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BrownSugar		#1 Posted : 22 December 2024 10:08:42(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 18/02/2011(UTC) Posts: 27,977 Location: In between the couch cushions Thanks: 11373 times Was thanked: 19560 time(s) in 7795 post(s)		Artist: Layla Title: The Human Experience Genre(s): Pop, Rock Pop, Country Pop, Electropop Length: 32:40 Writers: L.Sanchez, Various Producers: Layla, Bloom, Orion Washington, Moon Honeywell, Rose Meadows, Preeti Format(s): CD, Vinyl, Cassette, Digital Download, Streaming Label: Five Pesky Kids Singles Released: Room for Three (#1), The King is Dead (#1), Coping Mechanism (#1), Kindness (#1) The Human Experience is the second studio album by American singer and songwriter Layla Sanchez, known mononymously as Layla. It is set to be released on December 31st, 2024, through Five Pesky Kids Records. The singer recorded the album from November 2022 through to May 2024. Following the success of her debut album, "Feel No Fear", Sanchez and Pesky initially planned on re-releasing the album as a deluxe edition with extra tracks in 2022. As these recording sessions progressed, however, Layla grew disenchanted with the idea of repackaging the album and decided to scrap the project in favour of creating an entirely new body of work. "Room for Three" was released as the new project's lead single in the spring of 2023. The track garnered instant critical and commercial success, debuting at #1 on the Chart Heat Hot 20. Despite officially releasing material, Sanchez continued to work on and finalise the album throughout 2023 and 2024. Over the course of the following year, Layla released multiple singles from the campaign. "The King is Dead" and the Ellie-Grace Summers collaboration "Coping Mechanism" were released as the album's second and third singles. They both reached the summit of the Chart Heat Hot 20, respectfully. The album's fourth single, "Kindness" was released in November 2024 alongside the pre-order link for "The Human Experience". SINGLES Room for Three was released as the album's leading single in February 2023. The track was surprise released, with Layla posting the official links to the song with no prior warning, promotion or pre-saving system put in place. "Room for Three" was an instant success amongst fans and critics alike with many praising Sanchez's writing skills and pop melody sensibilities. The track debuted atop the Chart Heat Hot 20. The King is Dead was released as the album's second official single almost a year behind the project's leading track, coming out in January 2024. Sanchez had spent most of the previous year reworking on the album, resulting in a slight delay in the singles campaign. Debuting at #1 on the Chart Heat Hot 20, "The King is Dead" became another hit for Sanchez. The song is noted for its mid-2000's inspired pop/R&B production and strong themes of female empowerment. Coping Mechanism was released as the album's third official single in the summer of 2024. The track is a collaboration with fellow singer-songwriter and close friend, Ellie-Grace Summers. Upon release, "Coping Mechanism" was met with heavy media attention due to its controversial and coquettish lyrical content which seen Sanchez and Summers address their heavily publicised former relationships with other celebrity figures. The single debuted at #1 on the Chart Heat Hot 20, continuing Sanchez's unbroken run of 7 consecutive #1 singles. Kindness was serviced as the fourth single alongside the announcement and pre-order links for "The Human Experience". The rock-pop inspired track was universally praised by music critics, lauding Layla's playful and mischievous lyrics. The single extended Layla's run of consecutive #1 singles. With "Kindness" reaching the summit, Layla tied Jennifer Armstrong as the female artist with the fifth most chart-topping singles with 9 each. LAYLA'S COMMENTS "Coming out of "Feel No Fear", I was initially on such a wave. I had really hit my stride. We had planned on re-releasing the album as a deluxe edition with a bunch of new tracks but the more I recorded, the less interested I was in the idea. I was worried about milking the whole situation and Feel No Fear was such a milestone for me. My first ever album as a solo artist and for it to do what it did? It holds such a special place in my heart. I decided to just leave it alone. Let it have its own moment. Preserve it in amber. Just don't mess with it, you know? So, after I trashed the idea of a re-release and chose to go ahead with a totally new record, I knew that the songs I had recorded in 2022 had to go in the trash alongside it. It'd be so cheap and easy for me to put out those songs with a few other new ones and call it an album. I would never want to do that. I want something to say on each project. Then I felt like I shot myself in the foot because I had erased everything, gave myself a totally blank canvas and I remember thinking; "Damn, what am I gonna say?!". Great job, Layla!" "The difficult second album is definitely a true curse. It hits different people in many ways. I put so much pressure on myself to hit certain targets, appease specific types of listeners, basically just continue the success of the debut but do it bigger and better. When your first album houses the longest-running #1 single of all-time on the Chart Heat database, it's pretty daunting to move forward from that. For the longest time I felt as if anything I produced that wasn't as big as "Forbidden Honey" would be seen as a complete failure. The number of sad attempts I made at recreating a record like that at the beginning of this album process was astronomical. I was in such a funk for months. The writers, producers, people at the label, they could all see it too. For the first album, I was starting from scratch but with this one, I was making the mistake of looking at and trying to copy a blueprint." "After a bunch of fruitless sessions, "Room for Three" was born. I didn't have much hope going into the studio that day but BLOOM and I accidentally struck gold. He says he literally witnessed the weight being lifted from my shoulders. The track was just born out of batting around ideas, talking to each other and taking little steps at a time. It was back to basics and for me, like a factory reset. I absolutely adored what we had created and suddenly, I wasn't caring about a "Forbidden Honey" 2.0. I was enjoying making music again. I got out of my head and doing what I should've been doing all along which, ironically, was feeling no fear." "This album, "The Human Experience", is exactly what the title says. I feel like I'm at my most comfortable, confident and competent when I'm writing about real, raw, honest life stuff. There's no agenda and specifics applied. Who else knows more about my life than me? Well, perhaps Culture Uncut. I feel like now more than ever, people don't want these unattainable, Hollywood elite figures churning out another product to buy. It's such a bleak, divided world right now and I think everyone just wants some human connection. Something relatable in a culture that's so detached and reduced to algorithms, slanging matches, divide and conquer tactics. I've always wanted to have a real, true connection with people who listen to and support my music and I won't settle for anything other than authenticity even if it's a little detrimental to myself at times. We all need a safe space, to be heard, to be understood at times and I hope that some people can find that within my music and my shows. We're all just stuck on this little rock flying through space trying to figure it all out together." "For "The Human Experience", once I had gotten over a certain hurdle, I knew that I couldn't really give myself many restrictions. If I'm going to write about my life or just being a person in this scary, scary world then it should be real and truthful, not a censored, cookie cutter version that's easy to swallow. Sometimes we are the bad guy. Some people plan it and enjoy that. Others regret it instantly. We all make mistakes. We all screw up. In the same breath, we also all love. Sometimes it's fairy tale romance, sometimes it's carnal, sometimes it's not reciprocated and forbidden. We don't always act on our human urges. We often have to bottle them up. That doesn't mean we don't still feel them, however. I wanted to tap into all that on the record. I didn't want it to be all glossy and simple. I really wanted to go there and shine a lot on all the unspoken things and restrained wants and actions. There are times when I've stood up for great, important causes and issues which I'm really proud of myself for doing. There are also times when I've been such a terrible person and acted out of jealousy, spite, insecurity. Like everyone else on this planet, we all have shades and layers. We have it all and then lose it down the line. We want things we can't have. We have things we don't want. We're someone's favourite person and we're the villain in someone else's story." "This is the human experience." TRACKLIST Kindness Power's Out Room for Three Looks Like Rain Coping Mechanism (feat. Ellie-Grace Summers) Devil Wouldn't Recognize You Late to the Party The King is Dead Get Off happy! Edited by user 29 January 2025 08:24:02(UTC) \| Reason: Not specified
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BrownSugar		#2 Posted : 22 December 2024 10:09:26(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 18/02/2011(UTC) Posts: 27,977 Location: In between the couch cushions Thanks: 11373 times Was thanked: 19560 time(s) in 7795 post(s)		Artist: Layla Title: Kindness Genre: Pop, Pop Rock, Slacker Rock Length: 3:14 Writer: L.Sanchez Producer: Moon Honeywell Label: Five Pesky Kids From The Album: The Human Experience INFORMATION "Kindness" is a song recorded by American singer-songwriter Layla. It serves as the fourth single and opening track from her second studio album tentatively titled "The Human Experience" which is due for release later this year. The song was released on November 20, 2024 alongside the official announcement and the pre-order link for its parent album. It follows on from the release of "Coping Mechanism", her chart-topping, critically acclaimed collaboration with close friend Ellie-Grace Summers. The track was written solely by herself in the spring of 2024. "Kindness" was produced by Moon Honeywell, an up and coming writer and record producer. The song was birthed from an "off the dome" session between Sanchez and Honeywell whilst in the studio together, with Layla spontaneously creating lyrics in the booth to an impromptu riff played by Moon. Lyrically, "Kindness" is a tongue-in-cheek swipe at the public persona the media have built up for her in regards to her love life and "bad decisions". Similarly to previous release, "Coping Mechanism", Layla portrays an embellished, fictionalised version of herself. This time she takes on the role of a doe-eyed, somewhat sociopathic woman who genuinely believes in her own lie, with the falsehood being that she's providing comfort and friendship to a heartbroken man rather than taking advantage of the situation. She dubs her ulterior motives as "kindness" and believes that those who do not support her actions are simply negative, non-charitable people who do not wish to make the world a better place. During the creation of the song, Layla specified that she wanted the persona to "unravel" further and further as the song progresses. She begins playing more coyly in the opening verse; "We probably shouldn't meet up again", as opposed to more blatant advances in regards to sex in the song's bridge; "Let's paint a Botticelli in the dark" - Botticelli being a famous Italian painter from the Early Renaissance who was known for many nude pieces. "Kindness" is an upbeat pop-rock song that has a total runtime of 3 minutes and 14 seconds. It has also been described by some as "slacker rock" and "indie rock". Many critics have praised its "instant mass appeal" as Layla and producer Moon Honeywell "borrowed" elements from many genres such as pop, rock, country and disco to create an uptempo, catchy track that utilises many live instruments while still maintaining a "sweet", "polished" edge that plays well for TV and radio. SONG COMMENTARY Quote: "This song was born pretty much off-the-cuff which I've found is how the songs I'm most proud of an excited about come to be. Moon and I were just batting ideas around in the studio. He started playing this riff and I literally jumped out of my chair! It was so freaking good and instantly familiar. Sometimes things take a minute for the ears and mind to get around but this little groovy tune he was banging out just sounded so classic straight away. Something right out of an amazing 90's movie soundtrack. I was instantly thinking of Divinyls on stuff like that. For the longest time after we cut the record, I was still searching and investigating because I did NOT want us to be plagiarising, haha! But yeah, it was such a great session. We'd stop and start, giving each other little suggestions where to take it when we resumed and before we knew it, we had this crazy, dumbass storyline!" "I think it's really fun to play a character or embellish on something, taking it to unbelievable extremes while still rooting it in some truth. It feels very therapeutic and almost like an armour. Being able to tackle and release something without having to go down the bleeding hearts road in front of the court of public opinion is so freeing. People have made jibes at my love life and terrible decisions many times over the years. Heck, I do it myself! This was a kinda fun, jokey way to approach it. At its core, there's a kernel of truth; I make very unwise decisions, but then it just snowballed into this story of a woman so desperate for love that she'll defy all logic. The scenario and mindset in the song is all scripted but I still see myself in her. I'll willingly blur out some home truths in order to feel safe. Of course, that only gets you so far and isn't good for anybody in the end." "I'm happy to have fun with my music and I'm not afraid to play the villain of the piece. Though, I don't think the girl in this song is villainous. On a surface level, yeah, she's...she's uh, a little unhinged, shall we say? But there's a sadness and loneliness there. A desire to please and to feel wanted. Though, sometimes it's easier to portray yourself as the bad guy in order to avoid showing vulnerability. That's my whole takeaway from the track at least. Really curious and excited to hear what others think!" CRITICAL RECEPTION Critical reception of "Kindness" has been positive upon the song's initial release with many reviewers lauding Sanchez' evolving, maturing image. Online music magazine Consequence awarded it "Song of the Week", describing it as "a punchy pop anthem for the sexual freaks of the world with a meaner, heavier hook than Tyson". Khaled Miah of Slant Magazine branded the song as "another sure-fire hit" and praised the composition, writing; "Layla sounds simultaneously breezier yet more heavy-hitting than ever as she rocks out with her delusions against a crisp, electrifying guitar-laden pop stomping backdrop." Vulture's Lilly Alcorn remarked that the song's lyrical content was "deliciously deluded" and claimed that "Layla's reinvention from oversized bow-wearing girl-next-door to pop's sexually frustrated anti-hero is one for the history books". Daisy Manning from Pitchfork praised the "chaotic" writing and "coquettish" delivery of the track, opining; Pop, at its core is meant to be fun and all about escapism and if it's one thing Layla has learned to do in her solo career, it's paint an extremely vivid picture - fancy making a Botticelli in the dark, anyone?". Manning rounded off her review by praising Sanchez's "fearlessness" when it comes to portraying herself as the "antagonist" in her own work, stating that "Honesty is indeed appreciated within music and art but when it becomes very self-indulgent and 'woe is me', replay value diminishes. We can always trust Layla to drop a bombshell of a lyrical scenario on us to prick up our collective ears. Often being backed with some of the whimsically likeable melodies and production also helps aid her mass appeal." "KINDNESS" We probably shouldn't meet up again But you seem like you could use a shoulder Perhaps leave alcohol out the equation? Though heart to hearts are harder when sober I can't believe you picked this bar Must remember that scenario, right? It's growing dark and you live quite far Think it's best you stay the night I put it down to those pesky little bubbles Waiving away all the responsibility I'm a good girl, I don't look for trouble I swear that sucker looks for me Well, excuse a girl for caring That passion runs more than skin deep I'm sure that this kindness will be the death of me An ear for your confessions Ain't my fault where that might lead Damn, this kindness will be the death of me She broke your heart, well fuck her Fuck her and her legs that rise up to here You're way too precious to cry and suffer Lay your head on my chest, baby, feel no fear I could go ahead and make my excuses Leave you all lonesome amongst birds of prey But I'll stick around to help you through this To Hell with what the neighbors say I'm not one for painting any illusions I deal with facts, and it's his hour of need Don't know why there's any confusion Mother Teresa ain't got a thing on me Well, excuse a girl for caring That passion runs more than skin deep I'm sure that this kindness will be the death of me An ear for your confessions Ain't my fault where that might lead Damn, this kindness will be the death of me Hearsay and whispers, so pathetic They don't align with my aesthetic Who cares about logic? Y'all just bend it Modern day saint with none of the credit I'm just out here bringing peace! Drying eyes and mending hearts I'll be the muse, I'll be the counterpart Let's paint a Botticelli in the dark God, sue me, for reviving a lost art This kindness will be the death of me! Well, excuse a girl for caring That passion runs more than skin deep I'm sure that this kindness will be the death of me An ear for your confessions Ain't my fault where that might lead Damn, this kindness will be the death of me Well, excuse a girl for caring That passion runs more than skin deep I'm sure that this kindness will be the death of me An ear for your confessions Ain't my fault where that might lead Damn, this kindness will be the death of me Can Be Compared To: Edited by user 23 December 2024 16:16:23(UTC) \| Reason: Not specified
		WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT PUBLIC WARNING: BEAU • CARTER LEE • JAKE • MYLES • ZANDER THE STAT NERDS: BRIAN • CHRISTOPHER THE ZONE: BLAKE • CHRIS • JASON • LIAM JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN ANDREA • DENEIL • CHICAGO NOBODY • BLOOM • SONNY • VICTORIA BLACK REUBEN • ELLIE-GRACE SUMMERS • ALFIE SUMMERS • MICAH DELISLE JAMIE JACKSON • KONSTANTIN • FAYETTE • SAYYID
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BrownSugar		#3 Posted : 23 December 2024 16:01:27(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 18/02/2011(UTC) Posts: 27,977 Location: In between the couch cushions Thanks: 11373 times Was thanked: 19560 time(s) in 7795 post(s)		Artist: Layla Title: Power's Out Genre: Pop, Electropop, Synthpop Length: 3:20 Writer: L.Sanchez, C.Flores Producer: BLOOM Label: Five Pesky Kids From The Album: The Human Experience INFORMATION "Power's Out" is a song recorded by American singer-songwriter Layla. It serves as the second track on her second studio album, "The Human Experience". The track was written by both Layla and Cristian Flores, most commonly known as BLOOM. Sanchez and Flores have formed a successful creative partnership which predates the release of her debut album. Production of "Power's Out" was also handled by BLOOM, who also crafted the previous opening track. The song is one of the oldest surviving from the recording sessions, dating back to early 2023. Initially, "Power's Out" was pencilled in as the second single, set to follow on from "Room for Three". However, these plans were changed when Sanchez decided to pause the singles campaign in order to work on further material for the album. New track "The King is Dead" was later chosen as the second single instead. Lyrically, "Power's Out" is an ode to a former lover who still holds a special place in Layla's heart. The story chronicles how the pair split amicably and still remain good friends, however, Layla isn't being entirely truthful in how she really feels about the situation. While her ex-partner is no longer in that romantic place, Layla still holds those feelings and buries them down. She forces herself to be "just friends" despite not truly wanting this to be the arrangement. She continuously lives in hope that this former flame will change their mind and believes that if she hangs around long enough, this might be the case. The bridge of the song sees her acknowledge how unreasonable and delusional she's being, and has her toy with the idea of forging ahead and finally moving on. Ultimately, however, she parks the idea and continues her yearning. "Power's Out" is a "pulsating" and "dramatic" synthpop track with "urgent" and "persistent" synth beats pulsating throughout the song's verses, creating a rather dark and pensive atmosphere. As Layla confesses her love, the choruses erupt with a backdrop of big pop beats and "swooping" strings against her soaring vocals, culminating in a large, commanding soundscape. SONG COMMENTARY Quote: "A topic like "Power's Out" is something that we should try to avoid falling into and it's definitely not a thing people proudly shout from the rooftops. I feel it especially as a woman in this day and age. Pining over a man who left you? Ew! Right? Of course, I advocate for independence and no, we don't need men, but we're still human at the end of the day. We all want love and can't just switch our feelings off at the touch of button. Sad to say but I've definitely been there. The yearning, the denial, the feeling of hopelessness. It's the pits but it happens. A lot of breakup songs tend to focus on a big, traumatic event like cheating, abuse, someone just being a total deadbeat and no good - a definitive factor that makes it easy to paint a target and point a finger. Sometimes, it's not like that. It's not always explosive. And, sometimes, one person decides to move on and grow. I wanted to tap into a situation where it's not a huge fallout and it's just simply one person spreading their wings and another left behind. Forcing yourself not to care or love someone is one of the hardest things to do. I don't think we ever fully can. We can mute and tone down those feelings but I genuinely believe it's impossible to not even maintain a small fraction of that love." "BLOOM and I created this pretty much two years ago. A lot of songs have came and went but "Power's Out" has always stuck around. It was actually going to be the second single from this record but a lot of things changed behind the scene and it ended up not happening. I kept hold of it, however, because I just love the song. Cristian really did his thing on here. I love how it switches from this processed, programmed, rumbling synth beat to soaring strings and thunderous drums. I think it truly captures the juxtaposition of how you're outwardly presenting and what you actually want to scream out and tell the world. He's such a talent. I haven't done it myself because it's my own music and I think it'd be quite egotistical, but I like to imagine people having a good cry and sing-a-long to this with a glass of wine." "POWER'S OUT" Remember when you said it was for life? I'm still holding on to that sentiment You're pulling away, moving with the times I truly hope you go and kill it And sometimes you still dry these red eyes Because you're too sweet and I'm too delicate Swear I want to do what's right But I've never know the etiquette White-knuckled from gripping the past Letting go is what I struggle to grasp So many messages all saved as draft It's crystal clear, no shadow of doubt I'm in an echo chamber, the power's out Should you need a candle, flicker or a spark I'll still be here like a beacon in the dark There's always room here where it's safe and sound I'll keep us warm even when the power's out Soon there'll be a new girl in your arms Of course I'll pretend to take an interest Burning up inside but playing it calm Nodding along to your romantic life specifics Dilute myself down so not to raise an alarm Fight my ice when you're with her this Christmas Won't bubble over into woman-scorned napalm Cool as can be, just regular old business Tell myself it's not a wound, just a graze Everyday I'm fighting to save face Where's the shortcut to the happy place? It's crystal clear, no shadow of doubt I'm in an echo chamber, the power's out Should you need a candle, flicker or a spark I'll still be here like a beacon in the dark There's always room here where it's safe and sound I'll keep us warm even when the power's out I should really try my best to have you demonised Collect all your insecurities, have them weaponised But knowing you, you'd only go and empathise Paint a target right across that picture perfect face Find a cure to have our time together all erased Pray when I wake up that you'll be gone without a trace And maybe I'll find the strength to get off my knees But, right now, this is where I wanna be It's crystal clear, no shadow of doubt I'm in an echo chamber, the power's out Should you need a candle, flicker or a spark I'll still be here like a beacon in the dark There's always room here where it's safe and sound I'll keep us warm even when the power's out It's crystal clear, no shadow of doubt I'm in an echo chamber, the power's out Should you need a candle, flicker or a spark I'll still be here like a beacon in the dark There's always room here where it's safe and sound I'll keep us warm even when the power's out Uh-oh-oh, uh-ah-uh-oh-oh Uh-ah-uh-oh-oh-oh, yuh, uh Uh-oh-oh, uh-ah-uh-oh-oh Uh-ah-uh-oh-oh-oh, yuh, uh Uh-oh-oh, uh-ah-uh-oh-oh Uh-ah-uh-oh-oh-oh, yuh, uh Uh-oh-oh, uh-ah-uh-oh-oh Uh-ah-uh-oh-oh-oh, yuh, uh Can Be Compared To: Edited by user 23 December 2024 16:16:01(UTC) \| Reason: Not specified
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BrownSugar		#4 Posted : 23 December 2024 16:14:14(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 18/02/2011(UTC) Posts: 27,977 Location: In between the couch cushions Thanks: 11373 times Was thanked: 19560 time(s) in 7795 post(s)		Artist: Layla Title: Room for Three Genre: Pop Length: 3:23 Writer(s): L.Sanchez, C.Flores Producer: BLOOM Label: Five Pesky Kids From The Album: The Human Experience INFORMATION "Room for Three" is a song recorded by American singer-songwriter Layla. It serves as the lead single and third track from her second studio album, "The Human Experience". The song was released on February 23rd, 2023 after being announced by Sanchez across her social media accounts two days prior. It marks her first release since 2021's "Miami Smooth", the fourth and final single lifted from her debut album, "Feel No Fear". Like her more recent release, "Room for Three" was also written by Layla alongside Cristian Flores, aka 'BLOOM', who handled the production as well. The track was conceptualised and completed in January 2023 with Layla insisting on a swift release to eliminate any "stagnation" that may befall the new project. "Room for Three" moves away from the happier, contented lyricism witnessed on previous single "Miami Smooth" and has drawn comparison to her biggest hit "Forbidden Honey" as they share the subject of forbidden love. Lyrically, the track sees Layla pine over a once potential love interest who is now taken. She admits to feeling so desperate that she considers settling for being a "third" in the relationship despite that not even being an option presented. Although she realises her thoughts and feelings are irrational, she chooses not to walk away from the situation. "Room for Three" is a mid-tempo, guitar and synth-laden pop track with an anthemic, powerful chorus with revealing, confessional lyrics. Many critics have noted that the production of the song is not too dissimilar to the work heard on her debut album, calling it a "natural progression". Sanchez stated that she wanted the track to have a "bombastic" and "uplifting" rise in the chorus not only to combat the overall darker tone of the lyrics, but to reflect the "euphoria", "delusion" and "outer body experience" she feels while around the off-limits love interest in the song. The lyrical content in "Room for Three" garnered immediate fan and media attention and speculation, with many theorising that the song is about ex-lover and fellow musician, Joshua Grimmie. While the song is implicit and even strays away from gender-specific pronouns, many believe that the lyrics are a nod towards Grimmie's relationship with Dae Ho Park as she still remains friends with Joshua to this day. Others have dismissed the Grimmie rumours as the song states that Sanchez and this mystery person never dated in the first place. Layla herself has not revealed who the song is specifically about, however, did admit that these feelings are now behind her. SONG COMMENTARY Layla wrote: "I remember getting a few raised eyebrows when I came to my team and told them that I not only want to put this song out but have it as my leading single for this new project. I can understand that! It's a little abrasive in parts, the whole subject matter is kinda...well, it's not Radio Disney friendly! I know that this isn't going to sit well universally and yes, I'm probably not showing myself in the best light on this track but I'm ok with that. One thing I want is to be totally honest in my music and with my supporters. This happened to me and yeah, it was crazy and it sure sucked! I look back at that time and think; "Wow, you were going through it, girl. You needed a hug. Those wheels were coming off, sweetie!". It's a screwed up situation but I found myself in it and I know I'm not the only one. It hurt. It like physically hurt. The pangs I would get were just crushing. Those unreciprocated feelings? It took a lot out of me!" "Thankfully, that's all in the past now. I was so consumed and infatuated with this person that I just wasn't myself. I was just constantly thinking about them and even though I knew it wasn't rational and some of the thoughts I had in my head were downright horrible at times, I couldn't shake it. Now that I have clarity, I think it's good to process and address it. It frightened me at one point. Then I sat with it all bottled up. I analysed it and now I'm letting it go, freeing myself and just letting those feelings dissipate out there in the ether. It's not a conventional song choice but it reflects what my music, and this album specifically, is all about - sitting in those emotions, getting to know your mind and heart, and embracing everything that makes us human, flaws and all. I think that for most of us, we're always right in our version of events. We never want to admit that we were the wrong party. I think that being TRULY honest with ourselves and taking responsibility only makes us stronger. That's something I'm definitely trying to do more these days; be honest with myself." CRITICAL RECEPTION Critical reception of "Room for Three" has been positive thus far. ThatMusicSite exclusively reviewed the song a day prior to release calling it a "huge, biting pop song" before dubbing it as a "warts and all villainous banger with balls you can't help but admire". Cassandra Peake of Vulture called it "honest, angsty, with a dash of heart-breaking thrown in for good measure". Barry Hendry of The Guardian stated in their review that "spending time in the company of friends and industry giants Ellie-Grace Summers and Ryan Ross Hernandez has paid off for Sanchez and her artistry. She paints confessional, no holds barred pictures within her music that you can't help but be captivated by regardless of how morally questionable her content may be." He concluded his review by calling Layla "a bona fide pop star in her own right" and claimed "the pristine, fluffy and perfect days of SYNCO are long gone". For Nylon, Julie Greene described the song as "a wondrous, big pop ditty for those with tears in their eyes, clutching their third glass of wine" before rounding off her review by dubbing Layla "the Queen of moral dilemmas". "ROOM FOR THREE" Any room for me? Any room for three? You went official day after Valentine's The roses on your story should've been mine And I know that it was nothing personal It's not like we had anything physical But did a part of you really want me to see? A test or just a way to excuse this jealousy? Just my luck to stumble into this mess A contradiction but I wish you the best The rational part says I should give you some space Yet I'm still hanging 'round, yeah, just in case Foaming at the mouth at the chance of a crumb Wrapped around your fingers, slid under the thumb I'm losing all pride and sanity I'm hoping you've got room for three Hang on to every word of our conversations Not like every syllable's a new complication Would be simpler with just you and me But I wonder if there's room for three? Kicking my silly little self for playing it coy Now I have to settle for friends with my favorite boy Can't lie, I'm grateful that you keep me around But it's so pathetic how I'm still holding out Another post and, yeah, you both look so cute No disrespect but I'm zooming in on you Swear that I don't wanna see anyone hurting Ironic coming from the vulture that's circling Dizzy from all the delusions inside my head Dragged my heels, I'm the one who made this bed Foaming at the mouth at the chance of a crumb Wrapped around your fingers, slid under the thumb I'm losing all pride and sanity I'm hoping you've got room for three Hang on to every word of our conversations Not like every syllable's a new complication Would be simpler with just you and me But I wonder if there's room for three? Looks to me like I will never learn Maybe I get off on getting hurt? Maybe I just want something for myself? Living vicariously through everybody else? I understand that this isn't practical Doesn't stop me from curving logical This girl will never learn This girl will never learn This girl will never learn Foaming at the mouth at the chance of a crumb Wrapped around your fingers, slid under the thumb I'm losing all pride and sanity I'm hoping you've got room for three Hang on to every word of our conversations Not like every syllable's a new complication Would be simpler with just you and me But I wonder if there's room for three? Foaming at the mouth at the chance of a crumb Wrapped around your fingers, slid under the thumb I'm losing all pride and sanity I'm hoping you've got room for three Hang on to every word of our conversations Not like every syllable's a new complication Would be simpler with just you and me But I wonder if there's room for three? Lying to myself with a warped narration As if we'll be unscathed from the twisted serration Mental gymnastics on this damn summation Trying to change the answer of the calculation Yeah, uh I wish this could equate to just you plus me But I wonder if there's room for three? Can Be Compared To: Edited by user 23 December 2024 16:49:47(UTC) \| Reason: Not specified
		WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT PUBLIC WARNING: BEAU • CARTER LEE • JAKE • MYLES • ZANDER THE STAT NERDS: BRIAN • CHRISTOPHER THE ZONE: BLAKE • CHRIS • JASON • LIAM JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN ANDREA • DENEIL • CHICAGO NOBODY • BLOOM • SONNY • VICTORIA BLACK REUBEN • ELLIE-GRACE SUMMERS • ALFIE SUMMERS • MICAH DELISLE JAMIE JACKSON • KONSTANTIN • FAYETTE • SAYYID
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BrownSugar		#5 Posted : 31 December 2024 10:47:05(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 18/02/2011(UTC) Posts: 27,977 Location: In between the couch cushions Thanks: 11373 times Was thanked: 19560 time(s) in 7795 post(s)		Artist: Layla Title: Looks Like Rain Genre: Pop, Electropop, New Wave Length: 4:21 Writer(s): L.Sanchez, C.Hudson Producer: O Label: Five Pesky Kids From The Album: The Human Experience INFORMATION "Looks Like Rain" is a song recorded by American singer-songwriter Layla. It serves as the fourth track on her second studio album, "The Human Experience". The track was written by both Layla and acclaimed songwriter Christopher Hudson, who is a personal friend of Sanchez's as well as a previous collaborator. Production of "Looks Like Rain" was handled by Orion Washington, under his moniker of "O", who produced the number one hits "No Trouble in Paradise" and "Some Kind of Magic" for Layla, respectively. The track was written in March 2024, becoming one of the last songs to be crafted for the project. Sanchez originally pencilled in a track titled "Saints & Sinners" for inclusion on "The Human Experience" before overhauling the running order, removing the song in favour of "Looks Like Rain". With a runtime of four minutes and twenty-one seconds, "Looks Like Rain" is the longest track on the album. Lyrically, "Looks Like Rain" documents the decline of a once blossoming relationship that has fallen into disinterest and monotony. The spark between the two lovers has fizzled out and they have found themselves in a tedious routine. With all the excitement, intimacy and displays of affection seemingly stripped away, the pair only seem to be communicating through small talk these days and are strangers in their own home. Although no reasoning for the decline is explicitly stated, Sanchez writes on how her partner has gradually withdrawn over time and that the souring of their relationship is something neither of them ever envisioned. Despite the visible flatlining of the coupling, Sanchez lives in hope and holds onto the brighter memories, yearning to return to those sunnier days after this period of gloom has subsided. "Looks Like Rain" is an upbeat electropop and New Wave song that has been described as "bubbling" and "glitzy". In spite of the sombre lyrical content, Layla sings across the track with a joyous, happy lilt to her voice against "shimmering" transuding synth rolled chords. It is heavily inspired by 1980's electronic and pop music. Furthermore, Sanchez references two popular hit records from the influential decade within the track, namely "Rock the Casbah" by The Clash - "Used to make enough noise to rock the Casbah" and "Hallelujah" by Leonard Cohen - "Bet David had it easier finding that chord." SONG COMMENTARY Layla wrote: "Working with Christopher is always a delight. It's a wonderful experience. We just talk and talk, and then somehow, magic breaks out along the way in the most casual way. I called Chrissy back a few months after we had completed "Coping Mechanism". I had this little nugget of an idea for a song. It was very far in the distance and I could only partially hear it in my mind but I knew it sounded big, and lush, and bubbly. The only person to call when you're wanting to tackle something all shimmery and dramatic like that is Christopher. I came to him with the idea of a relationship falling into "small talk" territory. Almost like it's going in reverse. Someone you once confided you're darkest secrets to, bared your soul in front of, put on a huge pedestal...you now don't know what to say to them. It's quite an intimidating thought but it happens. Relationships aren't a constant upward trajectory. Like a car, you gotta keep it oiled, you gotta keep it moving otherwise you stall and flatten the battery. By the way, I have nooooooo idea if that actually makes sense. I don't drive, haha!" "The song is purposely wordy. On one hand, to kinda juxtapose the lack of words being exchanged in the actual relationship and on the other, to highlight how much of a loaded situation it is. This clearly isn't something either party is willing to walk away from breezily. Whether it's hope that it'll get better in the case of my writing perspective, or fear to change a comfortable set up which may or may not be how this silent partner feels, it's not a situation anyone is taking lightly. There's history there, there's high stakes, personal and emotional investment. As the song continues, you can almost hear the unravelling, the fear and the desperation grow louder. First verse is kinda cheeky. All about how they aren't as freaky as they used to be. Post first chorus, it then tackles the awkward silences and by the time it gets to the bridge, you're outright asking what the issue is and being met with pure despondence and disinterest. Despite the story progressing, however, the vibes and production of the song still stay all poppy and shiny, with that "round and round" hook taking us out of the track which emphasises the fact that we're pretty much going to be stuck in this loop." "LOOKS LIKE RAIN" I know every inch of your body Trace the freckles like a map on your skin Undressing while still in the lobby Forget the sheets, got a good grip on the sink We could turn a dive into a five star Now the glue between is losing all its stick Used to make enough noise to rock the Casbah These days it seems we're barely breaking breath How did we go from painting in bold strokes Of the brightest gold and all tints of rose To being deafened by the clock? If we're lucky, have some small talk On a pedestal, adorned with tiny little bows Pretty daydreams all lined up in a row Nose tips caressing, hands under your sweater Now the only wet talk is all about the weather I know this wasn't in our fantasies Dear God, what have we become? Going crazy stuck in my own company Even crazier twiddling my thumbs Let's do something wild, something zany Give me a little bit more than just a "maybe" Sick and tired of the same ole same Nauseous from circling this drain Hoping for the sun but it looks like rain And so we go... Round and around and round again Round and around and round again Round and around and round again Round and around and round again Witnessed each other at our most ugly But we found the beauty in those moments The pendulum swung a few too many degrees Now we can't function with basic components Never envisioned things with you being awkward Love language to an unknown passcode Bruised and weak but still pushing forward Didn't anticipate bumps along this road Perhaps it's to do with the position of the moon? Did she make a sneaky move and I'm not attuned? See, if only I believed in everything cosmic I'd wish upon a star for a miracle tonic When did the sun rays turn into gloom? When could a knife suddenly cut through the room? Who dropped the ball? Who killed the spark? Summer nights of passion all drawn in dark I know this wasn't in our fantasies Dear God, what have we become? Going crazy stuck in my own company Even crazier twiddling my thumbs Let's do something wild, something zany Give me a little bit more than just a "maybe" Sick and tired of the same ole same Nauseous from circling this drain Hoping for the sun but it looks like rain And so we go... Dancing like idiots barefoot in the kitchen Cheap wine tainted kiss and I felt so adored Keep my glass half full waiting on anything Bet David had it easier finding that chord Conjure up the nerve, and you say it's all fine But those droplets leave an ocean unsaid Try to play it cool yet your breeze has a bite Now there's a cyclone building in my head I know this wasn't in our fantasies Dear God, what have we become? Going crazy stuck in my own company Even crazier twiddling my thumbs Let's do something wild, something zany Give me a little bit more than just a "maybe" Sick and tired of the same ole same Nauseous from circling this drain Hoping for the sun but it looks like rain And so we go... Round and around and round again Round and around and round again Round and around and round again Round and around and round again Round and around and round again Round and around and round again Round and around and round again Round and around and round again Can Be Compared To: Edited by user 29 January 2025 08:19:59(UTC) \| Reason: Not specified
		WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT PUBLIC WARNING: BEAU • CARTER LEE • JAKE • MYLES • ZANDER THE STAT NERDS: BRIAN • CHRISTOPHER THE ZONE: BLAKE • CHRIS • JASON • LIAM JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN ANDREA • DENEIL • CHICAGO NOBODY • BLOOM • SONNY • VICTORIA BLACK REUBEN • ELLIE-GRACE SUMMERS • ALFIE SUMMERS • MICAH DELISLE JAMIE JACKSON • KONSTANTIN • FAYETTE • SAYYID
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BrownSugar		#6 Posted : 31 December 2024 10:51:45(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 18/02/2011(UTC) Posts: 27,977 Location: In between the couch cushions Thanks: 11373 times Was thanked: 19560 time(s) in 7795 post(s)		Artist: Layla, Ellie-Grace Summers Title: Coping Mechanism Genre(s): Country Pop Length: 3:41 Writer(s): L.Sanchez, EG.Summers, C.Hudson Producer(s): Rose Meadows Label: Five Pesky Kids From The Album: The Human Experience INFORMATION Coping Mechanism is a song recorded by American singer-songwriters Layla and Ellie-Grace Summers. It serves as the third single and the fifth track from Sanchez's second studio album, "The Human Experience". The song was released on May 1, 2024 through Five Pesky Kids Records. It follows on from her acclaimed chart-topping single "The King is Dead" which was released at the top of 2024. The song was written by Sanchez alongside revered pop songwriter Christopher Hudson, with Ellie-Grace Summers joining the co-writing credits at a later date. Production was handled by Rose Meadows, an in-house producer on the label. "Coping Mechanism" was originally written and conceptualised between Sanchez and Hudson during sessions for the album in the spring of 2023. After working on the track for some time, Layla believed it'd work well as a collaboration with another female artist and reached out to close friend Ellie-Grace Summers, offering her space on the song. Summers wrote her own sections for the track and the song was finalised in the fall of 2023. "Coping Mechanism" marks Sanchez's third high profile collaborative release following the Joshua Grimmie assisted "Forbidden Honey" and the Younghood aided "Some Kind of Magic", the former becoming one of the best-selling singles in Chart Heat history. "Coping Mechanism" is an upbeat country-pop song, heavily built by guitars and handclaps. Lyrically, the song sees Sanchez and Summers portray satirical caricatures of themselves, embellishing on their "unlucky in love" personas given to them by the media as well as the "bunny boiler" labels thrust upon them from rival online fanbases. Throughout the song, Layla and Ellie-Grace address their current sexual partners and inform them that this is a no strings attached scenario which will be fleeting. They warn them not to develop feelings as they're only looking for something temporary and seasonal. Both Layla and Ellie-Grace have been involved in multiple high profile relationships which have had equally publicised demises over the years. Both performers seem to be drawing on the narrative that they "can't keep a man" and in turn, lean into this characterisation and play "villains" of the piece. Sanchez and Summers are also prolific writers known for their honest and revealing lyrics, causing "Coping Mechanism" to blur the line between real life events and fictitious scenarios. SONG COMMENTARY Layla says: Quote: "I've put out many songs in the past that came with a bundle of nerves alongside it. Not always necessarily bad nerves. Anticipation is probably the best way to describe it and "Coping Mechanism"? Well, this one takes the cake in that regard. I know that people are going to take certain parts with this song and run with it but I'm prepared for that. It happens with most things I put out there. It's dissected, it's weaponised, it's turned into a game of "she's speaking about so and so". Ironically, that stuff is the reason this song exists. Not only have I always been honest in my work, but passionate too. I love music, I love the arts, I love connecting with people all around the world, helping people through rough times. I want to give back what artists gave me. So sometimes it can be a little disheartening when something you've poured your heart and soul into is just used as Culture Uncut fodder, Stan Wars, whatever you want to call it. It can be really frustrating and I thought I'd beat people to the punch this time. This song is so unserious and certain factions of the internet already have their minds made up about particular scenarios and who I am as a person, I thought I might throw them a bone and see how they react when all of this blasts in their ear!" "I originally wrote this song with the insanely talented and gorgeous human being Christopher Hudson. We were initially just goofing off, joking around about crap that had been said about us in the media and he was doing this comical thing on the guitar, putting all the bizarre headlines and comments to song but in a deadly serious, storytelling country way. It was just a joke during downtime in the studio but a lightbulb went off between us and we knew we had something quirky and unique. We knuckled it down and got the song together real quickly. I sat on it for a while and realised that it was an oddly empowering song in its own weird way and that I'd love for another woman to jump on it. Well, there was no debate. I had to reach out to my friend Ellie-Grace. A country song about being misrepresented in the media and combatting misogyny and sexism throughout every step of your career? Who else could lend their voice?" Ellie-Grace says: Quote: "This was by far the most fun I've ever had in the studio and I'm so grateful for Ms. Layla for allowing me to take part in this wacky little number. It was cathartic and so liberating. With my own work, I'm pretty much honest in every detail and recall my stories word for word. It was nice to break out of that and play a character. A character who's very easy to associate with since it's something I've been branded as for many, many years. I usually don't air my grievances out in public. I much prefer to keep my head down and let things blow over. I'm not a confrontational person at all but several comments and headlines over the years have not just bugged me but truly upset me. Hopping on "Coping Mechanism" was a great, chaotic way to vent and just release over a decade's worth of frustration but in a fun way. I could laugh and beat others to the punchline. Wasn't a case of "woe is me" but rather joining one of my best friends and favorite modern day artists in the studio and just liberating ourselves in such a safe space." "People will take from this song what they will but they always do and at the end of the day, that's the point of this track. And you know what? There's also nothing wrong with a woman being sexually liberated. If she wants passing flings with no long term plans or commitments then that's totally OK. Not crime of the century. God, this is the strangest female empowerment song ever." CRITICAL RECEPTION Critical reception of "Coping Mechanism" was mainly positive upon release, however the song garnered immediate controversy surrounding lines in Sanchez's opening verse. Singing; "Gone and fucked all the boys around Austin / Damn, Houston, I think we got a problem", many believe that Layla is openly referring to and bragging about her past infidelity which controversially saw her leave her then-boyfriend, pop star Austin Nimmo for Joshua Grimmie. Following line; Just like Eve, I love me something forbidden" added further fuel to the fire, nodding to Sanchez and Grimmie's hit single "Forbidden Honey". It has often been speculated that Sanchez and Grimmie had relations while Layla still continued to date Nimmo. Ed Hawkins of The Daily Telegraph wrote: "Layla has always been an artist unafraid to play the villain in her songs, often holding her hands up to huge mistakes and morally grey trains of thought. "Coping Mechanism", however, sees Sanchez go balls-to-the-wall in her anti-hero costume, making light of her highly publicised breakup with pop heartthrob Austin Nimmo." He further stated that; Her lyricism may not earn her any new fans from the pop boy camp but at this point in her career, she's only going for the gold; worldwide press and UMAs." Allie Lavelle of PopMatters called the collaboration between Layla and Ellie-Grace a "match made in Heaven". Variety's Cleyton Winans dubbed the song "buoyant, catchier than a cold, and utterly off the wall". Alicia Reissman of NME praised the pairing and opined; "Being celebrity BFFs for the best part of a decade, an Ellie-Grace Summers and Layla crossover makes sense and seems rather obvious on paper. However, the crude lyricism and bonkers hoedown, clap along chorus of "Coping Mechanism" is an unexpected, inspired and mad genius combination, turning what could've been a standard made-for-radio collaboration into one of 2024's most interesting releases yet." Amy Greene of The Hollywood Reporter branded it as "the most fun release of both Layla and Ellie-Grace's respective careers" before rounding her review off with "poor Austin." "COPING MECHANISM" Layla Ellie-Grace Both I'm such a sucker for a tall, dark Texan Gone and fucked all the boys around Austin Damn, Houston, I think we got a problem Heart on my sleeve, could never keep it hidden Just like Eve, I love me something forbidden Bad decisions wrapped in a beautiful disguise Won't know what fits 'til I try it on for size It's a cold world out there, try to sympathise Yeah, I guess karma's gonna come eat me whole Sure, the Devil's en route to claim my soul Crime of the century to line up my next stepping stone Lock me up for bringing another cowboy home Sometimes we don't even need a reason Sometimes it's just that shift in the season Cut to the good part, skip all the feelings When it's pure fire and heavy breathing Don't think too much about the new day calling Just hold me close until the morning I'm not picking out my something blue I just need, I just need something to get me through Ooh-ah-ooh-ah-ooh Ooh-ah-ooh-ah-ooh Something to get me through Ooh-ah-ooh-ah-ooh Ooh-ah-ooh-ah-ooh Something to get me through Don't wanna be the girl your mother loves Only hanging around through the winter months I'm enjoying your time for what it's worth But I'm yielding a pin, that bubble's getting burst We knew what it was, I'm not salting the cuts Don't try pulling at the heartstrings, they're all torn Chin up, handsome, no happy ending in being lovelorn Enjoy the roses without bleeding from a thorn Yeah, I guess karma's gonna come eat me whole Sure, the Devil's en route to claim my soul Excuse me for not falling headfirst into the great unknown How dare I set the rules and keep it all under control Sometimes we don't even need a reason Sometimes it's just that shift in the season Cut to the good part, skip all the feelings When it's pure fire and heavy breathing Don't think too much about the new day calling Just hold me close until the morning I'm not picking out my something blue I just need, I just need something to get me through Ooh-ah-ooh-ah-ooh Ooh-ah-ooh-ah-ooh Something to get me through Ooh-ah-ooh-ah-ooh Ooh-ah-ooh-ah-ooh Something to get me through I might look good as I parade in your tee Light up the way as I enter your street Remember, I'm the girl of nobody's dreams Time to wake you up with a kick and a scream Sometimes we don't even need a reason Sometimes it's just that shift in the season Cut to the good part, skip all the feelings When it's pure fire and heavy breathing Don't think too much about the new day calling Just hold me close until the morning I'm not picking out my something blue I just need, I just need something to get me through Sometimes we don't even need a reason Sometimes it's just that shift in the season Cut to the good part, skip all the feelings When it's pure fire and heavy breathing Don't think too much about the new day calling Just hold me close until the morning I'm not picking out my something blue I just need, I just need something to get me through Ooh-ah-ooh-ah-ooh Ooh-ah-ooh-ah-ooh Something to get me through Ooh-ah-ooh-ah-ooh Ooh-ah-ooh-ah-ooh Something to get me through Can Be Compared To:
		WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT PUBLIC WARNING: BEAU • CARTER LEE • JAKE • MYLES • ZANDER THE STAT NERDS: BRIAN • CHRISTOPHER THE ZONE: BLAKE • CHRIS • JASON • LIAM JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN ANDREA • DENEIL • CHICAGO NOBODY • BLOOM • SONNY • VICTORIA BLACK REUBEN • ELLIE-GRACE SUMMERS • ALFIE SUMMERS • MICAH DELISLE JAMIE JACKSON • KONSTANTIN • FAYETTE • SAYYID
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BrownSugar		#7 Posted : 03 January 2025 09:32:18(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 18/02/2011(UTC) Posts: 27,977 Location: In between the couch cushions Thanks: 11373 times Was thanked: 19560 time(s) in 7795 post(s)		Artist: Layla Title: Devil Wouldn't Recognize You Genre: Pop, Rock-Pop, Disco Length: 3:51 Writer(s): L.Sanchez Producer: Moon Honeywell Label: Five Pesky Kids From The Album: The Human Experience INFORMATION "Devil Wouldn't Recognize You" is a song recorded by American singer-songwriter Layla. It serves as the sixth track on her second studio album, "The Human Experience". The song was written solely by Layla while production was handled by Moon Honeywell. The creative duo also worked together on "Kindness", the opening track and fourth single from the album, within the same timeframe. The rock-pop influenced production of "Kindness" inspired the sonic direction of "Devil Wouldn't Recognize You" as Layla enjoyed the soundscape and "vibes" of the former, wishing to create another track to "compliment" the future album opener. The track was originally titled "When I Get You" with the titular chorus line instead being; "Well, we'll see about it when I get ya". Sanchez subsequently chose to retitle and rerecord the song, not wishing to promote, underplay or glamourise violence against a partner. Lyrically, "Devil Wouldn't Recognize You" deals with the theme of toxic masculinity and also refers to sexism and misogyny. Rather than an account of being impacted by such issues directly, the story is told via observations of Sanchez's partner and how he has fallen to prey to such subjects. Throughout the song, Layla recounts how her partner seemingly changes his entire persona when around his male friends. The doting, smart, gentleman that she knows and loves morphs into someone more boisterous, loutish and sexist whilst in the company of certain other people. Layla expresses her frustration over this change in nature whilst also showcasing sympathy for her other half, noting that he possibly feels pressure from the rising "alpha male culture" and general "toxic masculinity" that men have been victim of for generations. Throughout the track, Layla tries to open her partner's eyes and also expresses her concerns about how he may truly perceive her on account of sexist and smutty jokes she's overheard. "Devil Wouldn't Recognize You" is an upbeat pop-rock song with elements of disco, with Layla herself dubbing it as "an amalgam of 80's, 90's and 00's driving anthems". The track has a runtime of 3 minutes and 51 seconds, and was created within the "same sonic universe" as "Kindness", a track also worked on by both Sanchez and Honeywell. The track features a prominent guitar-driven melody which "opens up" and aids a "soaring chorus" while "subduing" to back "softer" verses. A solo guitar segment by Honeywell also plays after Sanchez's bridge. Blended in amongst the heavy strings are pop and disco-tinged programmed synths to give the track a less harsh, more "frothy" feel. SONG COMMENTARY Layla wrote: "This is one that I just cannot wait to play live. Those guitars are absolutely insane. Moon really did his thing. I can also imagine this just being such a vibe with a huge crowd. I can picture thousands of people singing along, really feeling it and embracing the whole vibe of just telling a boy to shut the hell up. We all know guys who are full of it, all bravado and just 'yap, yap, yap!'. Just shush, already! This is a real venting song. Sonically as well, there's just such a sense of release and relief. It's like an amalgam of 80's, 90's and 00's driving anthems. Top down, wind in your hair, just feeling so liberated. Despite it lyrically being rather heavy, it's one that still never fails to make me feel good when I sing it. There's a sense of pride with it. Standing up for yourself, calling out the BS and being like; "This is not OK. I'm not going to tolerate it. Things need to change around here." This is one for the girlies who feel uncomfortable in their own homes when "the boys" are around." "I also wanted to tap into a dual-perspective on "Devil Wouldn't Recognize You" because, more often than not, the reality is that I've witnessed more men change into that toxic mess when they're around other guys than I have met people who are just straight up like that 24/7. There's a pressure. There's a horrid culture. I've seen it with male friends, loved ones, family members. Some of the sweetest, smartest guys I know have regressed in front of my eyes when they're with a bunch of other men. They'd never admit it but they're trying to impress. They want approval. They don't want to be seen as weak. I find it incredibly sad at times. I'm aware there's a whole stigma with mental health with guys too. It's like everything just shuts down and regresses back to basics. No raw emotions, no deep thoughts. There's also an alarming rise in this "alpha v beta" online culture and a bunch of incels getting paid to post the most backwards shit I've ever seen in my lifetime. So many people are falling victims and casualties to this, regardless of gender. "Devil..." is my take on it. I would like to believe that most guys don't feel this way in their hearts and that it's just bravado, the need to impress or are doing it because they've got some inner conflict to resolve. Surely nobody is truly this much of an ass, right? Right?!" "DEVIL WOULDN'T RECOGNIZE YOU" I kinda hate you when you're with your friends All crappy beer, bravado, and puffed up chests Can't say I blame you, it's that culture But do you really have to be so vulgar? The brightest mind just dumbing it down A perfect Romeo now playing a clown Buck it up, buck it up I know you don't even like that stuff Choking on it to show off to the guys Hivemind thoughts and looking tough Knuckles drag, evolution's gone awry Tell me, is it worth it all? You're making my skin wanna crawl Big talk for a bunch of men so small Well, the devil wouldn't recognize ya He wouldn't recognize ya Playing dress up for your alpha I know it's his approval you're after And the devil wouldn't recognize ya He wouldn't recognize ya I know it's all peacocking and impressing But can we please tone down the regressing? Your guy has the energy of a freight train Oafish charging and Red Bull infused veins They insult you and it's just taken on the chin Bending into all shapes to try to fit in Buck it up, buck it up I could squint and find it endearing But I know you're not void of insight Subjecting yourself to the drivel I'm hearing Thought you came armed with a mind? Tell me, is it worth it all? You're making my skin wanna crawl Big talk for a bunch of men so small Well, the devil wouldn't recognize ya He wouldn't recognize ya Playing dress up for your alpha I know it's his approval you're after And the devil wouldn't recognize ya He wouldn't recognize ya And I still let you kiss me with that mouth Evidently, I'm also not that proud Like to think you don't believe a word of it Just throwing it at a wall, seeing what sticks Not here with a liberation movement Just remember I'm not for your amusement Trying so hard to be something new When you can just be that beautiful you Tell me, is it worth it all? You're making my skin wanna crawl Big talk for a bunch of men so small Well, the devil wouldn't recognize ya He wouldn't recognize ya Playing dress up for your alpha I know it's his approval you're after And the devil wouldn't recognize ya He wouldn't recognize ya Tell me, is it worth it all? You're making my skin wanna crawl Big talk for a bunch of men so small Well, the devil wouldn't recognize ya He wouldn't recognize ya Playing dress up for your alpha I know it's his approval you're after And the devil wouldn't recognize ya He wouldn't recognize ya Baby boy, better buck it up Can Be Compared To:
		WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT PUBLIC WARNING: BEAU • CARTER LEE • JAKE • MYLES • ZANDER THE STAT NERDS: BRIAN • CHRISTOPHER THE ZONE: BLAKE • CHRIS • JASON • LIAM JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN ANDREA • DENEIL • CHICAGO NOBODY • BLOOM • SONNY • VICTORIA BLACK REUBEN • ELLIE-GRACE SUMMERS • ALFIE SUMMERS • MICAH DELISLE JAMIE JACKSON • KONSTANTIN • FAYETTE • SAYYID
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BrownSugar		#8 Posted : 27 January 2025 05:52:22(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 18/02/2011(UTC) Posts: 27,977 Location: In between the couch cushions Thanks: 11373 times Was thanked: 19560 time(s) in 7795 post(s)		Artist: Layla Title: Late To The Party Genre: Electropop, R&B Length: 3:12 Writer(s): L.Sanchez Producer: BLOOM Label: Five Pesky Kids From The Album: The Human Experience INFORMATION "Late to the Party" is a song recorded by American singer-songwriter Layla. It serves as the seventh track on her second studio album, "The Human Experience". The song was written solely by Layla while production was handled by BLOOM. The creative duo also worked together on numerous tracks throughout the album as well as multiple songs on Sanchez's debut release, "Feel No Fear". The track was written in the fall of 2023 after Sanchez and Flores penned "The King is Dead" together. Enjoying their new creative direction, the pair continued to follow the sonic influences of mid-2000's R&B and electropop during the conception of the song. Sanchez had initially worked on a different song with a similar subject matter but scrapped it due to the lyrical content being too "triggering" for the artist. After discussing this with Flores, the pair crafted a new track together with a lighter, more heroic tone, which went on to become "Late to the Party". Lyrically, "Late to the Party" sees Layla overcome and reject many of the hurdles and shady offerings that have come her way throughout her time in the industry. Sanchez first rose to prominence in the public eye as a teenager back in 2012, becoming one fifth of globally successful pop and R&B girl group, SYNCO. Since then, Layla has maintained a consistent high profile and commercially successful track record. "Late to the Party" showcases that her decade plus run in the industry has not been without its challenges. From fake friends, false promises, sexually inappropriate people in power, badly designed contracts, and being overworked, Layla addresses it all head-on and it sees her coming out on top. She references how she has witnessed the downfall of many other of her contemporaries within the industry and how the act of building someone up to tear them back down is a business within itself. Layla lets it be known that she's privy to the inner workings of celebrity sabotage and vows that she won't let it happen to her again. "Late to the Party" is an uptempo electropop and R&B song that intricately produced with multiple layers of bass and programmed synthesisers. Production of the song was inspired by Sanchez and Flores' previous creation of "The King is Dead" which was sonically reminiscent of R&B and pop crossover radio hits from the mid 2000's. With huge radio artists like Britney Spears, Justin Timberlake, Timbaland and Nelly Furtado, as well as an already completed track set out as blueprints, BLOOM set out to turn the production of "Late to the Party" "up to 100". With a "punchy" rhythm, Middle Eastern inspired sampled beats and highly compressed production, "Late to the Party" is one of the frontrunner as most upbeat, party-centric track on "The Human Experience". SONG COMMENTARY Layla wrote: "I originally had another song, a demo, with a very similar theme. It tackled all the same issues of Hollywood ego trips, the abuse of power, the fake friends and falsehoods plastered all around this industry. That track, however, was a lot darker. Depressing, even. I was finding it rather triggering reliving it and having to vocalise it in sessions all the time. While it was something I still wanted to address, it just brought me down and it's not who I am and where I'm at anymore. The track gets binned. Fast forward to a session with Cristian [BLOOM] and I'm telling him about this concept that I want to tackle but I'm having trouble mentally tapping back into. His solution was so simple. He just shrugged and said; "OK, well just update it to the mindset you have now. Instead of being fearful, get in the booth and be the bad bitch that you are!". That was it from there, really. I got my head out of the past and focused on what really mattered; the present. Where I am right now and how I've lived to tell the tale. I love the focal point of the chorus being; "I was late to the party but I still got time." While on one hand it means that I wasted a bunch of years as a victim of that machine but I'm still young, so I've got years ahead of me to recoup, it also quite simply means that I've got the time to beat your ass if you want it. I'm in a real good place but if you try to meddle again, it's not gonna end in your favour. Badass, right?! Hehe!" "We had not long finished "The King is Dead" together so we were both still really vibing with that mid 2000's electro-R&B sound. Cristian started playing this really sick, crunky...is that even a word?...beat and I was IMMEDIATELY on it. I just felt so free and empowered in the studio. I really got to tear into a lot of past demons. I was doing it and sticking up for the 16-year-old version of me. Big bow-wearing Layla who didn't know the word "no" and would cry at the mere prospect of hurting someone else's feelings regardless of how much they deserved it. I could've easily been another casualty of Hollywood and I'm so surprised I wasn't with a lot of the stuff I endured. As much as this is a middle finger to all the snakes and monsters in this industry, it's also a pat on the back for the little girl that could. I spent a huge chunk of my life feeling like nothing special, and that I couldn't achieve certain things. It doesn't help when you've had very powerful people say to your face the exact same things your inner demons whisper to you. I didn't know my own strength and self worth for the longest time. I was late to the party...but I'm still here." "LATE TO THE PARTY" I won't be playing with the hand you've dealt Calling out your bluff, keep those paws to yourself The baggage that comes with a Hollywood address That's a key factor that they never stressed Clauses in contracts, claws out on contact Cover the wounds in a show-stopping dress Lid on a scream, flash a smile for the press Wanted to wave white flags above my head I fell for too many imposters Cornered by some West Coast monsters You wouldn't know, a façade fit for an Oscar Lights, camera, now it's time for my concert Don't worry, I think I got this Yeah... I see your blueprint of an American sweetheart Dropping the crumbs so she follows to her part Backless dress, a target for your dagger She suffers, you cry, she's only free as a martyr I know I was a little late to the party Cutting the strings, I'm not your playtime Barbie I know I was a little late to the party But, baby, I, I still got the time Whispers moved real fast down a grapevine Guess a dear, dear friend had that hotline Honey, I don't redact, so you better retract Snakes in the grass, I'm coming out with a combine New day, let's break out a ray of fucking sunshine Make you sweat, make you squeal, little swine I cleared out so many imposters Yeah, I've slayed some West Coast monsters Letting you know, now, where's my damn Oscar? Lights, camera, now it's time for my concert Don't worry, I know I got this Yeah, baby, I got this I see your blueprint of an American sweetheart Dropping the crumbs so she follows to her part Backless dress, a target for your dagger She suffers, you cry, she's only free as a martyr I know I was a little late to the party Cutting the strings, I'm not your playtime Barbie I know I was a little late to the party But, baby, I, I still got the time I'm not funding this power trip I'm 'bout to go flip the switch Sorry I'm late to your party But there's a few hundred places I'd rather be Not buying what you're offering No deal on autonomy monopoly, oh no I won't be playing with the hand you've dealt Calling out your bluff, keep those paws to yourself I won't be playing with the hand you've dealt Calling out your bluff, keep those paws to yourself I see your blueprint of an American sweetheart Dropping the crumbs so she follows to her part Backless dress, a target for your dagger She suffers, you cry, she's only free as a martyr I know I was a little late to the party Cutting the strings, I'm not your playtime Barbie I know I was a little late to the party But, baby, I, I still got the time I see your blueprint of an American sweetheart Dropping the crumbs so she follows to her part Backless dress, a target for your dagger She suffers, you cry, she's only free as a martyr I know I was a little late to the party Cutting the strings, I'm not your playtime Barbie I know I was a little late to the party But, baby, I, I still got the time I'm not funding this power trip I'm 'bout to go flip the switch Sorry I'm late to your party But there's a few hundred places I'd rather be Not buying what you're offering No deal on autonomy monopoly, oh no Can Be Compared To:
		WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT PUBLIC WARNING: BEAU • CARTER LEE • JAKE • MYLES • ZANDER THE STAT NERDS: BRIAN • CHRISTOPHER THE ZONE: BLAKE • CHRIS • JASON • LIAM JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN ANDREA • DENEIL • CHICAGO NOBODY • BLOOM • SONNY • VICTORIA BLACK REUBEN • ELLIE-GRACE SUMMERS • ALFIE SUMMERS • MICAH DELISLE JAMIE JACKSON • KONSTANTIN • FAYETTE • SAYYID
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BrownSugar		#9 Posted : 27 January 2025 22:25:50(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 18/02/2011(UTC) Posts: 27,977 Location: In between the couch cushions Thanks: 11373 times Was thanked: 19560 time(s) in 7795 post(s)		Artist: Layla Title: The King is Dead Genre: Pop, R&B Length: 2:49 Writer(s): L.Sanchez, A.Trenton Producer: BLOOM Label: Five Pesky Kids From The Album: The Human Experience INFORMATION "The King is Dead" is a song recorded by American singer-songwriter Layla. It serves as the second single and eighth track on her second studio album, "The Human Experience". The song was released on January 2, 2024 with no prior warning or promotion. It follows on from her chart-topping, critically acclaimed leading single, "Room For Three", which was released in early 2023. The song was written by Layla alongside songwriter Angela Trenton. Like her previously released single, "The King is Dead" was produced by close friend Cristian Flores under his professional moniker, "BLOOM". The track was conceptualised and completed in July 2023, months after the release of the project's leading single, becoming one of the last songs to be completed for her forthcoming album. Sanchez's second album was said to be "locked down" and "complete" before wanting to extend sessions through the summer of 2023 after feeling "creatively overflowing". Lyrically, "The King is Dead" sees Layla take a swipe at the patriarchal society and powerful men within the music industry who abuse their positions. The "King" in the song is not one individual person but rather a representation of all the corrupted figureheads she has encountered. She likens finally taking a stand and fighting back to "killing" them off, becoming a "Queen" of her own merit and living by her own rules. "The King is Dead" is an upbeat pop tracks with crossover elements of R&B and hip-hop, yielding an anthemic, female empowerment chorus at its centre. Many critics have noted that the production of the song is not too dissimilar to what was heard from global chart hits from 2006/07, being referred to as a "nostalgia trip". Sanchez stated that she wanted the track to have a "slinky" and "sassy" sound to it, looking to "sex-driven" classic hits from the mid-2000s for sonic inspiration. "The King is Dead" is Layla's first ever release in her career to carry the Parental Advisory logo, containing some profanities and a reference to oral sex. Like with many of her hits over the years, an important and darker subject matters lays underneath the initially catchy and "sugary" sounds of her pop productions. While not naming anyone specifically, the lyrical content heavily insinuates that Sanchez has received abuse at the hands of people in the industry and has been unwillingly sexualised and forced to act and present herself in ways she wasn't comfortable with. SONG COMMENTARY Layla wrote: "The initial bare bones of this song were just really sassy and one big middle finger to guys who were just jerks. For a while, it was just a fun song that I was toying with myself. Just a kind of catchy melody with no real depth. When I had a session with Cristian [BLOOM], he played me this amazing beat and although it was real rough at the time, it was instantly sold me to me. I knew it had something. It was so sleek yet sassy. In-your-face but didn't overstay its welcome. It reminded me of a lot of the stuff I grew up listening to as a kid. Like it was lifted straight out of the vaults of Timbaland's heyday. Such attitude yet class. The sonics totally lined up with what I had in mind for "The King is Dead" and it sounded nothing like what anyone else is currently doing. I just had to do something with it. So, when it came time to knuckle down and expand on the song, I knew I had to go deeper. I want all of my songs to have an importance to them so it was time to lift the lid and further dive into the topic of powerful men being absolute shits. I had a lot of reference points to add." "I got Angela Trenton on board to help co-write the rest of the track with me. She's a wonderful writer who I've known since the SYNCO days but we'd never had the pleasure of working together one-on-one post band. The input and lived experiences of another woman is always important and beneficial. We started sharing our stories and it was shocking to learn and put into perspective how much we've endured over the last decade and a bit. Rather than cut things away and focus on one particular person or incident, we made sure to touch on all the things we've endured; the sexualisation, the inappropriate age gaps, unwanted hands upon your person, being made to feel dumb, told to shut up and look pretty, not to question things...all the misogynistic tropes that are unfortunately very true. Rather than combat it with physical violence, I decided to lean into the idea of our tongues being our swords. The power of thought. The "king" truly is DEAD to me. I don't hear you, I don't see you, what you say, and do, and want...that's not registering over here." "I want this to be an anthem for women, and anybody, who has been made to feel inferior or scared in this patriarchal system. That's why I wanted such a strong title because, even if you're not paying too much attention to the lyrics and just enjoying the beat, you're still going to know on some level what this is about. The catchy production is also a trick in itself too. If I wrote this song with the intention of putting the vocals at the forefront and stripped down the production, I know it'd be so much easier for ignorant people to write it off and reject it. They'd know what it is. When radio want to play it, when it can be played at parties, when little kids want to make cute dance routines for it on TikTok, it becomes harder to ignore. We will no longer be ignored." CRITICAL RECEPTION Critical reception of "The King is Dead" has been positive thus far. ThatMusicSite glowingly reviewed the song, stating that "Layla always has something noteworthy to say" before adding; "the fact that it's usually backed by the biggest beats in current pop music only amplifies the magnificence". Kevin Murray of NME called it "sultry yet full of substance". Marlene Parker of Vulture branded the song as "the most fun release of Sanchez's career" and claims that Layla "sounds like a fully-blown pop star now". Robin Cragg from The Independent awarded the song 4.5 out of 5 stars, mentioning that "although it sounds engineered for mainstream radio and TikTok clips, scratch the surface and you'll see the concise brilliance of one of pop's brightest, most fearless minds.". Writing for Clash, Adjoa Cossu dubbed the song a "total whirlwind", going on to write; "coming in at under 3 minutes, you're left in a complete head spin after quickly being thrown threw one of the catchiest melodies, killer productions, and girl power filled messages in recent times". "THE KING IS DEAD" Didn't mind being a punchline at seventeen I'd do anything to keep them all keen Sat through discourse 'bout my sex appeal Thought it was all just part of the deal Another day, another huge front page Another suck-ass party sipping on champagne No, I never could stand the taste Dumbing down my brilliant mind As I let so much bullshit fly What for? Fat cats and creepy guys? Yeah, I'm jumping off this ride Shield and sword, yeah, it's time to smite Don't go trying to kill my vibe Don't go trying to romanticise If there's one thing I've learned It's how to come out the other side Point the finger all you like Puff your chest, say I've crossed a line Yet as far as I'm concerned The King is Dead, but this Queen still thrives Calloused hands all upon my body Spoon fed age-old doses of patriarchy It wasn't exactly a taste sensation And a few things didn't fit the equation Still, what was I to know? Didn't have a dick to swing or blow Just sitting here pretty in my bows I hope you've all had the time of your lives Now it's that time to say "nighty night" Got a bitter pill to go down with your pride Yeah, stick this down your pipe Here's some KY, baby, open wide Don't go trying to kill my vibe Don't go trying to romanticise If there's one thing I've learned It's how to come out the other side Point the finger all you like Puff your chest, say I've crossed a line Yet as far as I'm concerned The King is Dead, but this Queen still thrives Hush now, little baby, don't make a sound Heavy is the head who wears the crown Hush now, little baby, don't make a sound Heavy is the head who wears the crown Hush now, little baby, don't make a sound Heavy is the head who wears the crown Time to hang it up, pack it all away Step away from your sad little twisted game Now there's a throne more want to claim But I'll never be a pawn for anyone to take Don't go trying to kill my vibe Don't go trying to romanticise If there's one thing I've learned It's how to come out the other side Point the finger all you like Puff your chest, say I've crossed a line Yet as far as I'm concerned The King is Dead, but this Queen still thrives Heavy is the head Heavy is the head Heavy is the head Yeah, the King is dead Can Be Compared To:
		WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT PUBLIC WARNING: BEAU • CARTER LEE • JAKE • MYLES • ZANDER THE STAT NERDS: BRIAN • CHRISTOPHER THE ZONE: BLAKE • CHRIS • JASON • LIAM JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN ANDREA • DENEIL • CHICAGO NOBODY • BLOOM • SONNY • VICTORIA BLACK REUBEN • ELLIE-GRACE SUMMERS • ALFIE SUMMERS • MICAH DELISLE JAMIE JACKSON • KONSTANTIN • FAYETTE • SAYYID
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BrownSugar		#10 Posted : 28 January 2025 11:01:06(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 18/02/2011(UTC) Posts: 27,977 Location: In between the couch cushions Thanks: 11373 times Was thanked: 19560 time(s) in 7795 post(s)		Artist: Layla Title: Get Off Genre: Synthpop, Disco, R&B Length: 3:04 Writer(s): L.Sanchez Producer: Preeti Label: Five Pesky Kids From The Album: The Human Experience INFORMATION "Get Off" is a song recorded by American singer-songwriter Layla. It serves as the ninth and penultimate track on her second studio album, "The Human Experience". The song was written solely by Layla while production was handled by Preeti. The pair previously worked together on Sanchez's debut album, "Feel No Fear", with three of their songs making the final cut for that record. Layla penned the lyrics and created the vocal melody for the song on her guitar during some personal downtime at her home before bringing it to Preeti the following week, with production being built around the already existing acoustic demo. Sanchez revealed that she only wanted to work with a female producer on the track due to the highly intimate and sexual nature of the song, wanting a "safe space" and to avoid any potential input from the position of the male gaze. Lyrically, "Get Off" is Layla's most sexually charged and overt song to date. Despite containing no expletives, the song's digital files are still tagged with an "explicit content" warning label due to its heavily suggestive innuendos and the double entendre throughout the track. In "Get Off", Layla pines over someone who she is in frequent contact with, vocalising her deepest, most carnal fantasies involving them and pushing for such desires to become a reality. This person infiltrates her thoughts and dreams, consuming her mind with almost constant fictitious sexual scenarios. She alludes to these mental pictures leading to her urge to masturbate, and how she yearns for it to become more physical. She often invites this crush over in the hopes that someday, they will cross over that line and become intimate with her. "Get Off" is a synthpop, disco and R&B infused song, taking inspiration from both modern day pop trends and sonic influences from 1980's music. The production has been noted as feeling "light" and "frothy", creating a "dreamlike" and "sensual" listening experience, gliding the listeners along as they take part in the seductive bedroom tale. Layla initially created the vocal melody and guitar arrangement before Preeti produced and programmed the song, adding drums, keyboard, percussion and bass as well as incorporating a 90's inspired G-Funk synthesiser into the track. Sanchez stated that due to the song's overtly sexual lyrics, the production had to feel "whimsical" and "feathery" in order to sell the song as a "flirtatious fantasy" rather than anything cruder. SONG COMMENTARY Layla wrote: "Ooooh boy, how can I describe this song? Uh, would "Horny Jail" suffice? Hehe! Yeah, basically, it does what it says on the tin. We're all human. We're all red-blooded. It happens. We have these thoughts, fantasies and desires. I tapped into the idea of craving someone earlier on the record with "Kindness" and "Room For Three" but those song were a little more intricate. The person and the scenarios in which they were involved came with baggage. A LOT of it. "Get Off" is the opposite. It's plain and simple lust. That age-old sexual fantasy of the guy or girl next door, the pizza delivery person, the handyman, plumber...whatever...just that idea of being naughty, throwing caution to the wind, and just being two hot people living in the moment doing hot people stuff. I think most people have let their minds wander into scenarios like that and have wanted to lose all inhibition, rip each other's clothes off and go at it. It's pure carnal. It's just one big dirty dream come to life. Though, you know, DESPITE having these thoughts and urges, I still have to play it a teeny, tiny bit coy. That's where the whole jokey "where do you get off on doing this to me?!" angle comes into play. Putting it on the other person. How dare they make me feel horny. I'm a lady, after all! Ha!" "Throughout this album, and in my past work, I've tackled a lot of heavy subjects and bared my soul in my regards. This song is just fun. Stupid, even! Some of the stuff I say on here, I can't quite believe. I was giggling away even as I was coming up with it never mind trying to lay it down in a professional recording booth! I got a little red in the face at times but it was such a joyous, freeing experience overall. Working with my girl Preeti had a lot to do with it. She totally got what it was and it felt like such a safe space with just us girls. I might have coined the song but she made it what it was with this fluffy, cotton candy like production. It just sounds so slinky, breezy and dreamlike. It really did have to become this whimsical and feathery sounding track in order for it to be pulled off correctly. I want it to come across as this vivid, over the top, almost magical fantasy. Preeti really did the thing. Otherwise I feel like it could've just come across as crude with no redemption. I'm not TOTALLY about that. I still like my splashes of cuteness thrown in!" "GET OFF" All hot, bothered and tongue-tied Too many freaky fantasies consuming my mind Words mean nothing, actions will amplify Unzip everything that I just can't say Come a little closer, let me demonstrate Unleash my inner workings, it's an exposé How about some French kissing in the USA? "Excusez-moi, ménage à trois?" Skipped the class but I got straight As I'll leave the door ajar tonight In the hope that you will come inside And if I should die before I wake I pray the Lord my thighs to shake Boy, tell me where the hell you get off Turning me on and you're not even in the room Planting subliminal seeds, knowing I'll fully bloom Now, tell me where you get off Penetrating through right into my dreams Two hands on me, writhing in silk sheets Yeah, that's how I get off You should stay the night, I'll lay on a feast All your favorite delights, mmm, bon appétit Don't forget dessert, all sticky and sweet Come take a bite of your little confection I melt in the mouth with such discretion A sugar coated, bite-sized blessing I'll be what you like, so, what's your confession? Saint or freak? Sinner or priest? Anything to get us on the road to ascension I'll leave the door opened wide In the hope that you will slide inside And if I should die before I wake I pray the Lord my walls to quake Boy, tell me where the hell you get off Turning me on and you're not even in the room Planting subliminal seeds, knowing I'll fully bloom Now, tell me where you get off Penetrating through right into my dreams Two hands on me, writhing in silk sheets Yeah, that's how I get off Fancy helping me out of this negligée? Don't give a damn about what the neighbors will say Your hands on my waist, my face against the wall They're gonna know your name by the end of it all They'll soon be moving to the rhythm of our groove Minds and fingertips roaming to territories new So, shall we spread the gift of love? Getting off on getting them off... Boy, tell me where the hell you get off Turning me on and you're not even in the room Planting subliminal seeds, knowing I'll fully bloom Now, tell me where you get off Penetrating through right into my dreams Two hands on me, writhing in silk sheets Yeah, that's how I get off Boy, tell me where the hell you get off Turning me on and you're not even in the room Planting subliminal seeds, knowing I'll fully bloom Now, tell me where you get off Penetrating through right into my dreams Two hands on me, writhing in silk sheets Yeah, that's how I get off Where do you get off? Hmmmm, na, na, na, na, na na Come get me off Hmmmm, na, na, na, na, na na Can Be Compared To:
		WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT PUBLIC WARNING: BEAU • CARTER LEE • JAKE • MYLES • ZANDER THE STAT NERDS: BRIAN • CHRISTOPHER THE ZONE: BLAKE • CHRIS • JASON • LIAM JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN ANDREA • DENEIL • CHICAGO NOBODY • BLOOM • SONNY • VICTORIA BLACK REUBEN • ELLIE-GRACE SUMMERS • ALFIE SUMMERS • MICAH DELISLE JAMIE JACKSON • KONSTANTIN • FAYETTE • SAYYID
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3 users thanked BrownSugar for this useful post.		PANIC! on 29/01/2025(UTC), C4AJoh on 29/01/2025(UTC), erich hess on 29/01/2025(UTC)
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BrownSugar		#11 Posted : 29 January 2025 08:22:33(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 18/02/2011(UTC) Posts: 27,977 Location: In between the couch cushions Thanks: 11373 times Was thanked: 19560 time(s) in 7795 post(s)		Artist: Layla Title: happy! Genre: Electronica, Dream Pop, Alternative Length: 3:15 Writer(s): L.Sanchez Producer: BLOOM Label: Five Pesky Kids From The Album: The Human Experience INFORMATION "happy!" is a song recorded by American singer-songwriter Layla. It serves as the tenth and final track on her second studio album, "The Human Experience". The song was written solely by Layla while production was handled by BLOOM. The pair have worked extensively together throughout Layla's run as a solo recording artist, with BLOOM producing over half of "The Human Experience". Flores had already produced the track on his own time before bringing it to Sanchez during one of their sessions in late 2023. Immediately compelled by BLOOM's composition, Layla took the track and crafted a song around it within the hour. The vocal heard on "happy!" is the original, one-take recording from that session. Due to the downbeat composition and raw nature of the lyrics, Sanchez and Flores made a conscious decision not to revisit or retouch the vocals, wanting to keep an organic and authentic feeling to the sound. Although infusing elements of electronica in parts, "happy!" has been described as the "one true ballad" of its parent album. Lyrically, "happy!" details a list of Layla's fears, wants and grievances that she wishes to completely conquer and shed throughout her pursuit of achieving happiness. Structurally, it doesn't follow the typical pop record set up, composing of two sixteen-lined "rhyming list" verses and few simple chorus lines, omitting any pre-choruses, bridges, ad-libs and backing vocals. "happy!" sees Layla touch upon subjects such as; her love life, body image, trolls, politics, mental health, dangers within the music industry, war, all but to name a few. While Sanchez is often seen as an open public figure, the track reveals information which she has previously never divulged before, such as her revelation in regards to having feelings for an unnamed older man, how she worries about her calorie intake despite trying to be an advocate for body positivity and diversity, and her struggles with faith. "happy!" is a downtempo, piano driven Dream Pop track with "subdued" and sparse production. The vocals are completely raw and unedited, recording in one take back in 2023. Due to the off-the-cuff nature of the recording, the intonation and emotion of Sanchez's voice flips and soars in an organic way, allowing listeners to hear her natural vocal cracks, anger, sadness and true guttural feelings as she lambasts, pines and belts in segments where she evidently saw fit. Amongst the simple piano progressions lays a short synthesised segment that needles in briefly after each chorus. These programmed synths are "understated" and sound almost "muted" within the production, as if not breaking through to their full potential and intended purpose of lifting the mood of the song, allowing the track to still sound sombre in tone with just a niggling anticipation of hope lingering in the background. SONG COMMENTARY Layla wrote: "This song was one of those occasions where it was totally off the dome, from the soul, just poured out of me down the microphone. Cristian and I were in the studio and he played me this beat and, I don't know why, but I just got totally emotional. With absolutely no vocals, just the simple backing track, it spoke to me. While there's electronic aspects of the song, they're very subdued and it plays out in a way that just emanates a melancholy aura. The track sounded like it should've been meant for a summer night out in Miami but something had gone awry. Like it was trying to break out into this bigger, party anthem in parts but was just too weighed down to. I've literally been there. I'm a Miami girl, I've had my heart broken in the place, I've been caught out in the abysmal rain there, I've been invited to all sorts of beach and boat parties where I'm pretending to have a good time but I've been feeling so heavy on the inside. That's what the backing track evoked feelings and memories of. I tried explaining that to Cristian and, bless him, he was being supportive and nodding along but that wasn't his intention at all when he made the beat. He had no idea where my emotional pull came from but he was so glad that it spoke to me. So, off into the booth I went." "I didn't pen anything down. I just listened to the track over and over again, mentally banking thoughts and ideas that popped into my head with each repeat. I went in with the feelings of sadness and the urge of wanting to push through that, to shed the weight of things that got me down. That's what the track stirred in me so that's how I approached it. Basically, the song is a huge venting spree! It's like word vomit, for lack of better term. If I was going to do one song that aired out all my grievances and was the musical equivalent of writing down things in a letter and then burning it, it had to be as raw and honest as possible. It couldn't be refined. It HAD to be like this big list of crap I wanted to share and to shed. No, I don't like the idiots who feel the need to leave horrible comments. No, I don't like that I still struggle with my body image. No, I'm not a fan of the people in power. No, I don't love the fact I'm finding myself in the most complex situations all the time. It's crappy stuff and they don't deserved to be polished and wrapped up in pretty little bows for pop radio. They deserved to be chewed up and spat out down the microphone." "For the longest time, I knew that this had to be the album closer. Over the course of the listening journey, I've been coquettish, badass, the villain, goofy, girlfriend material, the relationship wrecker, the relationship saviour - stuff that might make people giggle, smile or think that I'm this really cool chick. It's all pockets of amplified versions of myself. For closing out the album, I wanted to bring it back down to earth and leave the listeners pondering a few things whether that's me or about their own lives. The whole concept of "The Human Experience" is that it's a ride, but like every ride, there's the big dips, the rushes, the drops, the twirls, the spins...but then they wind down as the come back into the platform. "happy!" is that stripped back reminder at the end of the rush that says sometimes you have to take a step back and sit in your feelings. You can't keep putting on a façade and keep pushing otherwise you'll burn out. I wanted this song to reflect that even though there's a bunch of stuff I can laugh about, talk about freely, and have a decent handle on, I'm still figuring out and navigating a mountain of other problems. We all are. Nobody has all the answers in the search for happiness." "happy!" I hate that I always seem to want what can't be mine That things slip away through the passage of time I loathe that there's some things I can't put to bed Can't stand it lives on forever on the internet I don't enjoy that constant search for perfection Or that I misinterpret the slightest hint of affection My shoulders hurt from the generational trauma Sick of my name being synonymous with drama I'm too nervous to do the rest of this on my own But I don't wanna be an opportunist's stepping stone Exhausted of waking up to a newsfeed full of problems Terrified that my God ain't real enough to solve them Heartbroken by the devastation on my TV screen Tired of opening up my messages to something obscene I fear the hand looming over the big red button And that all the kicking back will be for nothing Perhaps there will come a time A time where it's easy to digest A time where I won't digress Where I won't look over there Where I won't sit in despair Perhaps... Now I've got a thing for a dashing older man Whatever happened to a straightforward one night stand? Dread to think of what my therapist will unpack Don't think I have the capacity for more of that Well, at least it's more information to overshare I drop soundbites like I'm somebody who doesn't care I strive to be a beacon of body positivity Just a shame I break a sweat over these calories Can't stand the assholes who leave cruel comments down below And the morons who get all flustered over a rainbow I despise that there's no safeguards in this industry That our misery is someone else's entire economy Sometimes I wonder why I have to keep my ego checked When I've fought tooth and claw, climbed out of every wreck I'm scared I'll never differentiate love and lust Frightened that one day, I'll find that my bubble's burst Perhaps there will come a time A time where it's easy to digest A time where I won't digress Where I won't look over there Where I won't sit in despair Perhaps there will come a time A time where there's clarity Where the fog stops shrouding me A time where I reach out A time where I'm allowed Oh, to be happy now Can I be happy now? Can I be happy now? Can Be Compared To:
		WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT PUBLIC WARNING: BEAU • CARTER LEE • JAKE • MYLES • ZANDER THE STAT NERDS: BRIAN • CHRISTOPHER THE ZONE: BLAKE • CHRIS • JASON • LIAM JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN ANDREA • DENEIL • CHICAGO NOBODY • BLOOM • SONNY • VICTORIA BLACK REUBEN • ELLIE-GRACE SUMMERS • ALFIE SUMMERS • MICAH DELISLE JAMIE JACKSON • KONSTANTIN • FAYETTE • SAYYID
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4 users thanked BrownSugar for this useful post.		2001clay on 29/01/2025(UTC), erich hess on 29/01/2025(UTC), PANIC! on 29/01/2025(UTC), C4AJoh on 29/01/2025(UTC)
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BrownSugar		#12 Posted : 29 January 2025 08:23:22(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 18/02/2011(UTC) Posts: 27,977 Location: In between the couch cushions Thanks: 11373 times Was thanked: 19560 time(s) in 7795 post(s)
		WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT PUBLIC WARNING: BEAU • CARTER LEE • JAKE • MYLES • ZANDER THE STAT NERDS: BRIAN • CHRISTOPHER THE ZONE: BLAKE • CHRIS • JASON • LIAM JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN ANDREA • DENEIL • CHICAGO NOBODY • BLOOM • SONNY • VICTORIA BLACK REUBEN • ELLIE-GRACE SUMMERS • ALFIE SUMMERS • MICAH DELISLE JAMIE JACKSON • KONSTANTIN • FAYETTE • SAYYID
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4 users thanked BrownSugar for this useful post.		2001clay on 29/01/2025(UTC), erich hess on 29/01/2025(UTC), PANIC! on 29/01/2025(UTC), C4AJoh on 29/01/2025(UTC)
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2001clay		#13 Posted : 29 January 2025 11:15:34(UTC)
Rank: Advanced Member Groups: Registered Joined: 22/02/2019(UTC) Posts: 2,643 Thanks: 5295 times Was thanked: 3613 time(s) in 1297 post(s)		Alexis Brooke: LAYLA! I'm so happy that your album is out and i been listening to your music and i not gonna lie "late to the party" i been going crazy for good amount of 3 times of me listening so i gotta say mama i'm so proud of you! :)
		My Character: Jade Trembay, Ava Tuffin, Gabby Love, Jamel Jones, Tamar Gilbert (TikaBKilla), Rose Harris, Liam Russell, Natalie Mays, BabyCrush FRESH MIGUEL CA$H Face2Face, Murda Bling, Cosmic Blue, Camille Preston, Chanel C. Fox, Aubrey Cassidy, Sophia Delaney, Midnight20, Sally Parkwood, Tika Mays, Diego Lopez, Samantha Stevens, Crescendo, Paige Wesley, Mr DJ Hurricane, Keshia Love, Stardom Boys, Milian, Sau'ron, Alexis Brooke, JasmineCharm, Christina Moreno, iCandy, Slim Money, Fatima Amari, David Dankworth, Ciara Lovett

1 user thanked 2001clay for this useful post.		BrownSugar on 29/01/2025(UTC)
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erich hess		#14 Posted : 29 January 2025 11:37:35(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 09/04/2010(UTC) Posts: 42,827 Location: representing the 954 Thanks: 21866 times Was thanked: 18088 time(s) in 10509 post(s)		Mariko: i feel that picture of the dropped ice cream. Erich: ah,a Miami girl. I THOUGHT I recognized that unique trauma. Erica: my Layla has taken flight. No longer under my wing. You really knocked this one out of the park. And speaking of knock.... You making book knocking music?!!? You are totally in horny jail. Not even in the petty crime area. Nope. You're in the lifer wing. Gretchen: sinner.
		"I'm not saying its even a good thing to own a chimpanzee. But that's freedom, folks." Alex Jones.

1 user thanked erich hess for this useful post.		BrownSugar on 29/01/2025(UTC)
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C4AJoh		#15 Posted : 29 January 2025 21:29:11(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 18/05/2009(UTC) Posts: 13,565 Thanks: 4357 times Was thanked: 8895 time(s) in 2797 post(s)		Ashford: Outstanding record Layla! Setting the table for “The Human Experience” with such a slew of absolute monster hit singles puts unprecedented pressure on the release of the album, but it’s something way beyond it’s individual releases. Difficult to know where to begin, but you know me, I’ll give it a go! The differing genres throughout this album is the testament to a true artist, I believe you could step into pretty much any mainstream realm in the industry and thrive, I believe you could jump on a feature with any other artist in the industry and it would work and I believe you could have any other artist in the industry jump on a track with you and it would work, not because of their ability but because of your own abilities as a writer, singer, performer and chameleon! I think moving away from being a member of a group, it would be expected that it would take maybe three or more albums before you’ve truly found your lane as a solo artist. The first record showed that you were just a different animal in that sense and this second record re-affirms that completely as you add even more layers to what you did on that first record. You’ve truly put yourself out there unashamedly on this record, you’ve taken more daring risks on this one and there’s a maturity in your lyrics that showcase that despite setting the bar incredibly high on your debut, you’re constantly evolving and growing as an artists and just pushing that bar a little higher each and every time. I truly believe you’re the best this industry has to offer, artistically, lyrical intelligence, a positive female role model that truly champions self-worth in all aspects, fearless. Outstanding work in every single possible metric, you can see that you have put your everything into this entire project from the obvious stuff that we can hear to the tiny details that serve to enhance the bigger picture. OOC: Literally all the things that Ashford said! I think in terms of body of work, what you’ve done with Layla is for me the best we’ve witnessed on here for a single character perhaps alongside Ryan Ross Hernandez. The amount of detail in this is outstanding and inspiring and the very best threads on here are the ones that make you want to work hard and find a way to get better yourself and this is one that does that. Not only the written work which is absolute top tier, but also what you offer visually with your artwork, front and back cover and inserts just add such realism and extra shine to your work that truly infuriates me hahah in the best of ways, of course! Also, I’m very much a lyric obsessive and just wanted to shine a light on what I believe are just perfect lyrics throughout the entire album, I’m struggling to think of a project that quite matches the consistency of outstanding lyrical content like this one and that’s not to downplay some of the incredible work that has been created previously because it’s a high bar. Happy to have other threads thrown my way as suggestions and I know there are some that come close, but I don’t honestly believe there are any that are of this complete level. Amazing work as always and thank you for always lighting a fire under me and encouraging me to try harder!!
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1 user thanked C4AJoh for this useful post.		BrownSugar on 29/01/2025(UTC)
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