Beyoncé - Renaissance

It's not a 'Show Me Love' sample though, right? Just sounds like a Korg M1 organ patch like everyone uses for '90s-referencing dance music these days.

― change display name (Jordan), Tuesday, June 21, 2022 1:01 PM (eight minutes ago) bookmarkflaglink

It's "Show Me Love." The songwriters got credit.

― Malevolent Arugula (Alfred, Lord Sotosyn), Tuesday, June 21, 2022 1:03 PM (two minutes ago) bookmarkflaglink

the synth part is rhythmically distinct and yonce's is harmonically simpler, this is probably a "blurred lines"/"got to give it up" style crediting

i was one of the apparently relatively few who liked it when it came out and still enjoy it today

Agreed, I'm sure it was inspired by Show Me Love and they were referencing it, but I think it's all new production (incl. the M1 piano chords, drums, etc).

They were probably getting out ahead of the inevitable lawsuit had they not credited

I would probably have thought of "Show Me Love" anyway because when I hear that ping-pong preset it's Pavlovian.

Beyonce - Break My Soul pic.twitter.com/67x49WVw2H

— Finn (@FinnMcCorry) June 21, 2022

Speaking of "Run the World," I thought that one was dead, buried, and forgotten...then a couple weeks ago in my rhetoric class no less than three students cited it and/or its video as a feminist text. These are 18 to 25 y/olds.

― Malevolent Arugula (Alfred, Lord Sotosyn), Tuesday, June 21, 2022 2:04 PM (forty-six minutes ago)

gosh I’m glad the subtlety wasn’t lost on the youths

ftr, I gave this a second shot, and I get why people like it. I'm at the point where I simply can't buy Bey singing "I just quit my job," but it's not like I wish that condition on others

it doesn't sample Show Me Love

from the BBC -

Weirdly, Break My Soul neither samples nor quotes their song. It simply uses the same bass sound, a preset on the infamous Korg M1 keyboard. But Beyoncé has always been careful to acknowledge the black creators who have influenced her.

https://www.bbc.co.uk/news/entertainment-arts-61878412

I think it is ok. it does feel like there should be a Morales Red Zone mix. As an aside, i heard when he was knocking those Red Zone mixes out back in the day (at $50-100k a pop!) that he allegedly would have multiple engineers in different studios essentially making those for him and he would go from studio to studio saying "yes", "no" etc.

ps, Beyoncé has always been careful to acknowledge the black creators who have influenced her.

of course the version of Show Me Love everyone knows where that M1 sound was used is the Stonebridge remix and he is white so i think it's even cooler that she credits the OG (black) writers of the song and they will receive some $.

gosh I’m glad the subtlety wasn’t lost on the youths

― k3vin k.

lol I think they googled "feminism"

Beyoncé has always been careful to acknowledge the black creators who have influenced her.

"influenced her" /= "worked for her" ;)

maybe it should have read Beyoncé has started to be careful to acknowledge the black creators who have influenced her.?

Heard this on the car radio today (for the first and only time) and thought it sounded incredible. Surprised to see the mostly negative comments.

if we're talking about credits especially as it pertains to sampling/interpolation that's really a legal question & not a choice of who the artist wants to highlight, unless they're specifically trying to avoid paying people

Right, I'm sure the remixer who used the M1 bass doesn't have publishing on the song, so any credit would have to go to the songwriters.

I like it a lot. I love how, on the chorus after the first verse, she basically grunts/barks the word "break" the first two times and then backs off and sings it straight the next two times. With pop music at Beyoncé's level, every microsecond of every song is agonized over, and sometimes that attention to detail pays off with details like that

lol that last sentence was clumsily worded but you know what I mean

I've been wanting to do a mix of my favourite Korg M1-based house tracks for ages, "Korg M1s for my Korg M8s"

I feel like this song is one that will sound better and better the more ubiquitous it becomes, a constant staple at gay clubs and weddings. I think it needs ubiquity to rise above and banish the patchwork of obvious influences it otherwise resembles.

It will ultimately break me the same way Kylie’s “Spinning Around” did.

That's a pretty optimistic view of its prospects! You think it's destined for that kind of success?

Not sure about broader commercial success per se, but it has a shot of being the current "Cold Heart" for whatever that is worth.

as someone who actually liked "cold heart," this isn't anywhere near as unadventurous as that was, + frankly that was basically the reason it was a success, especially in the us

"cold heart" strikes me as a good call for both potential chart position and how it doesn't seem like much at first but turns into an anthem. n.b. "anthem" in my view means you'll hear it almost every weekend all summer long if you're going out to gay clubs.

xp i loved "cold heart." honestly it's a pretty weird track? the levels of call-back, and like how can something be so nothing-y and emotionally resonant at the same time.

now Renaissance needs to release an album called Beyoncé

OTM

Both this and the Drake album feel more like workout jams than club jams, in the same way that "Work Bitch" is.

i don’t think this is that far away from “cold heart” in terms of adventurous or lack thereof … it’s not a glorified remix or a cross generational songbook standard but it uses elements of underground/club music that have already been proven to work on huge hits. even the big freedia parts are used essentially the same way drake did on “nice for what:” no shots this just seems specifically designed to be a widely appealing single… i think when it leaked out that the song had a dance sample (or interpolation, reference whatever) most ppl figured that beyonce was going to pick something more obscure/head-y than “show me love.” and since i generally assume she knows her shit — or at least surrounds herself w/ ppl who pitch her cultural tastemaker level ideas — that leads me to believe she wanted the single to be a song that clicks for ppl in a way not too unlike “cold heart”

"cold heart" strikes me as a good call for both potential chart position and how it doesn't seem like much at first but turns into an anthem. n.b. "anthem" in my view means you'll hear it almost every weekend all summer long if you're going out to gay clubs.

xp i loved "cold heart." honestly it's a pretty weird track? the levels of call-back, and like how can something be so nothing-y and emotionally resonant at the same time.

― the cat needs to start paying for its own cbd (map), Wednesday, 22 June 2022 00:50 (eleven minutes ago) bookmarkflaglink

Yeah, I was pretty underwhelmed by "Cold Heart" at first and then heard it absolutely everywhere for about six months (it was gay sydney's anthem for partying outside during and through, respectively, last year's late winter / early spring and the final stretches of delta's domination, and then immediately afterwards the first stretch of La Nina), and each time I heard it it seemed a little bit less resistible. Note - not actually always a 'club jam', but definitely a BBQ / Pool Party / Boat Party / House Party / soundtrack to random IG stories of the preceding events jam.

The nothingy-ness is perhaps key - it prevents such anthems from starting to feel obnoxious in their ubiquity. Very straightforward house production helps in this regard.

Obv "Break My Soul" has a whole "quit your job" zeitgeist angle going on which makes it seem less nothingy in principle, but you sort of have to pay attention to notice that, so there's a sense in which it will only be as dominating as it's allowed to be, and never invasive. It's an accommodating anthem.

lol @ me talking myself into liking this

i know someone mentioned that like it's hard to buy beyonce singing "quit your job" and i know i shouldn't be thrilled by that message at this point in life but i still am haha

i know she literally invokes 9 to 5 work and stuff but if you read the song a bit less directly and more as a general call to chart your own path with your labor it’s pretty easy to draw parallels back to her actual life from the s/t album forward

maybe but it doesn't land at all to me....i really liked homecoming but a lot of homecoming was about work, both her own and that of the people she was employing.

Many xxxxposts:

Don’t know if you’re joking but it’s not that Tricky. This is Cristopher “tricky” stewart.

Missed and H in there

I don’t know if taking the advice of a billionaire to quit your job and clap hands and dance in the midst of an upcoming recession is the anthem it tries to be. It feels shallow as fuck and yeah, regardless of lyrics or its intentions, it feels musically dull coming from her. Same shit as Drake, at this point people are paying attention because it comes from them. Noone would be giving this single the time of day if it came from a lesser known artist.

I’m just glad she’s finally releasing a record that isn’t a live thing or a movie soundtrack

I appreciate the need to try new things, but couldn’t get invested in recent projects. (Also I was one of three people on earth who wasn’t into most of Lemonade.)

Yeah my theory is that people are just thirsty for new beyonce, it’s been 6 years since they got Lemonade.

lol @ me talking myself into liking this

― Tim F, Tuesday, June 21, 2022 9

lol I can see this

Many xxxxposts:

Don’t know if you’re joking but it’s not that Tricky. This is Cristopher “tricky” stewart.

lol i was confused as well but moka's response was to someone commenting 'she should have worked with portishead instead'

First listen here. On the one hand it's a surprising and refreshing sound for her, on the other this beat is just too ubiquitous and mundane to be memorable. I think the song mostly works, her vocals are fine, but the chorus is nothing to cry home about. I would certainly not leave the dancefloor if it came on, but that's about it.

I guess it's a superstar temptation to try to prove that you can cover every genre, as if it mattered to your legacy.

Yeah sorry I was answering to peace,man about his Portishead comment, which I think was a joke.

I'd be more likely to shrug off her singing about her 9–5 if critic-stans weren't writing horseshit like this (pitchfork):

She opens, rather tenderly, “I just fell in love and I just quit my job/I’m gonna find new drive, damn they work me so damn hard.” Relatable: In the first verse alone, she encapsulates the Great Resignation, the Great Unionization, and quarantine insomnia. The determined chorus—“You won’t break my soul/And I’m tellin’ everybody”—is framed so that listeners can fill it with whatever we need in the moment. NOLA bounce icon Big Freedia is sampled for the intro and verse, which grounds the song in its Black queer tradition (and also provides the very good line, “Release the trade, release the stress”). She tough-loves us out of our pandemic hovels, physical and mental, rapping, “You said you outside but you ain’t that outside,” and responsibly seems to endorse continued masking; thank you, Beyoncé.

Right, the billionaire who co-hosted an Oscar party at a hotel where workers were striking in part due to the sexual harassment they experience from celebrity guests is invoking the "Great Unionization", please fuck off with this nonsense. Like I don't actually care that much about B's personal hypocrisy, but the instant mythologizing that happens with this artist borders on pathetic.

That said, map you're never to old to thrill to the prospect of quitting your job! There's nothing more alien to me than people I know continuing to work into their 70s who can easily afford to retire

That whole Pfork "review" is fairly embarrassing (to Pfork)

I think its nice that they took the time to thank Beyonce for her work. Too many reviewers forget basic manners like that.

“Thank you, Posty.”

Damn. I usually like reading Julianne.