Collaborations in the rap game are a frequent occurrence and sometimes lead to something truly inspired (MadVillain) but then at times, seem a bit half-hearted (Tyler, The Creator and Toro y Moi).
Nevertheless, BADBADNOTGOOD have proven themselves as worthy hip hop collaborators, having performed live with aforementioned Tyler and even writing a track for Earl Sweatshirt ('Hoarse').
Their latest effort comes with battle-hardened Ghostface Killah and the erratic and always bashful Danny Brown for a little number entitled 'Six Degrees'.
It's a slow but seedy beat, that's reminiscent of Wu-Tang Clan style productions which perfectly compliments Ghostface's menacing approach. Its mood changes considerably once Danny Brown shows up to suit his more intense and in your face style, revealing how BADBADNOTGOOD have a way of letting rappers feel comfortable, thus ensuring a great performance out of it.
'Six Degrees' is out as a 10'' singled paired with instrumental track 'Tone's Rap' out on June 24th via Lex Projects.
Tuesday, 27 May 2014
Thursday, 8 May 2014
Best Songs of 2014 So Far Part II
Disclosure x Friend Within // The Mechanism
The Horrors // So Now You Know
The Horrors have really come a long way since 2007's Strange House. Luminous expands on the sound of Skying with "So Now You Know" the cream of the crop. Similarly to "Still Life" it's got quite a Simple Minds feel to it but with their own personal touches. Layered synths, strange but powerful guitar effects and Farris Badwan's distinctive and almost deadpan vocals give it that signature sound. Whilst this is probably not their magnum opus, it's still a great song and an indication that they're so close to reaching that point.
Whenever I feel like Disclosure are slightly overrated, they come out with another true banger that just cements their reputation as one of the best and understandably most popular deep house acts today. What's great about "The Mechanism" is the fact this song is the epitome of a collaboration, and doesn't feel one-sided whatsoever. Disclosure with their signature buildup and production skills and Friend Within with his beastly bass drop and ability to turn anything completely on its head both make this one of the best collaborations in quite a while.
I've been a big fan of Glass Animals since their Glass Animals EP and their first effort this year is another sign that this is a serious band to look out for. I can't help but compare them to Alt-J with their original style and trip-hopesque beats, there's something truly compelling about this band and I don't see them doing anything but getting bigger and better. "Gooey" is drenched in a sort of sonic goo, with a hazy layer of harmonious voices and odd sounds here and there. I really can't pinpoint many influences on this band, reinforcing their image as one of the most distinctive acts out there at the moment.
I first heard this on a Jamie XX mix and it's stuck with me ever since. With over layered James Blake like vocals that gives the song a swooshing kind of feel played to a beatless rhythm that has this driving power to it. What's interesting about this song is that it doesn't seem to go anywhere but it simultaneously does. It's experimental without jeopardising the position of the listener, abstract enough so don't you have to force yourself to like it. William Arcane definitely has a lot of potential and is an artist who I feel will surprise his audience time and again.
Whilst extracts of this song have been lingering around the internet for some time, an official version of Leon Vynehall's "Time" only came out a few days for Will Saul's DJ Kicks session. This song reinforces his reputation as one of the most formidable producers out there. Quite a laid back feel to a house song, it's lively enough for it to not be considered background music but with a sort of understated quality to it that makes it quite powerful. A really fitting title, hopefully more of the same will come from this incredible artist.
Possessing one of the most incredible voices out there, Kelela certainly has a bright future. Similarly to Tirzah, she's bringing more depth to a genre that seemed outdated and stuck in a rut. The beat is reminiscent of Jai Paul and its minimal quality is a perfect way to demonstrate her amazing voice. Giving her room to explore her full range, it's also a great addition to her rather sultry lyrics, giving the song a very sexual feel to it, but without appearing lascivious. A song that always make me shudder when it first comes on, she's an artist you have to see live.
I've always preferred Black Lips over the Black Keys. They're rowdier, louder and more brash, and whilst their latest album sees more polished qualities to it, it still retains an authentically raw sound. "Boys In The Wood" is exactly that. It's a whiskey and drug fuelled rampage with a riotous chorus soundtracked to an abrasive horn section. This is rock music without the glamour or the bullshit. One for the small sweaty clubs rather than the big stadiums.
Furthering their sonic palette from their previous album, "Biggy" is just one of the many songs from Warpaint to show this. Eery and swampy, it has an air of mystery to it, with gentle symbals, a mesmerising bass line and haunting vocals, it's definitely not as loud as their previous efforts. It's a definite reminder that they had the likes of Flood and Nigel Goodrich on this album to help them with their sound. My favourite from their last album, the song's productions and movements are just stunning, reminding you why Warpaint have been so regularly celebrated.
The Horrors // So Now You Know
The Horrors have really come a long way since 2007's Strange House. Luminous expands on the sound of Skying with "So Now You Know" the cream of the crop. Similarly to "Still Life" it's got quite a Simple Minds feel to it but with their own personal touches. Layered synths, strange but powerful guitar effects and Farris Badwan's distinctive and almost deadpan vocals give it that signature sound. Whilst this is probably not their magnum opus, it's still a great song and an indication that they're so close to reaching that point.
Tuesday, 15 April 2014
Best Songs of 2014 So Far
As it's April, with essentially a quarter of the year already gone by, I thought it would make sense to write a piece regarding the 'Best Songs of 2014...So Far'. Plus, I haven't really written anything in some time so would probably be best to update the page. With so many releases already fighting for a Top 10 position for all of 2014, it's been quite a positive looking year already, so here's a list of songs I've chosen that are contenders in no particular order. I'm also doing this in two parts, so it's not just inundated with mediocre descriptions, aiming each part to have as varied genres as possible.
Applebottom // Sex Drugs Cash
First on the list, Applebottom with his in your face rampage that is 'Sex Drugs Cash'. My god. What a song. Straight from the start, you're bombarded with a heavy bass drum, with badass female vocals and an overall sense something daunting is about to happen. When it kicks in, you're overwhelmed by the general cockiness, with dirty lyrics, a driving bass line and a thumping beat, it swaggers without looking back. While the lyrics aren't exactly feminist, they definitely suit the atmosphere and make for one of the best house vocals in some time.
Tirzah // No Romance
Incredibly smooth, powerful and melancholic, Tirzah's 'No Romance' is a fine example of contemporary soul that sounds like it was made in the 21st century. I've always had a bit of an issue with neo-soul, seeing it more as a continuation of a genre without trying to bring anywhere new (albeit Erykah Badu). Tirzah is part of another wave of electronic soul artists such as Sampha or Kelela that give the genre a new life, taking it somewhere interesting whilst retaining a sense of authenticity. This song definitely possesses all the features of a classic soul song, but it doesn't sound like that's what it's trying to be.
Gorgon City // Ready For Your Love
I've always been a big fan of Gorgon City and whilst many after hearing 'Ready For Your Love' would feel they're beginning to sell out, it's far from the case. Yeah it is a lot more commercial than their earlier material, but at it's core it's the same Gorgon City I've known since I first got into them. Always an impressive duo, they're proof you can make a hit record without having to sell your soul to the devil, maintaining the loyalty of older fans while being accessible enough for a wider audience.
Mac DeMarco // Brother
Everyone's favourite slacker rocker is back with a new album this year which has definitely got people excited. Mac DeMarco is one of the only modern day Indie artists I can actually tolerate and more than that, enjoy. 'Brother' follows a similar formula as his antecedent records, it sounds lazy but you know it's been perfectly crafted. That's a really hard combination to achieve but the fact he does it with ease, time after time, proves he might just be a lot smarter than he puts on.
Octa Push // Please, Please, Please (Molo Remix)
A sonic lashing, Molo's fine remix of Octa Push's 'Please, Please, Please' is for me, another example that electronic music as a whole, remains the most innovative genre (for lack of better term) today. You're presented with some fairly calm steel drums, a jumpy beat, then a brief interlude and it sounds like what would happen if you gave Animal Collective a set of steel drums. It's cool, different and highly original. With a wave of powerful synths coming in halfway through, it's an indication that Portugal's budding electronic has only just started.
Midland // Trace (Grain Remix)
I spoke about Grain a while back and how much the record had impacted me so early on in the year. His remix of Midland's 'Trace' is still one of the songs I currently listen to the most. As I said last time, it's hypnotic, odd, inspired and just generally remarkable, it's one of the best remixes I've heard in a while. And it's just as valid then as it is now. Unfortunately I didn't manage to see him at Fabric (for various reasons) but hopefully I'll catch him again. Watch out for the name, as I'm sure something even bigger is lurking under the water.
Ratking // So Sick Stories
One of the best rap groups to come out of the US for some time, Ratking proves that New York remains arguably, the most important hub for the genre. 'So Sick Stories' featuring the always incredible King Krule, is such a good song. It's got quite an experimental twang and the fact they're so young is a possible sign that this is where the genre is going. Many have lauded this group and rightly so, but I think something that has been underlooked is their voices. For me, I often get attached by the rapper's voice and these guys' voices are so distinct from what's out there at the moment. Crafting such amazing lyrics at such an age is pure raw talent, and with King Krule on chorus duties, there is definitely hope for the next generation of artists.
Applebottom // Sex Drugs Cash
First on the list, Applebottom with his in your face rampage that is 'Sex Drugs Cash'. My god. What a song. Straight from the start, you're bombarded with a heavy bass drum, with badass female vocals and an overall sense something daunting is about to happen. When it kicks in, you're overwhelmed by the general cockiness, with dirty lyrics, a driving bass line and a thumping beat, it swaggers without looking back. While the lyrics aren't exactly feminist, they definitely suit the atmosphere and make for one of the best house vocals in some time.
Tirzah // No Romance
Incredibly smooth, powerful and melancholic, Tirzah's 'No Romance' is a fine example of contemporary soul that sounds like it was made in the 21st century. I've always had a bit of an issue with neo-soul, seeing it more as a continuation of a genre without trying to bring anywhere new (albeit Erykah Badu). Tirzah is part of another wave of electronic soul artists such as Sampha or Kelela that give the genre a new life, taking it somewhere interesting whilst retaining a sense of authenticity. This song definitely possesses all the features of a classic soul song, but it doesn't sound like that's what it's trying to be.
Gorgon City // Ready For Your Love
I've always been a big fan of Gorgon City and whilst many after hearing 'Ready For Your Love' would feel they're beginning to sell out, it's far from the case. Yeah it is a lot more commercial than their earlier material, but at it's core it's the same Gorgon City I've known since I first got into them. Always an impressive duo, they're proof you can make a hit record without having to sell your soul to the devil, maintaining the loyalty of older fans while being accessible enough for a wider audience.
Mac DeMarco // Brother
Everyone's favourite slacker rocker is back with a new album this year which has definitely got people excited. Mac DeMarco is one of the only modern day Indie artists I can actually tolerate and more than that, enjoy. 'Brother' follows a similar formula as his antecedent records, it sounds lazy but you know it's been perfectly crafted. That's a really hard combination to achieve but the fact he does it with ease, time after time, proves he might just be a lot smarter than he puts on.
Octa Push // Please, Please, Please (Molo Remix)
A sonic lashing, Molo's fine remix of Octa Push's 'Please, Please, Please' is for me, another example that electronic music as a whole, remains the most innovative genre (for lack of better term) today. You're presented with some fairly calm steel drums, a jumpy beat, then a brief interlude and it sounds like what would happen if you gave Animal Collective a set of steel drums. It's cool, different and highly original. With a wave of powerful synths coming in halfway through, it's an indication that Portugal's budding electronic has only just started.
Midland // Trace (Grain Remix)
I spoke about Grain a while back and how much the record had impacted me so early on in the year. His remix of Midland's 'Trace' is still one of the songs I currently listen to the most. As I said last time, it's hypnotic, odd, inspired and just generally remarkable, it's one of the best remixes I've heard in a while. And it's just as valid then as it is now. Unfortunately I didn't manage to see him at Fabric (for various reasons) but hopefully I'll catch him again. Watch out for the name, as I'm sure something even bigger is lurking under the water.
Ratking // So Sick Stories
One of the best rap groups to come out of the US for some time, Ratking proves that New York remains arguably, the most important hub for the genre. 'So Sick Stories' featuring the always incredible King Krule, is such a good song. It's got quite an experimental twang and the fact they're so young is a possible sign that this is where the genre is going. Many have lauded this group and rightly so, but I think something that has been underlooked is their voices. For me, I often get attached by the rapper's voice and these guys' voices are so distinct from what's out there at the moment. Crafting such amazing lyrics at such an age is pure raw talent, and with King Krule on chorus duties, there is definitely hope for the next generation of artists.
Monday, 17 February 2014
Is There Really No Good Music Today?
Go on any Youtube video of any band from the past and you're sure to find this type of comment: 'Music is terrible nowadays compared to the past', 'We get Justin Bieber and they got The Beatles', and so on.
True there is a lot of bad music out there today and it's understandable that some people are appalled by contemporary music but this is quite a simplistic perspective to take. Throughout the 20th century, there has always been bad music. It's inevitable. Don't you think your parents had to experience some terrible music in their lifetime? Of course they did.
To say there is no good music in our contemporary is a blinded and lazy point of view to take. Just because people like Justin Bieber and One Direction reign the charts doesn't mean everyone listens to them, just young girls who have no concept of love. And yeah, a lot of other music on the charts is often terrible but look at the last year: Acts such as Disclosure, Arctic Monkeys, Gorgon City, Temples, Bombay Bicycle Club just to name a few have all featured prominently on them and that's an incredibly positive sign. Additionally, reports indicated that the first time in years Rock albums had outsold Pop as a whole which just furthers this.
Another argument is that if you were passionate enough about music, you'd go out of your way to find new good artists. Acts such as Maths Time Joy, Kelela, Bodhi or Maribou State aren't universally known but are all unique and incredible.
It's easy to say all modern music is horrific if you solely listen to Radio 1. Joy Division for example weren't instantly recognised as geniuses, whilst their fame was gradually increasing up until the point of their first US tour, singer Ian Curtis tragically committed suicide. And like so many artists, they became icons after his death.
So before you complain that 'all modern music is terrible', go and search for some that you don't know. With the internet, we've got the biggest database of information ever and it's becoming easier and easier to find new music. Even go down to any music venue and watch a band you've never heard, you may even be surprised.
I apologise for the rather long-winded nature of this post but it does infuriate me quite a bit. And if I get any accusations of being a hipster, I will accept them.
True there is a lot of bad music out there today and it's understandable that some people are appalled by contemporary music but this is quite a simplistic perspective to take. Throughout the 20th century, there has always been bad music. It's inevitable. Don't you think your parents had to experience some terrible music in their lifetime? Of course they did.
To say there is no good music in our contemporary is a blinded and lazy point of view to take. Just because people like Justin Bieber and One Direction reign the charts doesn't mean everyone listens to them, just young girls who have no concept of love. And yeah, a lot of other music on the charts is often terrible but look at the last year: Acts such as Disclosure, Arctic Monkeys, Gorgon City, Temples, Bombay Bicycle Club just to name a few have all featured prominently on them and that's an incredibly positive sign. Additionally, reports indicated that the first time in years Rock albums had outsold Pop as a whole which just furthers this.
Another argument is that if you were passionate enough about music, you'd go out of your way to find new good artists. Acts such as Maths Time Joy, Kelela, Bodhi or Maribou State aren't universally known but are all unique and incredible.
It's easy to say all modern music is horrific if you solely listen to Radio 1. Joy Division for example weren't instantly recognised as geniuses, whilst their fame was gradually increasing up until the point of their first US tour, singer Ian Curtis tragically committed suicide. And like so many artists, they became icons after his death.
So before you complain that 'all modern music is terrible', go and search for some that you don't know. With the internet, we've got the biggest database of information ever and it's becoming easier and easier to find new music. Even go down to any music venue and watch a band you've never heard, you may even be surprised.
I apologise for the rather long-winded nature of this post but it does infuriate me quite a bit. And if I get any accusations of being a hipster, I will accept them.
Sunday, 9 February 2014
Grain Is Sure To Make A Scene This Year.
When Dusky announced recently who they'd organised to play at their Fabric night the 14th of March, I was excited. Long had I waited for this moment and I was sure I knew who would be playing. Yet I was quite surprised. Because of the amount of incredible releases last from AUS Music (Midland and Leon Vynehall are just some of the examples), I was naively certain a number of them would make appearances.
Instead, acts such as Jimmy Edgar, Loefah and Joey Beltram were to play. This of course reinforced Dusky's more recent emphasis on techno over deep house, especially with the release of 9T8.
Not long after this, another post of their caught my eye. They put up a link to a Grain song (Artwork's side project), who was one of the acts playing but who I couldn't find any songs by. The song was Untitled 4, a raucous tropical groove that was simple but incredibly tantalising. It was one of the most original techno songs I'd heard in a while, especially in a period for what I considered a musical drought.
And then something even better happened. I'd heard his remix of Midland's phenomenal Trace but the first hearing of it was of poor quality, ripped from the radio and wasn't the fullest version. But then MixMag put up the full version of the song and I was entranced. Hypnotic, odd, inspired and just generally remarkable, it's one of the best remixes I've heard in a while.
Having kept the Grain moniker dormant for 10 years, he's now come back in fantastic form. If there is someone who will make quite a scene this year, it is surely him. I was never a big fan of Artwork or Magnetic Man, but this is a side of him that I truly respect. Sure to shake things up, Grain will firmly root himself (I had to) in a scene that does tend to stagnate a bit.
Instead, acts such as Jimmy Edgar, Loefah and Joey Beltram were to play. This of course reinforced Dusky's more recent emphasis on techno over deep house, especially with the release of 9T8.
Not long after this, another post of their caught my eye. They put up a link to a Grain song (Artwork's side project), who was one of the acts playing but who I couldn't find any songs by. The song was Untitled 4, a raucous tropical groove that was simple but incredibly tantalising. It was one of the most original techno songs I'd heard in a while, especially in a period for what I considered a musical drought.
And then something even better happened. I'd heard his remix of Midland's phenomenal Trace but the first hearing of it was of poor quality, ripped from the radio and wasn't the fullest version. But then MixMag put up the full version of the song and I was entranced. Hypnotic, odd, inspired and just generally remarkable, it's one of the best remixes I've heard in a while.
Having kept the Grain moniker dormant for 10 years, he's now come back in fantastic form. If there is someone who will make quite a scene this year, it is surely him. I was never a big fan of Artwork or Magnetic Man, but this is a side of him that I truly respect. Sure to shake things up, Grain will firmly root himself (I had to) in a scene that does tend to stagnate a bit.
Tuesday, 14 January 2014
Will Julio Bashmore's debut album deliver?
With his debut album to come out at some point in 2014, this is the year where Julio Bashmore's already sterling reputation will either be further cemented in the UK dance scene or will come crashing down. (However, from his track record alone, I think the former is more likely.)
With three releases last year and a remix of Justin Timberlake's 'Suit & Tie', he's an artist who keeps himself busy yet wisely chooses to not give too much away before his much anticipated album. One of his most divisive releases 'Duccy' caused much online debate between the usual camps: the first one criticizing his musical progression and wishing for a return to his older material and the second group simply praising him because he's done something different. I have to say I'd find myself on the fence on this one but would lean closer to the former camp. Nonetheless, I'm not saying I don't favour change, I just didn't particularly enjoy the song.
Before I start a pointlessly long rant, I'm gonna keep it simple. I haven't been that impressed with his efforts in 2013 and after hearing he had an album coming out, I was a bit skeptical. Like any of his fans, I'm a big supporter of his older material. From 'Battle For Middle You', to 'Footsteppin'' to the massive tune that is 'Au Seve'. If I had to choose my favourite track however, it would have to be 'The Horn That Time Forgot'. And of course, if I had a say in his musical direction (which I don't), it'd be awesome if he had a few songs along the lines of this incredible tune.
Despite all of this, my optimism has resurfaced lately with the release of 'Peppermint' in late 2013. Taken directly from his so-far unnamed album, it's a track that screams 90's house, with lush productions, bouncy rhythms and guest vocals from fellow PMR label mate Jessie Ware, it's definitely a good sign for what's to come. It also seems as though in one song, he's attained a sound that Disclosure have taken years to perfect, once again showcasing Bashmore's extraordinary talent and adaptability.
Ultimately, we need to wait for any future releases to hopefully get a better insight into the album but as I said with 'Peppermint', it has given much hope and is a perfect compromise between the expectations of his die-hard fans and the inevitability of creating a more commercialized sound to rival Disclosure.
With three releases last year and a remix of Justin Timberlake's 'Suit & Tie', he's an artist who keeps himself busy yet wisely chooses to not give too much away before his much anticipated album. One of his most divisive releases 'Duccy' caused much online debate between the usual camps: the first one criticizing his musical progression and wishing for a return to his older material and the second group simply praising him because he's done something different. I have to say I'd find myself on the fence on this one but would lean closer to the former camp. Nonetheless, I'm not saying I don't favour change, I just didn't particularly enjoy the song.
Before I start a pointlessly long rant, I'm gonna keep it simple. I haven't been that impressed with his efforts in 2013 and after hearing he had an album coming out, I was a bit skeptical. Like any of his fans, I'm a big supporter of his older material. From 'Battle For Middle You', to 'Footsteppin'' to the massive tune that is 'Au Seve'. If I had to choose my favourite track however, it would have to be 'The Horn That Time Forgot'. And of course, if I had a say in his musical direction (which I don't), it'd be awesome if he had a few songs along the lines of this incredible tune.
Despite all of this, my optimism has resurfaced lately with the release of 'Peppermint' in late 2013. Taken directly from his so-far unnamed album, it's a track that screams 90's house, with lush productions, bouncy rhythms and guest vocals from fellow PMR label mate Jessie Ware, it's definitely a good sign for what's to come. It also seems as though in one song, he's attained a sound that Disclosure have taken years to perfect, once again showcasing Bashmore's extraordinary talent and adaptability.
Ultimately, we need to wait for any future releases to hopefully get a better insight into the album but as I said with 'Peppermint', it has given much hope and is a perfect compromise between the expectations of his die-hard fans and the inevitability of creating a more commercialized sound to rival Disclosure.
Thursday, 2 January 2014
The Problem with Eton Messy/Majestic Casual
As I wrote in my last piece, Eton Messy for me reached the zenith of their 'career' around the middle of 2013 and have since, slightly dropped in quality. The same goes for Majestic Casual. The latter I discovered before Eton Messy in late 2012 and it was a great time for finding new music, constantly spewing out new and interesting new acts that seemed more individual and original as the last one. If you did read my best of list for 2013 you'll probably notice that a number of songs I chose were in fact from Eton Messy and Majestic so can I understand if you can perceive this as hypocritical. I'm not saying that they're not good whatsoever, it's just that I've noticed a drop in quality in the last few months.
Undeniably so, they exposed to the world brilliant new artists from Maths Time Joy, Queenie to Snakehips yet since, they seemed to have stopped favouring originality and simply repost more homogenous sounding artists that they know their fans will appreciate. I think this may be one of the problems. There appears to be a genuine group of people who solely listen to Majestic Casual music now and will simply share it because well, Majestic Casual liked it. I'm not saying that there is anything wrong with Youtube channels regularly posting new music because it's a great way of discovering new artists. The problem however is that they should not post music purely because their fan base will appreciate it, but seek to find new, innovative and original acts. I have also noticed this with the channel SubSoul, who subjectively I do prefer yet they have began to post similar music to Eton Messy because they know there's it's popular on their page. One song recently got quite an amount of backlash from the page's followers who were discontent that SubSoul were simply attempting to imitate Eton Messy. The former is a bass/garage orientated page so it's understandable that people were annoyed that they were trying to focus on a sound that's popular amongst other channels just for the sake of reaching a higher viewership.
Once again I'm not discrediting any of these channels (or their fans for that matter) I am simply saying that they shouldn't change or fixate their sound on a specific style purely because they know they'll get more viewers.
Undeniably so, they exposed to the world brilliant new artists from Maths Time Joy, Queenie to Snakehips yet since, they seemed to have stopped favouring originality and simply repost more homogenous sounding artists that they know their fans will appreciate. I think this may be one of the problems. There appears to be a genuine group of people who solely listen to Majestic Casual music now and will simply share it because well, Majestic Casual liked it. I'm not saying that there is anything wrong with Youtube channels regularly posting new music because it's a great way of discovering new artists. The problem however is that they should not post music purely because their fan base will appreciate it, but seek to find new, innovative and original acts. I have also noticed this with the channel SubSoul, who subjectively I do prefer yet they have began to post similar music to Eton Messy because they know there's it's popular on their page. One song recently got quite an amount of backlash from the page's followers who were discontent that SubSoul were simply attempting to imitate Eton Messy. The former is a bass/garage orientated page so it's understandable that people were annoyed that they were trying to focus on a sound that's popular amongst other channels just for the sake of reaching a higher viewership.
Once again I'm not discrediting any of these channels (or their fans for that matter) I am simply saying that they shouldn't change or fixate their sound on a specific style purely because they know they'll get more viewers.
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