FINAL ASSESMENT (MAGAZINE)

NEW CONTENT!
MAGAZINE
WILDFIRE ARTIST
“This is my fight song”
KYLIE
MINOGUE
Golden
Artist Donated
to the WHO
WEEK OF RELEASES
Albums of the Year
Lady Gaga Record?
Best French Horn
And much more...
CHROMATICA
HOT PINK
REPUTATION
PRISM
GOLDEN HOUR
LEMONADE
JUN 2020 VOL. 23, NO. 4

TABLE OF CONTENTS
Music · Life · Peace
Essentials
20th
YEAR ANIVESARY
01
04
06
08
11
13
ALBUMS OF
THE YEAR
RACHEL
PLATTEN
80s COMEBACK
KYLIE’S M.
HONEY
INSTRUMENT
REVIEW
EDITORS’
ENCORE
RISING STARS
Kacey Musgraves Ingrid Andress Tori Kelly Dua Lipa Troye Sivan

Mauricio
Jaime
au Jaime is a student at the American School
Foundation and is one of the main editors on the
Stripped Magazine. He grew up as a big Ariana Grande
fan and has gone to two of her critically acclaimed
Sweetener/TUN concerts. Nonetheless, even with his
great connection towards Ariana; over the years, he has
expanded his knowledge to different genres and sectors
of the music industry.
NOTE
EDITORS’
Miguel
Blando
iguel A. Blando is a student at the American
School Foundation and a part time magazine designer.
What makes him essential to the Stripped Magazine is
his vision towards music and upcoming artists in the
mainstream media. In addition, to his vast experience in
social topics within his community, photoshop, and social
media.

STRIPPED CONTENT
ALBUMS OF THE YEAR
Reviews created by Pitchfork contributor Katherine St. Asaph,
The Guardian editor Laura Snapes, Rolling Stone writer
Jon Dolan, and Choices from the Stripped editors
SUCH A COMMUNITARIAN
concern hasn’t often been his
hallmark. He’s always been one
of pop’s top emotional distancers,
instilling the Top 40 with his
brooding vision as he plays the
disaffected R&B lothario — from
the sepulchral sad-boy swagger
of his landmark 2011 goth ‘n’ B
opus House of Balloons to hits
like his cocaine-malaised smash
“I Can’t Feel My Face” and his
no-pain-no-gain ballad “Earned
It.”
That trademark Weeknd feeling
is all over After Hours, and
whether its enveloping aloneness
heals your worry and fear, or
mirrors it, or amplifies it, this is
a sound that can’t help but feel
right in step with the way we live
now.
SAWAYAMA, her debut album
after years of retromaniac singles,
does for Y2K pop what Hulu’s
PEN15 did for Y2K middle
school: recreates it to the tiniest
detail.
Many of us would like to
escape to 2000 these days, and
musicians more than anyone; in
the span of a few months in 2018
we got songs called “1999” and
“2002,” both of which interpolate
the same Britney lyric, neither of
which quite capture the year.
But SAWAYAMA sounds like
actual 1999 and 2002, when they
had producers other than Max
Martin, bands other than the
boy variety, and arrangements
so overproduced that now, in
this time of endless chill, they’re
almost refreshing.
BUT SHE IS not done the
complete opposite. The 11-track
Future Nostalgia offers neither
features nor filler, and makes a
strident case for Lipa as a pop
visionary, not a vessel. The varying
quality and sound of Lipa’s
long-in-the-making debut was a
real-time document of how modern
pop stars have to evolve in
public. Presumably emboldened
by her success, on Future Nostalgia,
Lipa sticks to the titular
theme.
Occasionally, too literally – the
kitsch title track cites futurist
American architect John Lautner,
too arcane a reference for a pop
song – but otherwise her fusion
of disco and ruthlessly efficient
contemporary pop is viscerally
brilliant.
1 Stripped Magazine - June 2020

STRIPPED
CONTENT
RACHEL PLATTEN
THE INSPIRATIONAL ANTHEM ICON
Born in May 20, 1981, she was a woman that transpired the odds who went from playing gigs
nationwide for a few cents to becoming one of the most recognizable names in the music industry.
Yet, there is so much of her not known, so let's find out.
Interviewed by Tehrenne Firman
1.
2.
3.
How did you get started in music?
Rachel Platten: I was trained classically on piano and sang in choirs and a cappella groups,
but it wasn’t really until I went abroad to Trinidad in college at 19 years old. I had my first
concert in front of 80,000 people at the International Soca Monarch Finals. I was interning at
a record label and a friend’s band needed a backup singer and was like, ‘You’ll do. We don’t .
When did you really feel like things started to take off?
Recently my life really changed. I wrote ‘Fight Song’ when I was probably at the pinnacle of
this self-doubt and wondering, ‘Am I crazy to keep believing myself after all of this time?’
And I decided through writing the song that I wasn’t going to give up no matter what. remember
to believe in myself no matter what.
What’s next for you?
It’s a lot of drums and then some organic sounds because I’m a little bit of a hippie in my
heart. Then some electronic stuff because I love that, too. So I don’t know completely yet, but
from what’s starting to come together, it seems like its not a departure from ‘Fight Song.’
4 Stripped Magazine - June 2020

STRIPPED
CONTENT
“ ”
You wanna turn it up loud,
future nostalgia is the name
If you’ll remember, at the end of 2018, Netflix released its
special Black Mirror episode, “Bandersnatch”. An interactive
experience that was set in the 80s, complete with a soundtrack
that flitted between the psychedelic (Tangerine Dream) and
the more easily digested (Eurythmics). While viewers were
entranced by the story, determined to complete every choice
to discover every possible ending, it was a subtle premonition
of what was to come in the forthcoming year. A year of music
that attempted to recapture that feeling. A feeling of wonder,
possibility, curiosity, and even fear. Of course, when we talk
about the 80s, we’re not only talking about one-hit wonders
like “Take On Me” or “You Spin Me Right Round”. Great
songs they may be, but that colourful decade gave much
more than just future karaoke hits. It was a decade that revolutionized
the art of the synth. The Yamaha DX7 Synthesizer, Roland Jupiter-8
Synthesizer, and Roland D-50 Synthesizer are only scraping the long
list of analogue synthesizers that gave life to an endless era of infectious
pop, foot-tapping rock, and the beginning of a mind-warbling electronic
genre. A beginning that seemed to find its footing again in 2019. More than anywhere else,
the 80s were a large influence on electronic music this year. Listen
carefully, and you start finding synthwave influences everywhere,
reviving memories of a time that wasn’t engulfed by a constant stream
of information.
6 Stripped Magazine - June 2020

STRIPPED CONTENT
KYLIE
MINOGUE
Written by Ben Carew, Laura Snapes, and Billboard contributors
7 Stripped Magazine - June 2020

Thirty years after a novelty
remake of Little Eva’s “The Loco-Motion”
turned an Australian
soap actress into a pop singer
with an international spotlight,
Kylie Minogue is eying the
release of her fourteenth album,
Golden, from a vantage point
afforded to few of her ‘80s contemporaries.
While most veterans of the
era’s dance-pop boom bubble
up in pop culture when their
signature hit gets new life in a
movie trailer, Kylie Minogue
has – for the better part of the
21st century – released music
that her modest-but-dedicated
American fanbase still deeply
cares about. Her last visit to the
Billboard Hot 100 top 10 was in
2002 with the thudding electro
banger “Can’t Get You Out Of
My Head,” but her consistency
as an album artist in a singles
genre has afforded her a level
of cultish adoration and critical
seriousness bestowed upon few
singers who seemed destined for
one-hit-wondership when they
first appeared.
On Friday (April 6), 12 years
after beating breast cancer and a
little over a year after a difficult
breakup, Minogue unveils Golden.
As tipped to with mortality-minded
lead single “Dancing,”
Golden is an organic stylistic
detour that finds the Aussie pop
goddess smack in the middle
of a “Dolly Parton/Disco” Venn
diagram. Oh yes, there will be
sequins. In her 30-plus years of
stardom, we’ve not met many
Kylie Minogues.
“ We’re
golden
Burn like
the stars,
stay golden
Straight from
your heart
With a voice sayin’
“I’ll never give in”
”
- Kylie Minogue
While she’s never attained the imperial
reach of her contemporary Madonna,
she’s one of very few modern singers
whose skill at reinvention merits mention
in the same immortal breath. Nor is she
done dreaming up new costumes: Minogue
recorded much of her 14th studio
album, Golden, in Nashville, with collaborators
including phase-one Taylor Swift
alumni Nathan Chapman and Liz Rose.
There’s even space for a banjo on one of
the singles, “Stop Me From Falling.” Ready
or not, here comes country Kylie.
The idea for this detour apparently came
from Kylie’s long-standing A&R. “I’ll try
just about anything, so when he said,
‘Think of a country inspiration element,’
I said, ‘Sure!’” she recalled in a recent interview.
There’s a certain record-company
strategy-meeting logic behind this plan
in the era of pop/disco/country hybrids
from Man of the Woods to Golden Hour.
In addition, the “Nashville
album” offers artists a chance to
work with bulletproof songwriters,
foreground their craft, or
age gracefully. This is the backdrop
to Kylie Minogue’s 14th
album, the product of two weeks
writing in London (before recording
it over there).
Yet Kylie opts not for copper-bottomed
songcraft, but the
unholy intersection of country
and EDM: drops beget scratchy
fiddle breakdowns, while banjo
clucks meet tropical house in a
mush of mild euphoria.
Even the most traditional
track, Stop Me From Falling, is
more Lumineers than Loretta.
Kylie’s country pivot is odd: she’s
never troubled the States, and
Golden’s down-home signifiers
won’t fool country radio’s notorious
gatekeepers.
The only logical explanation
seems to be that escaping
her comfort zone offers a kind
of welcome disassociation to
counterbalance the intensely
personal lyrics – something that
Kylie has spent a career avoiding,
the exception being 1997’s
Impossible Princess. She experienced
a nervous breakdown
after splitting from her cheating
fiance in 2016, and for once, that
emotional devastation penetrates
the music. “If I get hurt again,
I’ll need a lifetime to repair,” she
sings, showing unusual vocal
sensitivity as she conveys desire,
desperation and cynicism within
a few lines.
8 Stripped Magazine - June 2020

STRIPPED CONTENT
Thomann HR 100 Junior Bb-French Horn
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11 Stripped Magazine - June 2020

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Hand Rest: Adjustable, Instrument key: Bb, and
Mouthpiece and Case
12 Stripped Magazine - June 2020
Information from thoman.com

Without music,
life would be a mistake
13 Stripped Magazine - June 2020