased in an opening verse that outlines her ideal shopping spree, casually describing a $750 pair of designer sneakers as “the ones that look like socks.” The bilingual “I Like It” serves both as a celebration of Cardi’s Dominican heritage and of a year in which the Bronx rapper truly dominated. In a short three minutes, Taylor sings of relationship troubles and pines for reparations. Whether you’re trying out a stationary ride for the first time or training for one of our bicycle tours this spring, these songs will keep you motivated and have you dancing on the bike. At Power Trip’s 10th anniversary show in Dallas last month, Gale said he wrote the song about when he realized that he’ll never be in the 1 percent. fabio scalabroni – hello strange podcast #029 https://soundcloud.com/hello_strange/fabio-scalabroni-hello-strange. Fitness. “Have you looked outside? Download MP3 File Tabatas-95bpm – Tabata Style, Boujis 2012 10th Anniversary mix in conjunction with CR2 records & Nod Factor…unreleased.

After it cracked the Top 10 on the pop charts, Harry Fraud, a producer who deals in similar currency, would have been remiss if he didn’t feel jealous. Look no further than “Mileage” for proof that Carti is on a truly different wavelength than any of his peers. The song’s refusal to let the beat drop lends the track a propellant buoyancy, as on her 2013 track “Bipp.” Paired with Caila Thompson-Hannant’s ethereal vocals, “Is It Cold in the Water?” feels utterly weightless. It sets a mood of desire at its most high-pitched and all-encompassing, and despite all of the above, it’s deadly serious—the kind of exquisite storm churned up in someone’s absence: “This wait is driving me crazy.” Earlier this year, Murphy lamented the industry’s indifference to daring, surprising records like hers; in a year when she made this and several other marvels, that’s just ridiculous. Backed throughout by finger snapping and a slow, steady bass line that builds to a synth-fueled climax, Daniel Loptain’s heavily-distorted lyrics tell of a post-apocalyptic world where means of mass media communication have been disrupted, leaving only the black snow of static. A gleefully unhinged garage-pop song with a heart of gold, it feels unencumbered by facts or expectations or any kind of certainty at all.

Some purists were quick to deride Rosalía’s debut album, as not being “true” flamenco, and such has been the fate of numerous works by. With instrumental palettes ranging from arena rock percussion to retro synth melodies to sun-soaked fingerpicked guitar, it’s the quintessential Lana Del Rey song in both scope and substance. The song doesn’t have a chorus so much as a point at which it begins to hover in the air, levitating on an updraft of consonant harmony and oscillating cello. Maybe you can consider yourself lucky if you don’t relate to this song, but you should still be grateful if you do. And. And while much of the rest of, is illuminated by descriptive lyrical asides, “Talking Straight” instead confronts the enormity of abstraction.