Melanie Martinez’s dark electronic pop is an entrapping blend of the twisted macabre and the sugary sweet, a concoction that targets my very heart. There’s hardly a Melanie song I haven’t been able to resist so far, including Pity Party, which even samples Leslie Gore classic It’s My Party. Canada’s XVII takes that shadowy glamour and transforms the electronic pop song into a whopping future bass and trap track brimming with grandeur and majestic stateliness. It’s intensely theatrical, a remix worthy of a contemporary trap version of Phantom Of The Opera, fitting of mysterious masks, lavish costumes, and mystical sets.

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