The program has an undo/redo feature that lets users reverse recent changes. During playback, the piano keys and their corresponding noteheads will be highlighted so users can follow along and take note of any part that needs changing. The note attributes are set using the program’s note palette. The duration of each note, time signatures, and other musical notations and symbols are available from the toolbars. Users will be assisted by the on-screen piano in entering notes. This is useful for those who are composing pieces for multiple instruments, or for those who would like to play music adapted to the native key of a particular instrument.
The program features transposition tool that allows users to easily adapt and shift from one musical key to another. The recorded music is saved in MIDI format. The recorded music may then be played back and edited when the user is satisfied with the score, the sheet music may be printed directly from the program. Sign up for the 10 to Hear newsletter here.The program NoteWorthy Composer is a music composing tool that lets users create and record musical scores and see the notations. “Oh, right,” you’re meant to think, listening to a meme from three months ago ooze into your headphones, “this again.”Ĭatch up every Saturday with 10 of our best-reviewed albums of the week. blackbear’s songs aren’t trying to express an emotion, or even to come across as relatable-their main goal is to remind you of something else. Both Lauv, the 26-year-old pop singer who croons about loneliness, and Trevor Daniel, who scored a viral hit on TikTok in 2019, show up for guest spots their slumped, algorithm-friendly pop, with its pitched vocals and skittery production flourishes, is the album’s dominant influence. “Why are girls so cold? Why are girls so, why are girls so beautiful?”Įverything means nothing feels like a time capsule for this awful, cursed year, a nauseating sludge of every “Study Beats” playlist on Spotify and every TikTok influencer-turned-pop-star’s attempt at writing a hit. “Shoulda seen right through the gap between her thighs,” he rasps on the dubstep-flecked “half alive.” The plodding “why are girls?” doesn’t even attempt to disguise its inanity: “Why are girls so hot?/Take everything I’ve got,” he babbles. All of it is rooted in a constant, stupefying misogyny. “You’re so good/At making me feel bad,” he complains in the chorus of “i feel bad,” then clumsily doubles down: “You’re like a college grad that majored in the art of fucking over everything we had.” He moans about how he doesn’t want to have emotions he yelps through Auto-Tune about how weak he feels, how the anonymous women haunting these songs are “punishing” him. In his version, women vomit into Birkins and sleep with strangers they “buy lips and buy legs,” and, apparently, ignore blackbear. The album opens with “hot girl bummer,” a snarling bastardization of Megan Thee Stallion’s meme-turned-song released just two weeks after hers.
“Turn a big mood to a big mood swing,” he raps on “clown.” “You made me want to live, laugh, love, and now I want to die,” he howls on “i felt that,” as a diet trop-house beat shimmies under him. He regurgitates memes and stale tweets, slathering them in Auto-Tune and bleating them over beat drops. “Cracks in my heart/Got cracks in my phone,” he moans on the wincingly titled “sobbing in cabo.”īut blackbear’s latest album, everything means nothing, is also gracelessly Too Online, like a person explaining a meme, or verbalizing the words “heart emoji.” He speaks in hashtags.
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“Block my posts and my story,” he wails on the strum-heavy “queen of broken hearts.” “I’m sorry I can be annoying.” He doesn’t know what to do with a phone full of videos and photos of his ex.
In flickering moments, the rap-pop singer and producer blackbear reaches for that realism, too, narrating his relationships with the pulsing hyperactivity of the always-online. It’s less an attempt to pander to a younger audience than it is an authentic representation of how it feels to live while anchored to at least two screens. Technology is baked into the novel’s emotional framework, an extension of its characters’ brooding. Dolan’s protagonist agonizes over whether to open a love interest’s story, worrying what it could signify if she’s seen viewing it. In Naoise Dolan’s recent novel Exciting Times, a noteworthy addition to the canon of millennial popular literature (think: Sally Rooney, lipsticked characters wielding laptops, plots about climate change and gender politics), Instagram Stories function as a narrative device.
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