ariana grande - eternal sunshine (2024 album)

Starting a thread for AG7, as the single drops tonight:

https://upload.wikimedia.org/wikipedia/en/a/a6/Ariana_Grande_-_Yes%2C_And.png

The album title is all-but-confirmed... I've never seen the movie, tho I know AG is a huge Jim Carrey fan. (There may be a certain irony in an artist who has made some of the cheeziest music videos evah to name an album after a Michel Gondry film; maybe she'll work with him at some point.)

Jhene Aiko did it first (though I prefer "Spotless Mind" on the same album).

https://www.youtube.com/watch?v=fhyTw-1aieQ

Interesting! I didn't realize the film was such an inspiration to artists: https://en.wikipedia.org/wiki/Eternal_Sunshine_of_the_Spotless_Mind#Music_2

takes longer than usual to get started but I like it, it's fine

https://www.youtube.com/watch?v=RSSUa2qW4tc

It's indeed very Madonna (as advertised) - but it's an excellent track, I think. Sounds impressively "authentic," IMO, for a Max & Ilya take on that style; while also featuring really nice hooks & "ear candy" touches.

"Why do you care so much whose **** I ride?"

Based on the corny video snippet thing she shared beforehand, I was afraid it might a heavy-handed "slap back" at gossip etc... it works that theme, but it's light and well-calibrated.

Max Martin undefeated

does this actually interpolate "vogue" as i've seen claimed?

it's decent but not great, the chorus is a bit weak? it's lacking something overall. it isn't bad but i feel like 'ariana goes house' could still be a fair bit better

the track title ends up feeling like a decent summation of how i feel about this

None of the “Vogue” songwriters are credited, so I don’t think it’s an “interpolation” in that sense…

I personally like how it’s a touch understated, rather than “swinging for the fences”… it feels like a sophisticated way to slide into a comeback.

I agree that it could probably go a bit harder but I just know that after a couple of margaritas I’m going to be screaming along to it.

It sounds like there’s a sample of Right Said Fred’s “I’m too sexy” just before every chorus.

https://www.youtube.com/watch?v=eB6txyhHFG4

Wasn’t 100% sold on the song but the Paula Abdul-inspired choreography sold it for me

Yeah it’s a pretty good video. I like the reappearance of the “NTLTC” staircase…

Agreed that it doesn't quite reach the heights I was hoping, but I like her in this upbeat pop mode. (The last song of hers I truly loved was "No Tears Left to Cry.")

i've been thinking about how feeble i find "dem critics don't get me" mode and how i like her better in a more clipped r'n'b mode but fuck it i've missed new stuff so much also in a month i'll be evangelizing the fuck out of this

she fills me with joy no fucks given

and tbf i'm only moaning about the comedy extras at the beginning of that vid

I like this.

The recording has all these little touches that just elevate it (above, I guess, Singer #274 cutting a house-inspired pop track), and gives it an extra dose of interest and "stickiness"... even the slightly bizarre way she dictates the spoken portion; little choices like that. I feel like this illustrates the artistry of .400 hitters like Ari, Max & Ilya, and what it sounds like when they step up (...tho it probably helps a lot that I'm already a big fan; others may not necessarily "hear it" or find it so special).

a remixer could turn this out in a real way but i agree. imo she's generally shown herself to have a good ear for dance records and this is no exception for me. i'm not sure i'd put it above my absolute favorites of hers in that vein but she just consistently puts out high level music at this point, what she's doing w/ the layering of her vocals on this elevates it above the fray on its own for me

i listened to it god knows how many times on a loop last night and of course, i'm in

album can't come soon enough

Holy shit I really love this. More than many of the singles from the last two albums.

I dig it.

yeah the more I listen to this, the more I like it

lyrics are still the weakest part but lyrics have never been Ariana's strong suit

The bustling PBI snares immediately lift this above almost every other recent 90s pop-house revival attempt.

this song is awesome, I get more of a Janet vibe than Madonna. and sorry to get all Beato, but I love the modal switch from verse to chorus, it comes across very naturally

There's an extended mix out now – I dig it (apparently an "extended remix" is coming soon, as well).

The Top 5 on iTunes is currently all different versions of ‘Yes, and?’.

No end in sight to the '90s house resurgence, huh

Anyone else think verses >>>> chorus?

Extended mix is v good

Album's out March 8

wow – I just discovered there's an "a cappella" mix of "Yes, And" which is... *chef's kiss* (if you're in deep enuff to want to hear that)

https://www.youtube.com/watch?v=ZqTS06mSJe4

"yes, and" remix feat. Mimi herself, out on Friday

A few updates (for those interested, but who don't track this stuff):

• The Mariah remix was pretty weird... I read that the mix was "updated" after fan complaints, but don't know if that's true (I haven't revisited it)
• A batch of three new remixes dropped today (by Felix Jaehn, Jonas Blue, and The Blessed Madonna)
• A label exec described the album as "like an elevated version of ‘Sweetener’ meets kind-of ‘thank u, next’. This has the best of both of those in telling a story. It’s beautiful.”

I just listened to the new remixes; The Blessed Madonna one is particularly cool. The Felix Jaehn mix has a nice d'n'b breakdown in the spoken bridge part

(my wife walked in and said, "I didn't know I was in an American Eagle Outfitters today.")

Listened to the Mariah Carey remix and thought everyone involved makes too much money for it to sound so cheaply produced.

Yeah, it’s gonna be the original version for me, dawg

sounds rushed like a lot of remix collabs from big artists in recent years. cleansed my ears with "fantasy" (def club mix)

"yes and" is one of my favorite songs to be released of the past 5 years - feeling super grateful for AG right now. in a world full of crap the catalog and quality is crazy.

Part 1 of a new interview (...I like her current vibe, for what it's worth). Not a ton about the music; apparently they go track-by-track in Part 2. She does mention (at the very end) that fans may not like how short the album is, but it's concise and says everything it needs to say.

oy I tried to watch that but the commercials, dang. I don't know if I'm hearing a re-released version of the remix or not but it actually sounds much stronger than I expected. the harmonies hold up, the talking bridge sounds more interesting and the last 35 seconds are pretty euphoric.

Full tracklist:

1. "Intro (End of the World)" 1:32
2. "Bye" 2:44
3. "Don't Wanna Break Up Again" 2:54
4. "Saturn Returns Interlude" 0:42
5. "Eternal Sunshine" 3:30
6. "Supernatural" 2:43
7. "True Story" 2:43
8. "The Boy Is Mine" 2:53
9. "Yes, And?" 3:34
10. "We Can't Be Friends (Wait for Your Love)" 3:48
11. "I Wish I Hated You" 2:33
12. "Imperfect for You" 3:02
13. "Ordinary Things" (featuring Nonna) 2:48

("Bye" has been rumored to sample NSYNC's "Bye Bye Bye")

Damn, 36 minutes!

it's a nice list! Nonna's her grams?

Yep!

It reminds me of when she said, in the Thank U, Next era (I think in an interview w/that same guy), that she wanted to take the approach of making albums quickly and off-the-cuff ("like a rapper... well, obviously not a rapper, but you know I mean"), in response to whatever was happening in her life. TUN was sort of the beginning and end of that; but this new album feels like it stems from the same impulse.

(Or maybe she was talking about dropping individual tracks, I don't remember. But the point is that it sounds like she had some unexpected downtime from filming Wicked, due to the strikes, and knocked out this album which obviously addresses what's been happening and on her mind)

so fun that's she's been like mixing in the studio too!

Ariana and her Wicked castmate stealing each other from each other's spouses, her writing a song to gloat about it, naming the song "The Boy is Mine"...man that's ice cold

Can't wait for "Confessions Part II" next year

just realizing i've never heard Ariana's first two albums - i should probably amend?

oh, for sure you should!

lol I just checked and I'm on the same boat, Dangerous Woman is the first album I know of her, had no idea there were two albums before it.

well, that's exciting 🙃

I'm surprised you missed those, Moka! Both of those albums had their own thread, and Yours Truly was #32 in our 2013 albums poll. And the first four singles from My Everything were top 10 hits in the U.S. (but I know you are not in the U.S.)

I guess I should’ve been aware of her just via ilm but I wasn’t paying much attention.

I think she actually had a big fanbase in Mexico from the very start, but 2013/2014 I was a bit disconnected with the mainstream… was working a lot and didn’t really had the finger in the pulse.

Hearing the singles I don’t remember any from the first album but I have most definitely heard “problem” and “bang bang”. “Break Free” sounds familiar but I think it’s because it sounds like another Zedd song? “One last time” also sounds familiar. Overall liked what I heard just by listening to the singles so far.

omg love break free
what a spaz of a song lol

“Break Free” is one of my favorite songs (her “Oh baby!”), coming out of the bridge, is one of my favorite moments in a song ever)

Yeah “break free” was a nice surprise. Sounds very much of its time but it was my favorite from the singles on first listen.

one song that the vocals kill me is let me love you, like if I'm ever blazed and need a taste of inspiring vocal production that is what I will put on

Yeah, a lot of the music & production on DW is pretty incredible… don’t know why it’s not talked about more in that context.

agreed. side to side alone vocal production upped the game without a doubt

Early reports from superfans is that the album is terrific… obv if Ariana Grande flies you to NYC to hang with her & hear the album in the studio where it was recorded, you’re not gonna post “Well, it sucks…,” but I think it’s reasonable for the rest of to expect something good.

I expect nothing less
protect this woman at all costs

5 minutes, y'all

Well I’ve listened to it twice, I think it is very good. The lyrics are extremely… specific, lol. I’ll save other thoughts for another time (and further listens).

One thing: the melody of the title track strongly reminds me of another song; it’s driving me nuts that I can’t think of what it is (i’m sure it’ll be immediately obvious to someone else here).

I will say that the running time does not feel too brief at all

omg

I'm getting a lot of Jhene from the title track of the same exact name - maybe it's an actual "reference? jaymc to thread

it's like the same chords

I also didn't realize there's history between the two of them

Loved this on first listen. Specially True Story and The Boy is Mine. Love the bass on both. True Story bass reminds me of Ginuwine’s pony.

I realized (in the middle of the night) that this is the song the title track's chorus melody reminded me of (there's no reason anyone here would know it in particular; it's just a song I was into last year):

https://www.youtube.com/watch?v=RR1rnAKglfQ

After listening to the album last night, I watched this new interview... she talks a lot about the creative process behind the album (and other interesting topics). It's a much more "professional/focused" interview (on both sides) than the other one:

https://www.youtube.com/watch?v=hYAUKSqZ7HE

i've been trying pretty hard to put the fact that she broke up her husband for spongebob out of my head while listening to the album. can't quite do it tho

*broke up with

i like "true story" because it's the one that acknowledges the elephant in the room

really like the title track, that one has the melodic playfulness that she exhibited all over positions (still my fav album of hers)

i was far from overwhelmed by this on first listen. for an album about a divorce and a homewrecking it struck me as pretty bland lyrically. the songs about her real estate agent ex husband are as nondescript as the man himself. the ones about the actor have a bit more juice to them but even “the boy is mine” is pretty tame compared to its reference material and also not very insightful (“something about him is made for someone like me” — yes, well what is if?! we really wanna know!!). nothing here really struck me as being so good of a song that it transcends the gap between the implied personal nature of the record and what she actually has to say. i know ‘thank u next’ set a high bar and was also inspired by an extremely unique set of circumstances, but this does not feel like it’s in the same league to me. maybe i’m tripping tho, i’ll give it some more shots

i've only listened to 2.5 tracks so far but i am annoyed that i wasn't as hyped as i wanted to be. i don't appreciate what sounds to be a corrective treatment of her voice in parts. esp. for someone brilliant at layering/vocal mixing in other regards. and there was something slightly nondescript as Jordan alludes to. but again i'm only 5 minutes in, so, i'm more than likely FOS.

No, I think those are both insightful critiques. For my part (now having the CD in my possession, and having listened to half of it so far), I find some of the musical settings fairly bland; especially given the high bar set by Positions (...or all her albums, really).

I do think some of the songs are very good... others are more diaristic, but almost don't function as "songs" in the same way. Given how she has solo lyric credit on (almost) all the tracks, in addition to credits for music and production on all of them (shared with the same set of folks throughout), it feels to me like an artist fully expressing herself and testing the limits of her artistry; even if that means the results may not be as strong as if she had made a more "traditional" album by farming for ideas from various sources etc.

I also agree that her voice isn't hitting like it usually does, and I can't figure out why. I think the production just isn't as strong as usual...

The production doesn't allow the voice to project or even signify; she sounds smothered.

As she also has production credit on every song, I guess you can't say that the Swedes let her down...

FWIW, I do think the songs are good!! It may sound like cope (and maybe is, to a degree), but I think the ways in which the album is maybe not-so-stellar are still more interesting than if she had just made, like, a more conventional (and mediocre) "comeback album." This feels like she had something to say, and hung out with Max Martin for a few months to say it... for better or worse.

I do think it's fascinating that she chose to work with Max (and/or Ilya) for basically the entire album (she's never done that before). She's obviously comfortable at that studio – much of Thank U, Next was recorded there, but with Tommy Brown. Based on that Apple Music interview, it sounds like she just hunkered down with MM, I guess they were in a groove...

boo now you never know what goes on in a studio. I'm not keeping jolly ranchers in my "studio" I'll tell you that much

I'll bump this again momentarily, I hope my ears don't bleed, I was really on the level

made it through all but the last 4 tracks - i'm getting various old school vibes (Ciara, Monica, Brandy, Janelle), just not sure if anything is elevating the genre

the bones are mostly there i feel, maybe some rearrangements would have made a big difference? some patches are boring or treacly, and her voice sounds p basic. and why do that weird thing where you release "yes and" and the rest sounds so different? still have 4 tracks tho. eep

It ends strong, IMO...

The weakest stretch for me is in the middle – True Story / The Boy Is Mine – which have some complex backstory involving a leaked demo that I've never heard (and don't care about).

i mean it's def pretty, like i don't mind some layered monica moments! production feels off

wait for your love is great! understated and gorgeous

Interesting song-by-song take (I don’t necessarily agree with the ranking, lol, but it’s fun to read): https://www.billboard.com/lists/ariana-grande-eternal-sunshine-songs-ranked/

(I also thought that “Wait for Your Love”
sounds like a cousin to “Love Me Harder”…)

I've read several ppl talk about how she uses a different vocal approach for this album, which is something I obv noticed and plan to focus on as I keep listening. I assume it stems from her Wicked work...

Also looking forward to see how she sounds on SNL tonight (where the sound mix/staging/whatever routinely defeats some of the strongest performers).

oof I'M nervous

Even when everything drops out of the mix but her voice, her vocals don't sound special like they usually do... there's this gauzy grain to everything. Obviously I'm not a recording engineer, and the people who made this are some of the best in the biz, so I assume they mic'd and mastered the album exactly the way they wanted to...(?) I can't figure it out.

Another observation – not necessarily a criticism – is that much of the music on Sweetener and Thank U, Next was as distinctive as the sentiments expressed in the lyrics. Here, she's leaned into some very familiar (and well-worn) musical settings, and some that just sound fairly generic; so even though it's a very "personal" album, the choices have a kind of distancing effect... as does the somewhat detached/presentational style of her performance. Again, I'm assuming this is all deliberate!

TOTALLY AGREE

you just nailed my response to this record all around

and yeah i think the intention is the question

If you had told me this was a set of demos are rough mixes, I would’ve said, “Wow, I bet the album is going to sound great!” But as the finished product…

(I mean, Positions is one of the best-sounding albums of all time (no joke), and some of that was recorded in her house!)

All this said, the album seems to be getting very good reviews, while Positions’ reviews were mystifyingly mixed.

Earlier today, I was running some errands wearing an Ari t-shirt, and a young woman asked if I’ve listened to the new album… she said she’s not much a fan, but her sister made her listen to it, and she thinks it’s “really cool.“ So I dunno!

haha!

i also don't hesitate to agree with you on the sound of positions. pretty unreal.

Despite all this commentary, I don’t want to give the impression that I’m not listening to the album multiple times per day, dancing around to it, etc… cuz I am

It’s funny to me how much the voice of the YouTube astrology lady (or whatever) on the interlude reminds me of her posh friend leaving the voicemail on “In My Head” (“…I'm two blocks away, I'm coming over”).

Is “Imperfect for You” the first time she has sung (on record) over a strummed guitar?

it def works on her. stunning song.

…She performed it on SNL(!)

…and just released a “Slightly Deluxe” digital version with 4 xtra tracks:

14. supernatural (with troye sivan)
15. imperfect for you (acoustic)
16. true story (a cappella)
17. yes, and? (with mariah carey)

Don't mean to turn this into my blog (I guess it's basically a two-person thread) – anyway, I thought she was good on SNL. She was sort of giving "basic pop star" – though I suppose the album does too, in a way. It's almost like she's "starting over" as an artist. She's definitely singing differently, I assume due to vocal work for the movie.

I'll just have to accept the production on the album; it somehow sounds better coming from my phone speaker than when I listen to the CD.

"imperfect for you (acoustic)" is really nice... it's not just guitar, there's strings and other instrumentation.

It would be interesting to compare her raw vocals in this clip with the finished product

Like I’m thinking maybe it’s not all a production thing… what I’m hearing on the album may have more to do with the way she’s singing.

i didn't even know until recently that there's some movie! so she's doing Wicked? with who else?

funnily i've realized recently that mixing with the help of phone / laptop speakers is actually really edifying.

i've started listening to troye! i like it so far.

i'm just afraid to come back to the title track here - the first thirty five seconds were so beautiful and then some autoune shit came on and hopefully i was mishearing bc it definitely scared me off

i'm p sure i was on headphones fwiw, i listened to it on speakers the other day and it wasn't as apparent

but i also do wonder about the Jhene Aiko thing - from what i saw online there's some drama bc of relationship stuff, but i do feel like this song is giving some Jhene/Eternal, so like what's that about? or is it subconscious and maybe alluding to Ariana's past sorta tendency of subtly lifting from other sources?

and the mind whirs.

I like how the final paragraph of this review touches on some of the points I’ve been (more laboriously) making above.

This album has grown on me so much that my initial complaints about the production feel beside-the-point!

there was some attenuation of expectations thing happening ; loved talking to a close friend last night who said when he listened to it, it made him want to put on 'bedtime stories' afterward - all this time during her singing it, i had imagined her in a bed! just kindof hanging out. which is ... for sure my vibe lol.

In Part 2 of the Zach Sang interview, she talks (starting around 41:00, if the timecode link doesn't work) about how she "sings more” on this album than the last three(!); and tries to avoid "singing for the sake of singing." Very interesting – as it's counterintuitive (at least for me, as a mere listener and not a pop vocal specialist) to think that she's "singing less" this time around.

I will say that she seems to be singing in her “own voice” on ES, and not her “r&b voice” (or another voice).

Sorry, I mean it's counterintuitive to think she's "singing more." Compared to the vocals on the last three!

curious to give that more of a hearing! i know there's nuance there that i'm not paying attention to when i should. but def enthused to be letting the album breathe. i don't think it's as kinetic as some of her earlier albums which may have been what threw people but warming up to the converse now.

this interview is amazing. love that she's talking it through, and talking about layering and editing as "heaven" - so good. it's nice that she talks about Mariah as a layer - influencer - that was a prescient callout.

layers and sound work wise it's lovely to have someone thoughtfully take on pop

Yes, it's a very interesting interview, in terms of her discussion of process/"artistry."

She speaks so highly of Max Martin ("He's the greatest producer in the world!")... it's funny, they've worked together a lot for sure, but I don't even think of him as the producer most closely associated with her.

(What must "The Rascals" think...? lol, little joke there for Ariana heads)

I'm stil not getting this one.

*still

haven't heard the album yet. i like "wait for your love" but i would like it much better if not for the 'me and my truth' line

Fans think that song is about her relationship with the media, which makes sense if you read the lyrics… I buy it.

The way her voice glides over the bouncy trap beat on the title track is perfect; and I love the beats on "Don't Wanna Break Up Again" and "Ordinary Things." The chorus vocal melodies on "Don't Wanna" are lovely... I think these songs are some of her best work.

I didn't realize this is her first album without credits for either Victoria Monét or Tommy Brown... that's wild (especially considering how extensive their contributions were on the last few albums).

I really wonder why she chose to make the album entirely with Martin. Was it a matter of aesthetics? availability? personal vibes? It’s hard not to think that at least the two R&B songs in the middle might’ve benefited from beats supplied by a producer more skilled in that style…

(If only Zach Sang could’ve asked a few questions like this!)

the consistent vibe across the whole album is lovely and i needed this, apparently

this was shockingly boring, she's lost it. i'm not huge on "yes and" but i get why it was the single given the rest of this

Harsh assessment!!

https://www.youtube.com/watch?v=Sk2FyT0rYss

New bonus tracks range from good to great… “Hampstead” is a remarkable song, maybe one of her best.

I actually now think the bonus tracks are terrific... "Twilight Zone" may be even better than "We Can't Be Friends" (its stylistic twin), although maybe I'm just responding to the novelty.