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ATRL Reviews: The Weeknd - "Dawn FM"


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7.5/10

 

Not sure how anyone can listen to this album and say it’s “same old”, she definitely did switch it up a bit.

 

Highlights- Oh My God, I Drink Wine, To Be Loved

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ATRL Users Score

6.88

(37 Reviews) 

↑ +.08 additional from new 3 reviews.

Edited by OreGuy
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Quite a grower. My Little Love is the most touching track, and it happens to be my favorite. Some tracks are a bit too long for what they've got to offer. It's got to be somewhere between 80 and 84/100 for me. I'm looking forward to rating it next week, prior to the BO2021.

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The album is her weakest for me. It doesn't have the highlights that any of her previous albums had, and the voice memo moment on My Little Love was cute, but I'd wished she maybe put a memo as an interlude or as part of the closing track to make the album a more coherent body of work. Then the sequencing of the album becomes a disaster, like 30 is actually one of the most poorly sequenced albums I've ever heard and it just becomes a slog to get through.

 

5/10 is my generous rating

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  • 2 weeks later...

Was this created to lowkey drag Adele? :toofunny3: Because, I don't see any other ATRL Review or am I missing something? :eli:

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On 12/18/2021 at 7:51 AM, MAXIMO said:

Was this created to lowkey drag Adele? :toofunny3: Because, I don't see any other ATRL Review or am I missing something? :eli:

most of them hate Adele

but it backfired because most of the critics is loving the album. 

 

 

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It's been about a month since release, lemme do a new track by track review (i did one initially in the album thread) 

 

Strangers by Nature - still a whatever kinda song. Cute intro, but way too long. Doesn't really work as a full length song - 4/10

Easy on Me - a classic already. Could have been perfect if it wasn't for weak lyrics in the chorus and that awful bridge - 8.5/10

My Little Love - very interesting song, but those spoken interludes get boring after a while and the song itself goes nowhere - 6.5/10

Cry Your Heart Out - haven't heard this song since release week. It was unbearable then. I don't need a reminder - 0/10

Oh My God - loved it at first, but it slowly lost it shimmer. It's pretty catchy, but there's not much to this song after a few listens - 6.5/10 

Can I Get It - tragic through and through. She doesn't have the range for a song like this it seems - 1/10

I Drink Wine - I was wrong about this song initially. It's not awful. It's pretty good, but it's not great either. Something is missing - 7/10

All Night Parking - cute interlude.. don't know what its purpose though. Haven't heard it since release week - 5/10

Woman Like Me - this one has a lot of potential. Very Alicia Keys. But I don't like some lyrics, and the replay value is low - 8/10

Hold On - she was gunning for something divine with this song, but it fell completely flat. Truly dry and soulless track - 2/10

To Be Loved - absolute stunner. I had this on repeat for the past few weeks. My poor vocal chords - 11/10

Love is a Game - it's ok, neither here nor there. Doesn't go with the rest of the album - 6/10

Wild Wild West - absolutely disgusting song. Those lyrics... how...?? 0/10

Can't Be Together - cute. Typical Adele song - 6/10 

 

The average from those tracks comes up to around 5.10. Pretty accurate I'd say.

A very fragmented and uneven album with no replay value on most tracks

 

5.10

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On 11/23/2021 at 6:39 AM, Cleanromantic said:

5/10

This is a similar album to Solar Power quality wise in my opinion. Half the songs are good to outstanding, and the other half is underwhelming and undercooked. 

This is actually so accurate. Solar Power has a handful of really good songs and then a handful of really dry, underwhelming songs that sound bland and soulless. Same here. The only difference is that Lorde got panned really hard for her effort and Adele is still riding on the fruits of her success wave, so critics are much milder with her. 

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7/10 - An enjoyably warm record that sacrificed other elements for the sake of maximizing an emotional charge that isn't always conveyed in the best way.

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Vocally, she has never sounded better than this in a very long time.

Thematically, it's a concept album, with some experimental sound that works very well with her vocal.

It's a 9/10 for me. 

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I think it's a light 7/10, there's some definite filler but the highs are impressive and I'd love for her to sample more pianists (her instrumentals tend to be on the simple side otherwise, but that's partially why they have that "classic" feel).

Edited by Wyvern
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  • ATRL Official

Taylor-Swift-Red-Taylors-Version.jpeg

 

Taylor Swift - Red (Taylor's Version)

by @Juanny

 

Tragic loss in young romances of years gone by may find itself calm through the passage of time, but the aching crush of a broken heart remains permanently etched into your existence. “Regretting him was like, wishing you never found out that love could be that strong”, Taylor sings on the title track, featuring a more mature timbre and polished vocal quality, as she Begins Again the re-imagined version of her 2012 classic, Red. This album feels familiar: familiar in the breadth and fullness of emotion, deepness, and richness of songwriting. It is also different, as not only is Taylor’s Version of Red padded with music that (in many cases, sinfully and other cases rightfully) didn’t make the cut the first time, but the nuances of production on each song have changed in ways that have fans re-adjusting and re-familiarizing themselves in discovering her music once again. 

Finding itself at the crux of the album is undoubtedly the complete, Antonoff-produced, 10-minute version of All Too Well that, once regarded by fans as pure myth and lore, magnificently lives up to the long-held expectations of its audience. The necessarily long-winded epic interlopes original lyric with “original” lyric, slowly transforming a once blue mourning over her first true love, and painting it with the very red rage, fiery fury, and painful passion that the album is all about, as Taylor proclaims: “you kept me like a secret, but I kept you like an oath... they say all’s well that ends well, but I’m in a new hell every time you double-cross my mind”.

Taylor directs subtle, yet clear changes in production that make the songs sound new, yet recapture the magic of the original recordings. Treacherous features a more prominent and commanding chorus percussion, the guitar accompaniment on All Too Well is more somber and quiet as she adds a brilliant bittersweet pensive inflexion to the vocal in the line: "we're sitting in the car, getting lost upstate", and the chorus of 22 sounds cleaner and more compressed. This doesn't go without saying: no amount of reproduction could elevate Stay Stay Stay out of the lowest echelons of pop trash. She manages to stir up the new in a wonderful rendition of her self-written #1 country hit Better Man that was recorded originally by Little Big Town; and while she sounds a little bored toward the end, it no doubt satisfies the fans who have always wanted her version of this track. Her almost eerie anticipation of the “new fresh pop girl” in Nothing New (sun alongside the brilliant Phoebe Bridgers), that seems as if it could have been penned by 31-year-old Taylor herself in the era of Olivia Rodrigo as she notes: “... someone else lights up the room... the kind of radiance you only have at seventeen, she'll know the way and then she’ll say she got the map from me.”   

In Red, Taylor finds herself, a now 31-year-old woman far removed from the melodrama of young love and loss, revisiting a lot of the types of musings that made her the butt of misogynistic pop culture jokes: a crazy girlfriend, serial-dating mess. If the reception is any indication, she has done so with the same grace, attention, and fortitude as the same 20-something-year-old young girl did all those years ago with the mind of a much wiser and grown woman.

 

Score - 7.2

 

10 members of the editorial team participated in this review. Individual scores to follow.

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  • ATRL Moderator

All Too Well (10 Minute Version) (Taylor's Version) (From The Vault) remains one of the best songs of all time. :giraffe:

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6 minutes ago, Bloo said:

All Too Well (Taylor's Version) remains one of the best songs of all time. :giraffe:

yup yup! :eli:

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7 minutes ago, Bloo said:

All Too Well (10 Minute Version) (Taylor's Version) (From The Vault) remains one of the best songs of all time. :giraffe:

It’s a bastardization of one of the best songs of all-time and a perfect example of why “less is more.” Honestly, it made me respect her songwriting even more to realize how smart she was to not put those godawful verses in the original version.

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1 minute ago, Eternium said:

It’s a bastardization of one of the best songs of all-time and a perfect example of why “less is more.” Honestly, it made me respect her songwriting even more to realize how smart she was to not put those godawful verses in the original version.

Sis, I do not get how you can think this when this is all top-tier lyricism:

 

Quote

 

They say all's well that ends well

But I'm in a new hell every time I double-cross your mind

You said if we had been closer in age maybe it would have been fine

And that made me want to die

The idea you had of me, who was she?

An ever-needy, ever-lovely jewel

Whose shine reflects all of you

Not weeping in a party bathroom

Some actress asking me what happened

You

That's what happened you

You who charmed my mom with self-effacing jokes

Sippin' coffee like you're on a late-night show

But then he watched me watch the front door all night

Willing you to come

And he said it's supposed to be fun turning 21

 

 

Add that to the outro that ends the entire song an a haunting melancholic callback and whew, a certified masterpiece.

 

sunny2.gif

 



In all honestly, I didn't quite "get" the 10 Minute Version on first listen because I needed to sink into it because ATW is one of my favorite songs of all time. So I'm a bit protective of it. But the more I listen to the 10 Minute Version, the more it becomes the definitive version for me. It tells a more complete story. But I definitely do respect why people would prefer the original. But I am a biT of a mindless stan of this song.

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29 minutes ago, Bloo said:

Sis, I do not get how you can think this when this is all top-tier lyricism:

 

 

Add that to the outro that ends the entire song an a haunting melancholic callback and whew, a certified masterpiece.

 

sunny2.gif

 

 

  Hide contents

 

 


In all honestly, I didn't quite "get" the 10 Minute Version on first listen because I needed to sink into it because ATW is one of my favorite songs of all time. So I'm a bit protective of it. But the more I listen to the 10 Minute Version, the more it becomes the definitive version for me. It tells a more complete story. But I definitely do respect why people would prefer the original. But I am a biT of a mindless stan of this song.
 

 

 

The lyrics aren’t the problem. The composition is just awful and she clearly loses the flow and rhythm that is just masterful throughout the entire original song. I can totally see why it’s a fun listen for fans of Taylor Swift that want more, but I almost wish she had scrapped those parts from the song and made an entirely new song stitching them together since they don’t fit in to “All Too Well” at all.

 

I do respect the original even more after hearing the godawful 10 minute version because it shows how much quality control she had at such a young age to know exactly which terrible bits to cut out.

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Why is this score so low?

 

AS6OwfD.gif

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