No The Singles Jukebox, duas resenhas para o dia. Uma sobre “Chasing Time”, de Azealia Banks (um belo dum 4), e outra para “Blank Space”, de Taylor Swift (um belo dum 9). A seguir.

Danilo Bortoli: Azealia Banks has got to be the first rapper in recent memory to have a Greatest Hits compilation released before a proper debut. (Let’s not fool ourselves, Broke With Expensive Taste does not feature that much new, quality material to justify its existence.) “Chasing Time” is, by comparison, her “Celebration”, the kind of filler most artists release just to make these album releases more bearable. On top of that, Banks has admitted “Chasing Time” is a result of the strange, complicated relationship she had with her old label while searching of a hit, which is the worst environment someone’s pop sensibilities should be obligated to develop into a track that could be played in the radio — something Azealia used to manage to do easily (once). And maybe this crazy, unfortunate pressure might explain why “Chasing Time” sounds so forced and generic, a rushed attempt at commercial house. If only she could stick to Lone forever.


Danilo Bortoli: “Love’s a game, wanna plaaaaay?”: this “Blank Space” line is where 1989 really starts, the first moment we get to listen to classic Taylor. Everything that comes before it is just irrevalent for the great narrative that is Taylor Swift. It’s all in this song: the word plays, the hard to believe but perfectly quotable storytelling, the Manicheism: it’s either going to be forever or going down in flames. But the difference with this ultimatum is that it’s not as dramatic as any of Red‘s ramblings. It’s actually the sound of Taylor coming to terms with the post break-up (almost spirituous) tone that permeates the entire album. It’s the sound of a simple, self-empowering proposal: you can come whenever you want (and most importantly, at your own risk), but don’t expect her to beg you to stay.


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