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Tones And I - Dance Monkey

Cover Tones And I - Dance Monkey
Digital
Bad Batch 1461439680
Digital
Bad Batch / Elektra 075679838872
Cover Tones And I - Dance Monkey
Digital
Bad Batch / Elektra 075679835505

Nummer

Jaar:2019
Label:ELEKTRA
Distributeur:WARNER
Muziek/Tekst:Tones And I
Producer:Konstantin Kersting
Geluidsfragment:
Download / Stream:
Persoonlijke hitparade:Aan persoonlijke hitparade toevoegen

Charts

Binnenkomst:07/09/2019 (Positie 13)
Laatste week notering:14/12/2019 (Positie 1)
Piekpositie:1 (12 Weken)
Chartrun:
Aantal weken:15
Positie aller tijden:794 (735 Punten)
Airplay:07/09/2019 / Piek: 1 / Weken: 15
Ultratip Bubbling Under:10/08/2019 / Piek: 23 / Weken: 4
In de landen:
ch  Piek: 1 / Weken: 17
de  Piek: 1 / Weken: 18
at  Piek: 1 / Weken: 18
fr  Piek: 1 / Weken: 15
nl  Piek: 1 / Weken: 16
be  Piek: 1 / Weken: 15 (V)
  Piek: 1 / Weken: 15 (W)
se  Piek: 1 / Weken: 26
fi  Piek: 1 / Weken: 19
no  Piek: 1 / Weken: 25
dk  Piek: 1 / Weken: 20
it  Piek: 1 / Weken: 15
es  Piek: 5 / Weken: 12
au  Piek: 1 / Weken: 25
nz  Piek: 1 / Weken: 17

Tracks

10/05/2019
Digital Bad Batch 1461439680
09/08/2019
Digital Bad Batch / Elektra 075679838872 (Warner) / EAN 0075679838872
Toon detailsAlles beluisteren
1.Dance Monkey
  3:29
   
18/10/2019
Digital Bad Batch / Elektra 075679835505 / EAN 0075679835505
Toon detailsAlles beluisteren
1.Dance Monkey (Stripped Back)
  2:51
   

Verkrijgbaar op

VersieLengteTitelLabel
Nummer
Formaat
Medium
Datum
3:29Dance MonkeyBad Batch
1461439680
Single
Digital
10/05/2019
3:29The Kids Are ComingBad Batch / Elektra
075679839237
Album
Digital
29/08/2019
3:31So Fresh: The Hits Of Spring 2019Universal
538897-3
Compilatie
CD
20/09/2019
3:29Bravo Hits 107Warner
5054197-0548-3-9
Compilatie
CD
27/09/2019
3:29Hitzone 91USM
538 875-9
Compilatie
CD
11/10/2019
»» alles tonen

Tones And I   Discografie / Fan worden

Singles - Ultratop
TitelBinnenkomstPiekWeken
Dance Monkey07/09/2019115
 
Albums - Ultratop
TitelBinnenkomstPiekWeken
The Kids Are Coming07/09/20194714
 

Reviews

Puntengemiddelde: 3.39 (Reviews: 85)

mildred
Member
*
Awful.

Douze points
Member
*
Klingt wie Klibys Karoline.

juicy_funk
Member
******
Hatte sie vor einigen Monaten entdeckt, als sie noch auf den australischen Straßen performte, und dachte mir, diese junge Frau hätte ausgesprochenes Talent, Wiedererkennungswert und kann Massen begeistern, hoffentlich erhält sie ihre Chance. Nicht lange hat's gedauert, trat sie beim "Splendour In The Grass" auf und nun wenige Monate später erobert sie die Welt. Dieser Gute-Laune-Hit hat mir so viel positive Energie in den letzten Monaten geschenkt, dass er für mich defintiv zu den musikalischen Highlights dieses Jahr gehört.

Michael_0432
Member
*****
Guter Song.

LIFTER500
Member
***
I find it astonishing that during my long absence from the music scene that an Australian act had demolished ARIA Records with this spending at least 18 weeks at #1. I had sampled it a few months ago when making a rare visit to the site when it was at #1 and thought nothing of it, didn't even know she was Australian at the time. After clicking on this review page today and saw it's run at #1 I was flabbergasted. After taking a proper listen and my original thoughts still stand. It's an overused criticism but her voice really is uncomfortable to listen to and really doesn't suit my tastes at all. However I can at least be somewhat glad that the ARIA #1 record is from an Australian Artist. But this feat is also a reminder that streaming killed the ARIA Charts as we once knew them. I have long since accepted this since technically you are paying for the Stream Service anyway but still. Putting my streaming views aside, the quality of this track is barely average at best. 2.8.

kristn_20
Member
*****
keigoe nummer !!!

ericwyns
ultratop.be
***
Ruim twee maanden reeds op nummer één in de Ultratop 50. Leuke melodie, maar wel wat overroepen.

bandito
Member
**
Das Schlimme: So ähnlich hören sich heutzutage viele Frauen an !! Was ist da los?

micha_LE
Member
*
Kann mir mal irgendjemand erklären, warum dieses "Lied" überall in Europa Nummer eins ist? Geht schonmal damit los, dass die quakige Stimme, die dazu noch kräftig getuned ist, schon beim erstenmal Hören nervt. Dazu sind die lyrics absolut nichtssagend. Die Komposition klingt so, als hätte man zuviel lyrics für die Melodie und muss das da noch irgendwo reinquetschen, das ist überhaupt nicht stimmig und passt einfach gar nicht zusammen. Nebenbei klingen Strophe und Refrain fasst gleich. Und Arrangement ist langweilig und ohne irgendwelche Besonderheiten, die das Stück irgendwie aufwerten könnte.

Also, was ist es, was aus diesem dilettantischen Machwerk einen Welthit macht? Ich bin mal wieder ratlos.

Eisenbahnfan
Member
*
Dieses Machwerk ist so Scheiße dass es da für mich nur eines gibt: *

Minus-Sterne gibt es ja nicht.

nino
Member
*****
Die weltbekannten Soul-Tanten sahen alle furchtbar aus und brummten sich sinnlos die Seele aus ihren übergewichtigen Hintern hinaus. Dennoch behaupten viele, das Gekreische sei toll und geben 6 Sterne. Ich möchte ehrlich und fair bleiben. Warum sollte ich dann auch diesem australischen Ableger der Wollny-Familie, zumindest wegen der Einzigartigkeit und Originalität des Songs, nicht ein paar verdiente Sterne geben!? Diese Stimme hier ist wirklich keineswegs nerviger als die, der ganzen, viel zu hoch bejubelten "Soul-Diven" der letzten 50 Jahre
Laatst gewijzigd: 22/11/2019 08:05

Hamburg-Oldie
Member
****
Kompliment für das Video, das ist einfach nur witzig und passt super zum Song.
Warum allerdings dieser nette, aber nicht herausragende Song seit Wochen auf #1 herumlungert, erschließt sich mir nicht.
Aber Australier/-innen sind bei uns ja sehr beliebt.

Hšnsi
Member
*
Grauenhaft wie alles in den Charts,zurzeit würden wohl 95 von den Top 100 bei mir eine 1 bekommen

bambuu
Member
*
Dieses Lied nervt nur!! Die Stimme ist schrecklich und das Video dazu einfach nur zum Fremdschämen :(
Aber die verblödeten Lieder bleiben leider immer lange in den Charts weil die Masse einfach keinen Geschmack hat und so dumm wie die Lieder selbst sind ;)
Siehe Lieder wie:
• Eiffel 65 – Blue
• Las Ketchup -The Ketchup Song
• Rednex - Cotton Eye Joe
• DJ Ötzi - Ein Stern
usw
Alle lange in den Charts und keiner weiß warum :D
Laatst gewijzigd: 14/11/2019 12:19

billbeast
Member
*
No thanks

emalovic
Member
****
Überbewertetes Liedchen. Ziemlich retro. Ein Welthit

Roefe
Member
*****
Wänn mär värgliicht was sich sust i dä charts tummlät isch das würkli ä guätä u interessantä song.

Patrick3
Member
******
Topschijf

gartenhaus
Member
***
Das so was langweiliges so lange die Nr.1 ist, verstehe ich nicht....

Reto
Member
*****
Der Kollege über mir hats perfekt auf den Punkt gebracht.

Hijinx
Member
*****
I've been brought up with a tendency to not want to cast strong judgement without sufficient information. This can be trivial things, like if someone asks me what my favourite era in music is, I feel uncomfortable providing a concrete answer because even if I was to quantify my opinions in a measurable way (which is not outside of my wheelhouse), doing so reveals circumstantial trends - if my experience in different eras is unbalanced, is my judgement even impartial? Another aspect that tends to get me into arguments is casting judgement on the character of other people. Not necessarily in a sense of myself having a warped perspective of what constitutes a good person, but the fact that you really can't get a full view of how that person arrived where they are. What decisions, be they moral or personality defining, that person made in their past, their driving motivations. I always wince a little whenever I see reality TV or commercials for it. Not for the people in it, but the fact that they're being presented at the whims of editors & producers. Whenever I see an ad for "Love Island", I feel like it's all a roundabout way of inspiring a reaction through showing seemingly vapid people who are content with their lifestyle. It's a silly cycle of superiority where I'm supposed to think that these people think they're better than me for superficial reasons, but in reality I'm wise enough to realise this and thus I'm the better person here. I just can't do it because the whole experience is dehumanising for everyone involved, including me, a person reduced to malleable reactions.

I mention all of this for one primary reason. To make an assumption of whoever is reading this, I assume you're familiar with the adage of the music fan who 'liked it more before it was popular'. To make another assumption, I assume you don't think highly of said strawman. Whether it's general resentment at someone who prides themselves as being a 'better' music fan, or sheer schadenfreude at seeing that person's foundations crumble because they've been caught in a stalemate of either having to admit to liking something that's really popular, or re-package their opinion in a flimsy attempt to retain their superiority, where they've chosen the latter. But then again maybe you've been in their shoes before, and thus like we all do, you may have convinced yourself that your own actions are without fault. Maybe it's as simple as overexposure makes one grow weary of it, or there's a cosy feeling about listening to something plucked from general obscurity, maybe there are just flaws in the song you didn't see until it became the centre of discourse and now you can't ignore them. I think we'll always leap further to justify our own actions rather than those of someone we have a bad opinion of. Umineko no Naku Koro Ni taught me a lot more life lessons than I'd expect from what I thought going in was a murder mystery novel played straight. One in particular that sticks with me is the notion that the truth cannot be seen without love. In the pursuit of reinforcing our own decisions, what we inevitably end up doing is casting judgement based on pre-conceptions. If you like and respect someone, you're likely to spin their actions henceforth in such a way that will retain your initial opinion. More concerning, if you don't like a person, you'll find them utterly incapable of good. Philanthropy is merely PR to deceive foolish people into liking a person who is clearly bad, and even then they could always do more. You may be so wrapped up in this pre-conception that you become angry at the very notion that the action could challenge your pre-conception, making it an inconvenience in your life, and therefore bad for that reason. It's really easy to keep track of people if you never have to refresh their standings, and it's really difficult to admit to yourself you made a mistake, and hence we have a fountain of vitriol. I write this knowing that I'm not about to change anyone's mind about anything, especially if it's an opinion about me. If you've already put me in your sights for the earlier strawman, then this whole piece is just a Machiavellian attempt to try and make my opinion undeservingly the bottom line, exemplified by the word count or me using anything even slightly obtuse to make me sound smarter. But if that's not what does it, then it'll be that everything I write after sentence this is all just manipulative social engineering. I'm not writing this because I feel a need to bolster my superiority or stroke my ego, ascending me beyond normality, but rather because I want to return *to* normality. I've been feeling fairly down lately.

I love music. It's been an especially important part of my life ever since my early teens. Music was something I could obsess about, learning about a back catalogue of so much that existed under my nose prior, as well as the obvious aural delight it brings. Most importantly it gave me something to care for in a time when my foundations were crumbling.

I'm not about to say I had a rough upbringing. I've often thought about the fact that with the right selective information, you could present me as either a wholly tortured and unfortunate soul, or an insensitive brat. It's partly why I learned not to be judgemental of others, because how can I be sure how representative my knowledge of them is of the reality. I kind of wonder if I had someone controlling spin for me behind the scenes because the sorts of teasing I got growing up for being me is fairly minimal compared to what it really could have been. As a remarkably unfit person in a somewhat regional town where fishing & football outweigh everything on the hierarchy of needs, I should have been a social pariah, but I guess I got a pass because I was impressively good at arithmetic.

The worst things that happened to me really are that I was very lonely, bored and/or feeling anxiety at my inability to meet academic expectations. All of this compiled together in morning double English lessons. I was isolated because I just couldn't wrap my head around the work required of me, but it seemed like everyone around me, whether they liked it or not, could at least sift through it in a perfunctory way. I lost count of how many times I drudgingly looked at the clock, excited that it was nearly recess, only to realise that I wasn't looking at the hour hand - in reality I was only about 25 minutes through a 90 minute ordeal and already feeling defeated.

When we were about to enter high school, we had a bunch of orientation things to get used to the way that things proceed differently than high school, honestly refreshing compared to how many times I was made to look stupid for not understanding something I was just *supposed* to know somehow. Along with this orientation, I recall a sort of pep talk from a teacher. I don't remember much of it except for a remark about how maturing into this new stage of education/life, you may find that though you're popular with your classmates now, they may well drift away from you to prioritise their studies. I think this was supposed to be a reality check for the class clowns who will no longer be able to breeze through their education, I was certainly not the target of it given I spent half of my middle schooling away from everyone else on the class computer. This bit of pessimistic motivation stuck with me because I found that it ended up applying to me way more than it really should have.

I was basically an outcast growing up. If being the shortest, wimpiest kid wasn't enough, being on the autism spectrum meant that I had a lot of trouble comfortably opening up. Adding onto that, oddly specific circumstances meant that I grew up around classmates who were anywhere from 6 to 18 months older than me. I think I'm glad that it ended up being the case, but in general it meant that I was just not maturing on time with everyone. Classmates would discuss who the hottest girl is, and I was more fixated on the progress I was making with my Pokémon team. Because of stuff like that, I never really felt like I fit in much. The friends I thought I had were in some ways, just snowballed from circumstance (when I moved schools early in Year 1, I was basically given two friends by the teacher, and through such connections, slowly started to hang out with more people by proxy. But still I never really felt like I was wanted around much. I sent far more birthday invitations than I got back, I'd invite friends over on weekends, but I'd never get invited despite clearly being the more shy person. It became clear that even people who from my perspective were close, had so many further connections that I was irrelevant to them. It's like parasocial relationships but in real life.

It's why the end of my second year of high school is so pivotal to me, because in addition to me having turned a new leaf with music a few months prior, it was when I found out that my two closest friends were both moving to different schools and for that matter, different, far away parts of the state. The last time I got to hang out with one of them was a particularly memorable day for me because it was also the day I was introduced to the work of David Firth, and the art of Abridged fan-dubs, which if nothing else has made significant influence on my comedic interests ever since. Though it wasn't something I could explore significantly because of extremely limited internet access at the time, so listening to the radio instead helped get me through things.

Like many a teenager before me, I worshipped triple j. It was like uncovering something so completely catered to me that seemed totally off my radar before. No ads, no annoying pop music, a playlist that actually moved on from songs once you were sick of them, healthy representation of local & very obscure content, and constant reciprocation of these positive feelings from presenters themselves. Not to mention all the countdowns around the place, that tapped into a primal desire of mine to see things ranked and unveiled as such.

I needed this because I was predictably lonely going forward in high school. Those scarce outside-of-school interactions became non-existent, I would spend every morning pacing back & forth in front of the class because I arrived 20 minutes before anyone else (sometimes before the groundsman!) and I had nothing to do, except think about music. Watching, taping & re-watching the JTV Saturday top 20 countdown became a ritual, and I extended it through to the next week by trying to remember the entire thing in order and think through it to pass the time. If you spend 10 seconds each on 20 songs, that 3+ minutes of time killed.

But I could not share this interest with anyone. To my knowledge, no one else seemed to ever listen to triple j, or at least I never spotted any trends to suggest it. No one knew "The Others" until TV Rock remixed it, no one knew who Kings Of Leon were prior to "Sex On Fire", no one made any jokes when we had to do Ping Pong for P.E., and learn about Electric Fields for Physics, because I seemed to be the only person across either relevant song at those respective points. But either way, the real reason I couldn't share it is because of my own insecurities. My fear of rejection has always made it hard to fully open up, and with music, I was so devotedly attached to that which I liked, that I didn't want my enjoyment to be stained by hearing something negative about it. Listening to obscure music empowered me not because I thought I was above everyone, but instead I was below in a social standing, unable to command my opinion above another's. But if the thing I liked never got to any level of attention, I could freely enjoy it without fear of it becoming the centrepiece of discussion. Music became my number one passion in life, and I almost never spoke a word of it to anyone.

If you've read this far, it might surprise you to know that much of this is still true. Well, I don't actively listen to the radio much anymore, nor do I have any excess disdain of popular music. I've also gotten a little better at communicating my musical interests online, but in person it's still a fair bit of a struggle. I've unfortunately adapted with a more acute sense of detecting reactions, and so it becomes even harder to talk about things I like because I'm aware of the extremely minute odds that someone has similar interests to me, as well as being able to work out when someone is actively working to hide their real thoughts. That they're doing this should be enough to set me on the right path, but I would think, I would think too much about what's behind the facade, and either cast self-doubt on whether I like something, or doubt on whether I can respect the person in question. It's terrible behaviour no doubt but when it's something I'm extremely passionate about, it's hard to avoid.

Ironically, it's probably the online portion of this that's souring on me the most. The adage of anonymity bringing out inner assholes is well known, although I wonder if that should be updated to being more about personal distance. It's impressive how willingly people will perpetuate this behaviour even on Facebook with their name and favourite car/fish/child on full display for everyone to retaliate to. It's less about the things you won't say if you can't hide from them, and more about the way we de-humanise people if they're not standing right in front of you, and that's important regarding this song.

Nonetheless, the problem was that the more I went online, the more I still ended up seeing absolute venom spewed out towards so much I treasured. I worshipped the Hottest 100 (and still do) as an encapsulation of what had been my year in music. It's a recognition of stuff that didn't really get global limelight but was now being heard by a million or so people all at the same time, while also being a warm hug to show that 'hey, there are people just like you who really connected to that Architecture In Helsinki song'. But while I go out of it thinking over the positives, in a generally great mood no matter what happens, it always feels like the collective vitriol is what comes to the forefront, and not the kind that comes with a catchy organ riff. It feels like everyone gets so invested in their own ideal picture that they forget the beauty of a collective poll. The war becomes endless because everyone wants to make sure their own personal favourite trends are still in the picture, while frowning upon anything that might suggest a troubling paradigm shift even as they age well out of the intended demographic. Part of it is also the peculiar level of elitism that comes out. If something's popular, it's an affront to that which is not, as it gains an unfair advantage over the lesser known gems that Nova listeners haven't heard of. That's how it's presented at least, but it's more often painted in a more troubling light that reveals worse intent. G Flip is more likely to be derided for making commercial music than Gang Of Youths, but it's the latter whose commercial success is far greater. Kanye West can go an entire decade without getting substantial airplay with his new music on top 40 radio, but he'll still be derided as pop crap by people who think The Rubens (who, opinions side, do get top 40 airplay) put out the best album of the year.

This is not to say that these people can't enjoy the music they do, more power to them in that regard. But there's so much vehement diatribe that it often feels like an illogical attempt to maintain a perceived status quo, because though few will admit it (maybe it's not even implicitly realised on a conscious level), there is nothing more frightening to a music fan than the floodgates being opened for a paradigm shift towards something they don't like. Or is it not something, but someone?

I have a keen fascination for whenever someone says something along the lines of 'I hate people who ___'. I'm not about to debate the merits of 'hate' as a word, but rather the context that can surround these statements. Because when these strawmen are introduced, are they really strawmen? You can almost be certain they are real people, and then you have to wonder how these people's disliked actions became known. Depending on the scenario, it could be a stranger on a bus, which, sure, I get it, but a lot of the time, it feels like people are describing scenarios that could only be witnessed if the person in question was a genuine acquaintance, maybe even a family member. That flips the whole phrase around to me because I can't read it as anything other than 'I secretly hate this particular person for irrational reasons but I can't say it to their face'. The 'irrational' portion of this is important because I don't think you can deny the reality of such situations. Maybe there's a base reason initially, but it's easy to become so entrenched in the idea of disliking someone that you warp your perceptions around their actions. Rather than 'this action/opinion is good/bad and thus the person doing it is good/bad respectively', it becomes 'this person is good/bad, and thus this action/opinion is good/bad respectively'.

This happens with music elitism too. For instance those contradictory examples before show that hatred can be based on flimsy, often inaccurate foundations. No one is going to change their opinion even if they're proven wrong because a) their hatred was evidently not based around their initial complaint, and b) the person who told them they're wrong is now the enemy who must not be submitted to. That first point is what I'm getting at. We hold irrational views and try to validate them with rational proofs. If these proofs prove faulty, then a new one is built up in its place, or the correction is just forgotten and the same proof is carried on anyway.

The ultimate paradox comes about of triple j's audience. Though there definitely felt like a musical turf war between fans of pop and otherwise (well, there still kind of is, but it's not manifested in Australian radio stations anymore I think), now it seems that nobody hates triple j more than the fans of triple j. Much of this is rooted in its history. Though relatively progressive with its programming, I feel as though it was offset by the counter-culture mantle it was held up on. Whether or not the focus, I often get the feeling looking over historic recounts that people most fondly saw the station in its times when it was lampooning the mainstream. As well as that, much of the diversity on the playlists wasn't really what the audiences were really rallying for. Sure, there will be smaller pockets, but when you look at the community as a whole, we have annual top 100 lists that show just how much diversity should be a runner up to making sure every group of white dudes with guitars gets their time in the sun. I'm exaggerating of course, but we'd eventually come to a situation that far outsized triple j.

Enter 2009 and the station does another all-time Hottest 100. Each song observed individually, there's evidently a lot of highly cherished material which is hard to deny has earned its individual place. There's just the small problem of the near complete absence of women, any that were in the list were still playing behind more prominent men, and the only voices heard were those of Elizabeth Fraser and Shara Nelson, whose significant contribution to Massive Attack's most famous singles are often uncredited anyhow. I can't say for sure whether triple j is entirely to blame for this situation, given that much of the countdown can be described as songs whose popular culture standing has extended beyond the radio station. Tie-ins to movies and encapsulating an artist's storied career/life will gravitate far more strongly than just some song you liked on the radio for a couple of months. The personal, esoteric interests are part of the voting collective, but they become meaningless statistical noise washed away by shared, specific interests. But still with this in mind, it's hard to really pin down the system in place that made it happen. Are these popular culture sync ups just predominantly male? Is the rock & roll canon just predominantly male? Or are the diversities in these situations just ironed away by triple j's programming direction? Though the station certainly did play female artists, I remember at the time finding it hard to think of an example of a song by a woman that could've squeezed into this list. Like, no song by Tori Amos or PJ Harvey was anywhere close to being as popular as "Take Me Out" for instance.

triple j got a lot of bad publicity because of this. While they usually love to reveal the 100 next biggest songs on their list for levity, this brilliant moment of curiosity towards public voting results was never unveiled, assumably because it would only make things look worse. Whether or not it's true (which honestly doesn't matter given irrational judgement), it's easy to see that the station has in response, made more of a concerted effort to remedy this. The immediate next J Award later that year was given to Sarah Blasko having previously only been won by fully male comprised bands. Only since 2015 has there been an annual tradition to play only music by women on International 'What About International Men's Day?' Day. With the rise of social media, it's hard to avoid blatantly noticing when a band has been removed from the airwaves due to external incidents, which I can't imagine being a noticed thing in the '90s.

No one likes being told they're wrong about something. Society as a whole probably casts too much judgement on past mistakes even if someone's learnt from something. It's hard to live these things down. From my perspective, it feels as though when people see triple j shifting their programming to be more abundantly progressive, it's an attack of its past self, which if you're a listener from then, is an attack on your past self. If everything was perfectly fine and dandy for you, you're going to feel quite a bit of resistance when someone tells you that there's something wrong under the surface. I'm pretty sure I did just that even with the aforementioned example. The all-time list was a wonderful list of excellent music, and I felt slighted when the underlying problems were pointed out. I fortunately grew out of it, but I can see how people feel the need to defend against anyone who dares challenge the sanctity of their radio station, even if that anyone is their radio station itself.

Now we reach the present situation. This discourse has been and happened so many times before that most are pretty entrenched in their views. Gone is nuance, replaced by inserting an agenda into everything even if there isn't something there. 'Here's this new artist who just uploaded their first song to Unearthed! She-' and somebody has already started typing up their complaint about a leftish agenda. triple j's social media can be described as an endless series of attempts by people to prove that they're better than this radio station, pointing out its inconsistencies, pointing out its biases, pointing out when the decisions the station makes regarding awards is not reciprocated by the popular opinion. But it's important because this radio station obviously thinks it's better than you because you still listen to that band, and thus you must prove you're actually better than them, in a fabricated cycle of superiority which sounds oddly familiar.

This all stings me because I feel like it clouds in front of what could and should be a platform for wholesome engagement. More than ever before I become frightened to express innocuous views, because the internal turf war has gotten so deep that the act of ignoring it makes you an enemy to many. Though I want to believe that there still are many people like me, it's just hard to see it clearly. It makes me feel like I'd be better off if I stayed offline and instead stayed by the positive feedback loop that the radio on its own gives out.

Basically I've come to the revelation that I think I really don't like most music fans. Or maybe that's too strong, but I just can't vibe with the hateful rhetoric which seems to be commonplace. Like, I feel like if you say that you don't like music fans, plenty of people might agree, except for dumb, reductive reasons like 'the general public like Ed Sheeran too much' or something like that. The fact that it's normal to spend more time harping on about the stuff that you don't like than the stuff you do like, is a frustrating reality. Maybe it reveals that people are more like me since they don't want to expose their vulnerabilities, but I hope to never find myself only coming out of my shell to hate on the media that brings people joy. But then they're not really just hating that media, but the people who support it, so it's even more despicable.

This brings me to Tones And I. At the time of writing this, her song is currently the most listened to song on Spotify across the entire world. To my knowledge, no Australian artist has ever done this before. Whether or not you believe that Spotify is predominantly swayed by internal playlist meddling, once you reach this point, it's hard to deny that the general public has gravitated with interest to the song. So the whole internet loves Tones And I, the quirky singer who sings quirky songs. Except not really because I regret to inform you the internet is sexist.

I don't mean to make it sound so loaded but honestly from my perspective I find the whole situation so puzzling that I've had to go on extended mind crawls to work out the root of the issue. Regrettably I do understand it on a local basis. With everything written before in mind, it's pretty easy to see why people would see triple j's social media hyping up a new artist with excess hyperbole and immediately want to retaliate. Tones' situation is exaggerated because of all the extra factors: her eccentric voice, her clunky sounding stage name, her 'ironic hipster' image, the fact that her first single was about a gay person having trouble coming to terms with their sexuality. It makes her a prior target for outrage.

The goalposts are always shifting though. I mentioned before about supposedly rational reasoning being made up to support irrational beliefs. So when triple j started posting about how great her song was, it was met with backlash akin to 'nah it sucks, no one likes it'. Once the song got popular, there came the conspiracy chants that 'triple j rammed it down everyone's throats tricking them into believing they like it'. Some people still use this one, but it becomes a bit uninformed when you have a global audience of over 30 million listeners on Spotify, most of which aren't even from Australia, let alone have heard of the one radio station that has supposedly duped the entire world. For all of 2019, Tones has just kept kicking higher scoring goals while internet trolls slowly shrink and transform into corn cobs.

But here's the peculiar thing about this. If most people outside of Australia haven't heard about triple j or any of this extremely localised discourse, why are people across the world so ceaselessly angry about Tones And I? The whole thing baffles me because the reasoning always feels so flimsy, as if it's hiding truer intentions that I can't decipher. The only thing I ever hear is that people can't stand her voice, that's it. That in itself is a peculiar by-product of musical elitism. If it's something that people actively seek out, it becomes trendy to boast your limited tolerance. If you can be called a wimp because you can't grip a metal pole that's been in the hot sun for very long compared to other people, then I don't see why you can't be called a wimp because your ears hurt when you hear Tones And I sing the word 'shine'.

To be clear, I'm not saying that everyone has to like the song, I just find that the undercurrents of how people express it goes way beyond healthy discourse. It feels like there's an insidious pack mentality where the most vocal detractors feel the need to recruit everyone to their side as urgently as possible, lest this get out of hand. Not since the rise of Justin Bieber have I seen this sort of anger, where anyone who has as much as a neutral position is vilified. You know how reddit users are supposed to upvote relevant comments and downvote anything that doesn't add to the conversation? I've seen people rationally elaborate on Tones And I's popularity (more succinctly than me) faced with downvotes, while someone can hate on her apropos of nothing and be showered in upvotes from people so baffled by the popular consensus that they have to cherish their allies like an endangered species. Ask yourself when you browse reviews, do you prefer to see impassioned elaborations on why someone likes a song that you don't like, or for the same song would you rather someone just spew out hate with no rationalisation, but at least on a Boolean level they agree with you.

On one level, I do get it. When a new artist enters the fray, it's the prime time to shape perception of them. Often you can look back on chart records of old and see monstrous sales of artists that it feels like everyone has decided was uncool, because in reality this seed takes a while to sew. Nickelback had the #1 song of 2002 on the Billboard Hot 100 because it was their first hit. People were buying into "How You Remind Me", not Nickelback. It's only when you look back that 'Nickelback had the #1 song of the year' starts to be seen in a different light. And so I can only assume this is the same thing with Tones And I. She stands out quite a bit on pop radio, and I imagine many listeners are gravitating to her song because of it. Like, so much of the chart feels perfunctory in comparison. But if she is successful, then maybe that will lead to more of her kin getting a push as well, as tends to be the case. I mentioned before about how negative paradigm shifts are the biggest fear of a music fan, and thus all the Regina George's of the world are insistent to stop everyone from making this a thing.

Here's where it troubles me further. Though I've been conditioned against it to the point I can't even admit it to my psychologist (even though they like her and will bring her up out of context), I really do enjoy this song. The first time I heard it, I thought it sounded like it could be popular in a niche not quite top 50 way, as it had the catchy appeal but not the same obvious lyrical hook of her previous single. It has a fun bounce to it with the piano, and the chorus continues to build in intensity to a satisfying conclusion at the end. I think the lyrics in this song do work to its favour though. Though few would admit it, it treads similar ground to Spiderbait's "Buy Me A Pony", which is also a song where a recording artist is reduced to a non-human product that is expected to just do that one thing the people like from them until it stops being profitable. I hope Tones And I can have another international hit because I get uncomfortable thinking about the implications of this song from a one hit wonder, and how many will probably realise it, but just go along with it anyway. I'm more conditioned to liking this song than most because a much higher proportion of my music listening than most is very much this sort of quirky Australian indie pop. Often the kind that doesn't really gain traction because it's not really in vogue, but essentially, nothing about this song is especially unique. I don't even have a problem with her voice because I've heard it all before. No 'indie girl' voice can ever be more annoying than the endless discourse around it, where there is no way for a woman to sing without drawing some kind of criticism, it's so exhausting.

Nonetheless, as I said before, I draw comfort from the fact that these artists I do listen to are obscure. I still buy their music so it's not like I'm trying to keep them from a pay check, but my point in essence is that it's so much easier to enjoy something if you aren't crowded by voices that tell you it's awful. Thinking about this song gets me upset because I just think about all the people who hate not just the song, not just the artist, but the people like me who streamed it, bought it, pushed it into prominence. I worry about the fact that a lot of this lesser known music I like would probably be subject to the same fury if given the opportunity (because this really would have just been another one of them if it hadn't taken off). I worry, that if I told them that I get anxious and depressed at the hurtful language they use, that rather than feeling empathy, they'll secretly be thinking 'mission accomplished'. I worry that, much like how anti-vax groups and general internet trolls wish I, an autistic person didn't exist, that these people who supposedly just don't like an Australian woman's voice, also wished that I didn't exist. Honestly a lot of the manipulative behaviour of the latter is not dissimilar to the way people talk about this song.

But if I can end this on a less sour note, I just want to say that it's okay to not like things. What I mean is that if there's something popular you don't like, don't treat it like an outrageous shock, because it's a very normal thing. Treating it as an abnormality is a fast track to unscrupulous behaviour as you bend over backwards to rationalise it. If you do feel the need to be critical, do so with respect to the other point of view. It's difficult to take an argument seriously when it's so petulant as to try and silence the opposition, as it reveals just how vulnerable your argument really is. Never forget that this opposition is real people, with real, complicated motives. Treat them as such, and you might just make the world a better place.

Demeter
Member
******
Volle 6 Sterne, schon für das Video! Cooler Song und auf jede Fälle ein Ohrwurm 2019, zumindest für mich. :-)

Samuelw300
Member
****
Diese quietschig aber nicht nervig sich anhörende Stimme hat schon was. Gibt diesem groovigen Ding den besonderen Anstrich. Höre es recht gern bin aber nicht der Oberfan davon.

Besnik
Member
**
Sorry, aber die Charts kann man ja schon lange nicht mehr für voll nehmen, immer die dümmsten Songs landen auf #1!

Cinebaer
Member
*
Braucht ihr noch mehr Beweise für die musikalische Verdummung der Gesellschaft?

colline
Member
**
Vor kurzem zum ersten Mal gehört, absolut ekelhaftes Lied, kann diese Stimme überhaupt nicht ab

Bearcat
Member
*
Slecht gezongen
Zoiets komt ook nog op nr 1

Eva-Ulrike
Member
****
Ich finde es ganz okay. Wenigstens ist mal wieder ein Lied an der Spitze welches nicht dem genre Trap angehört.

koalabaer49
Member
******
Ist mal was anderes und bringt Abwechslung in die Charts. Bleibt außerdem vor allem wegen der Stimme im Ohr. Verständlich, dass es bei anderen weniger gut ankommt, mich begeistert der Song aber nach wie vor.

sanremo
Member
**
2-----

Michael
Member
**
nein, nein, nein... grauenhaft!
Laatst gewijzigd: 17/10/2019 14:23

didi1212
Member
**
Hurra, wir verblöden

Ale Dynasty
Member
*
Nervige Stimme - langweilige Sounds - 2019 eben.

Chemmical
Member
****
Don't mind her voice at all, in fact it makes sense to me that she sounds the way she does for this song at least (haven't heard any other. Honestly without that this would be a standard pop affair, but I understand the hate too.

Alxx
Member
****
Sticht vor allem gesanglich etwas heraus ... nur nervt das kindliche "Da da da deim"

Anorable
Member
*
A supposedly fun worldwide smash pop hit in the vein of "Sweet But Psycho". The main difference is that "Sweet But Psycho" actually had a tolerable vocalist.

Canada peak: #19
Laatst gewijzigd: 11/10/2019 00:47

remy
Member
***
Nicht gut aber auch nicht wirklich schlecht - Für mich eine ziemlich uninteressante Nummer.

variety
Member
**
Eigentlich total nervig, vor allem die Stimme. Der Refrain geht wenigstens einigermaßen ins Ohr. Deshalb nicht die Höchststrafe...

alleyt1989
Member
**
I really, really tried to get into this. I mean it's a pop hit that's dominating worldwide at a time when pop is not [i]really[/i] popular. But I can't. I enjoyed Johnny Run Away for the story more than the voice, but with this, the voice is just so grating and the strange noises at times sound like an actual monkey.

nirvanamusic87
Member
**
Just can't get into this and that's mainly the vocals. UK#1 for 11 weeks and Ireland#1.
Laatst gewijzigd: 13/12/2019 20:26

vissertthom
Member
*
tenenkrommend, echt verschrikkelijk

sbmqi90
Member
*****
Ich sehe den Nervfaktor hier gar nicht so sehr; im Gegenteil gefällt mir diese flotte Nummer mit jedem Anhören mehr. Ein toller Ohrwurm und endlich mal wieder eine würdige Nummer 1 in den Charts.

gherkin
Member
****
Dit is serieus aan het scoren en ik heb daar eigenlijk geen enkel probleem mee.

pwill
Member
**
Hoher Nervfaktor, in der Tat. Schon beim ersten Hören. Mag mir gar nicht vorstellen, was bei den nächsten Malen passieren wird.

1stSauce
Member
*****
Fun, sarcastic lyrics and bouncy production make this a rather enjoyable song

Mark1984
Member
*****
Inderdaad iriitant plaatje,die stem om te janken zo slecht! Dat dit een nummer 1 hit is....onbegrijpelijk wat een wansmaak heeft de jeugd van nu.,

Update Dit is toch wel een oorwurm om te noemen! Ik ga flink verhogen naar 5 sterren
Laatst gewijzigd: 16/11/2019 01:52

Effluvium1
Member
*****
Wow this is excellent!

facinum
Member
****
Song ist gut, für die Stimme hätte man genauso Micky oder Minnie Maus vors Mikro stellen können. 4-

swiftie
Member
*****
Es ist geil - nur wenn man das Lied zu oft hört, wird's auch recht schnell nervig.

drogida007
Member
****

Mit einer anderen Sängerin würde mir dieser Song auch besser gefallen.

Norbert7
Member
******
Hätte auch gut zum Dschungelbuch gepasst ;)

GrandTheftAuto
Member
*****
Irgendwie geil der Song!!!.

vinylfreak
Member
*
Vreselijk.
Wat een ellende die hitlijsten van nu.

!Xabbu
Member
******
wusste gar nicht, dass der song so bekannt und beliebt ist :-)

stimmlich erinnert mich der song Miss Li - nur mit italienischem akzent.

Der song selbst natürlich absolut klasse.
schön zum mitsingen, tolles tempo.
so muss es sein.
starker Sound.

viele schreiben davon, dass der song und das Video nicht witzig sind.
ich bezweifle stark, dass das überhaupt der sinn war.

ich empfinde eher demut und wehmut beim hören des Songs.

musicfan
Member
**
Nerviges Lied und unangenehme Stimme.
Laatst gewijzigd: 19/09/2019 21:21

Starmania
Member
*****
Ein Song, der definitiv die Usergemeinde hier spaltet - was ich total nachvollziehen kann.
Ich find's sehr erfrischend, die Stimme hat einen riesigen Wiedererkennungswert. Wird aber auch sehr schwer, einen Hit zu wiederholen für sie, denke ich.

Musicfreaky_93
Member
*****
Irgendwie schräg, irgendwie schrecklich anzuhören und trotzdem mag ich den Song.

FXs Charts
Member
**
Was soll das nun wieder sein?

Widmann1
Member
****
Bei dem Song ist jede Bewertung denkbar, das Video ist auch witzig.

juna13
Member
***
no... 2

it's not that bad now but i'll never like it as much as ''johnny run away'' or even ''the kids are coming''
Laatst gewijzigd: 14/11/2019 21:56

cube123
Member
*
nervige mäuschenstimme!

remix1970
Member
*
Dieses Affenlied gefällt mir nicht. Fürchterlicher Gesang. Und soetwas ist in den Charts ganz vorne. Traurig.

jayj95
Member
***
It’s OK but she sounds like one of the Chipmunks.

Kaahu Niheta Witehira Leef
Member
**
Annoying pop song. I have addictively listen to Old Town Road alot this year and next Señorita. Come to this one is bad and irritating. I mostly gave this a 2 star because of the childish monkey vocals. And I am very sure that Tones And I person can sing even better in other songs.
Laatst gewijzigd: 22/11/2019 09:20

rhayader
Member
**
Ich habe es mir jetzt 3x hintereinander reingezogen und kann immer noch nichts tolles daran entdecken. Die Stimme nervt mich sogar gewaltig. Auch das Video finde ich nicht übermäßig witzig.

southpaw
Member
****
Sympathischer Ausreißer in den Charts. Jedoch eine Stimme, die man schon beim nächsten Lied nicht mehr hören möchte.

Kamala
Member
****
Das ist so ein Titel den ich einerseits grauselig aber andernseits auch lustig finde. Die gute Toni Watson bringt mich aber zum Schmunzeln mit ihrem schrägen Gesang.

Werner
Member
*****
Flotter Song mit einer - nicht nur positiv - herausstechenden Stimme.

Und es ist halt doch ein Ohrwurm, deshalb rauf auf die fünf!
Laatst gewijzigd: 10/11/2019 13:56

Rewer
hitparade.ch
****
...gut...

remember
Member
*****
Ziemlich cooles Teil.
#1 in Skandinavien und Australien. Doppelplatin gab's auch schon.

tgebele
Member
******
Uja - das kam die ganze Zeit im Radio während unseres Frankreich-Urlaubs. Schräger Song, der mir recht gut gefällt.
Laatst gewijzigd: 14/11/2019 22:09

Tequilo
Member
***
In geringer Dosis erträglich und interessant, aber wird sicherlich totgespielt werden.

Uebi
Member
****
Ein Song, der genauso gut vor 10 Jahren in den Charts hätte gewesen sein können, als es zum ersten Mal ein Revival dieser Art Sound gab. Frisch, flott, interessante Stimme, abgerundete 4.

fabio
Member
****
gut

da_hooliii
Member
***
Mittlerweile muss ich meine Bewertung von 4 auf 3 runterstufen weil das Lied leider schnell nervig geworden ist.
Laatst gewijzigd: 14/09/2019 11:27

ul.tra
Member
****
Mal kucken wann es mich nervt.

Pacadi
Member
***
naja

HUNNYBEE
Member
******
What an amazing woman! Her unique voice that just "grabs" you and makes you sit up and listen. Combined with her energy and insight of the absurdity of life and of aging. Love it!

Chuck_P
Member
****
ziemlich flotte nummer.

sophieellisbextor
Staff
****
Un titre catchy sans prise de tête.

Chartsfohlen
Member
****
Irgendwie hätte ich bei diesem Songtitel und dem sehr amüsanten Video noch etwas mehr musikalischen Wahnsinn erwartet, von ihrer markanten Stimme abgesehen singt Toni Watson hier aber eine doch recht straighte Pop-Nummer, die zugleich aber überaus catchy ist. Habe mir hier noch kein abschließendes Urteil gebildet und finde den Song ein wenig schaumgebremst, aber da ist auch sehr, sehr viel Cooles und Erfrischendes dran.

Starke 4 erstmal.

NickSamon
Member
**
number one hit right now.

Kirin
Member
****
Entwickelt sich zu einem internationalen Hit, ist mir recht.

irelander
Member
****
Her vocal style really steals the limelight here, even more so than in "Johnny Run Away". Quite funky too. 3.5

bluezombie
Member
****
.
Laatst gewijzigd: 05/11/2019 11:20
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