#AND THE SYNTHY PART IN THE FINAL CHORUS
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parts of the npmd soundtrack that scratch my brain perfectly (act 2)
again its all under the cut. i hope this is comprehensible its longer than the last one. idk what else to say
HATCHET TOWN
dan's whole bit at the start. just the way he says everything. so good
the ahh ahh ahhs
the electric guitar <3
curt's voice for bailey esp the growl
A LOSIN STREAKS COMIN!
the smoooothness of corey's voice and the way he sings things auuauauuau
IF HE GETS ME NEXT I COULD BE THREE!
the harmonies on man down down down down
the little plinky organ melody in the backround that comes in halfway through the chorus UAUUAUAUA
the way jon says donna
donna's "DAN!!!"
i certainly dont LOVE killing!
the harmonies on "bailey's/barry's on the loose and he's got a gun" (im talking mainly abt the soundtrack and not the proshot so bailey is more applicable here but both r so good)
I'M A COP!
fits the bill! it fits the bill!
THE HARMONIES ON THE SECOND MAN DOWN DOWN DOWN DOWN UAUUAUAUAU
the who's swingin the hatchet now harmonies
HATCHET TOOOOOWN
I AM THE MAYOR!!!!
HOW DARE YOU!!!
bryce's solo <3 all of it is so good
BOY JERRY <3 and gerald monroe ig but i love jerry
LET'S KILL 'IM!
CAN I SHIT OR WILL I DROWN
kim's little opera bit
the final in hatchet town harmony <3
JUST FOR ONCE
this whole song in general btw. i love ruth fleming so so so so so so so so so much this song was such a silly contemperary theatre tribute
NO, i haven't seen your grill brush, MAURY. huh YEAH! i used it to BRUSH MY HAIR this morning CANT YOU TELL. ugh
DONT LEAVE ME OUT HERE WITH THE MEAT, MAURY! medium WHA? how can something be medium AND WELL, MAURY?
ugh. maury.
*sigh* i turned 40 today.
the piano coming in
the synthy strum
the way lauren sings the word saturday. her voice throughout this whole song just scratches the brain itch so well
the way she says window, right, dream, and had
they never win
and LIIIIIFE is FULLL of all of the Trappings of The Well to Dew
god i love ruth. i love this song i love this song.
the slight tonal shift (thats not the right word ugh) for the choruses.
39 I LOSE MY HAIR UNDER CAREFUL CHEMO TREATMENT
the way lauren says ensnared
JUDGE ME.
IT FUCKING WORKED I'M FUCKING HERE HE'S FUCKING HER IM DISAPPOINTED
and of the two who's the worse for wear (ME.)
the tambourine
idk what that instrument is in the bg of second chorus it sounds like a saxaphone but also synthy???? idk but i love it
SHOULD I FLIP THE BURGERS NOWWW!
the clarity of lauren's first oh UAUAUA
SHOULD I LET THE YEARS COOOK MY BODY DOWN IN FRONT OF HIM
all 3 just for onces esp the last one with the riff
THE WAY THAT BEHIND THE JUST FOR ONCES YOU CAN HEAR THE "if i can finally be cool i will know that i'm not a loser" MOTIF AUUAUAISUAUUAISIAU
the way the tone calms back down but its still like so vulnerable... uuuuuauu
the way she says every word in this last verse
i used to dance :(
IF I LOVED YOU
THE SYNTH
I NEVER WANTED YEW ANYWAY!
joey's general tone in this UAUAU so good
mariah's deeper voice HEART EYES AUUUU
i just love lautski this song is so good i can barely pick things out bc this whole song scratches my brain
joey's lil growl on "oh babe i'd let u know"
OOOO! i guess we'd better save the date!
need a lover MAYUN
i love when jeff blim crams a lot of syllables into an amount of time like that its so fun
the harmonies <3
wake me up when u turn 18!!!
if i IF I!!!!!
the repeating round style of singing in order to come together eventually I lov them
dissonance <3
THE SUMMONING
the way the lords names are sung i love it sm
the lords names being whispered in the background
tNOY karaxis
WIGGOG WIGGOG Y'WRATH
the woah ohs and the drums kicking in
the music cutting out
HELLO FWENDY WENDS
the we will build a portal motif
the laughter
just the whole little lord verses its so discordant and fun and i love it so much i love the voices they put on i love the lyrics
LA LA LA LA LA ALALALALALA
the book has all but closed on ur life!
THE LORDS IN BLACK ARE THE LORDS IN BLACK ARE
blinky's we've been watching u gracie
the way curt says spankoffski and toy box
GOOOO NIGHTHAWKS!
tinky's laugh
jon's wiggly voice
WHY HELP U WITH THE JAGERMAN WHEN WE CAN HELP THE WORLD
the drums
swallow his soul i wanna lick it!
i wanna see thaaaat
WHATEVER WE WANT WE WANT WE WANT WHATEVER WE WANT WE GET
AAAAUHGUGH there IS something!
something FUN!!!
the lords in black the lords in black call us...
what do u want steph...
do it... or DIE
WE DONT GIVE A SHIT ABT UR PHONE!
AHHHHHHUHGHHH THERE HE IS
what's in your pocket STEPH-A-KNEE
STEPHANIE HAS GOT A GUN TRALALALA HOW FUN! STEPHANIE HAS GOT A GUN SHE KNOWS WHAT MUST BE DONE
i love this whole song its so silly and crazy
YUM YUM!
or FUCK OFF
that last "the lords in black the lords in black call us"
COOL AS I THINK I AM REPRISE
this one makes me really sad :( still so good
one of us is in love :(((((((((
it doesnt TAKE a detective
the violins coming in again
is it really a crime if you get to live your life to the fullest :((((
YOU GET TO LIVE ON :(((((
the i love u i know :(((((((
ur not as cool as u think u are! :(
THE HARMONIES :(
IF I CAN FINALLY BE COOL :((((
i will know that you have to do it :(((
joey's lower register for this last little if i loved u chorus :(((
loved u more than the stars above :(((((( (how many sad faces can i use)
the pause before could've :((((
i cant even say anything more abt this one it makes me too sad
ok yes i can the i never wanted you anyway breaks my heart
BEST OF YOU
the guitar
the needy beast esque pronounciation of words idk how else to say it i just love it
LIKE EYE DEW
we hurted!
the harmonies on town and down
IM THE BEST OF YEW!
this song is just so fun
it's like you knew me b4 u knew me! that whole bit! i love it!
THE AHS IN THE BACK OF THE SECOND BIT OF THE SECOND VERSE
ABSCONDED BELOVED
FOREVER!
WE'RE GONNA RUN AROUND 2NITE!
I BELIEVE IN YEWWWW
never gonna fall!
the echoey verse in the back at the end Auuu so good
the ending note harmony
DIRTY DUDES MUST DIE
the souls of the pervs make me strong
her laugh
I LOVE ANGELA'S VOICE
everything she sings here sounds so incredible
ARE U HARD BC UR STRESSED
what????
i just love this reprise its so so good
i cant point out specific parts bc its just all incredible
OF THE NERDS U MINIMIIIIIIIZED!!!! her RIFF!
THE LAUGH
when the ensemble comes in heart eyes
WHO WILL PRAY 4 U WHEN UR BODY'S GONE THIS IS THE CONSEQUENCE FOR WHAT YOUVE DOOOOONE
DARKNESS WILL SPARE MY SOUL
run pervs RUN
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Ok, 1989tv is HERE and, as promised, there are thoughts (and observations). The songs of course slap, but this is about things that are NEW. New observations and red-string thoughts.
RAINBOWS:
Style has rainbow colored rain on the pavement.
Out Of The Woods: “screaming color” flashes rainbow, but so does “oh I remember” before the final chorus
I Wish You Would: rainbows pulsing in circles around the lyrics of its bridge. The light swooshes are white with rainbows. Also the thing is made of blue and pink and purple accents and words (bi colors).
How You Get The Girl: the whole thing. Multicolored and rainbowed up.
There’s a TON of galaxy/celestial imagery. The men’s faces in I Know Places are starry, the moon is everywhere (specifically in the Out Of The Woods video), Wonderland, AYHTDWS, IWYW, and SIO (to a smaller extent). Additionally, there’s a lot of eyes turning into galaxies (Clean, AYHTDWS).
Storms where you wouldn’t expect them: the road in Style and the bridge, and the background in New Romantics.
Out Of The Woods: LOVE the video. I’m down with those wolf and moon t-shirts, and this video is like that brought to life with some paparazzi/media frenzy symbolism. Gorgeous video—one of my faves.
New Romantics: the song itself inspired by the New Romantics movement (itself based on denying you were a part of it), which was known for its gender-fuckery and queer similarities. This video shows the lyrics on an art-deco stage in bisexual lighting—which I’m not saying is a reference to how many queer people are in the entertainment industry and the arts, but it could be.
Say Don’t ago is SOO FUCKING GOOD YOU GUYS. It’s like if Clean and AYHTDWS had a baby.
Now That We Don’t Talk: she “can’t pretend it’s platonic” and kept herself “shrouded in mystery” to “protect [her] dignity.” Sounds very much like closeting. Also, her ex grew out their hair—something men can do, but something Taylor’s exes haven’t really done. And Harry had longer hair while they were dating.
Suburban Legends: filled with high school references, and the very notion of living a suburban is such a small-town, high-school-sweethearts things. Very Dianna coded with the Glee-ness of it all.
Is It Over Now? sounds a little like Labyrinth and OOTW; also, Tay mentions having the “decency” to “keep her nights hidden,” which also sounds very closeting-coded.
Over all:
The sound is fairly faithful to the original, but the guitars sound a little wonky, like too bright and synthy. Less warm and like someone noodling around, and more like an electric guitar someone forgot to plug in. However, I can look past that. I appreciate they kept the synth riffs at the end of the HYGTG chorus, though.
The production on the Vault Tracks sounds much more Midnights than 1989–glossy new production that sounds a little unpolished.
She’s really leaned into an 80s vaporwave aesthetic with some videos—SIO, IWYW, New Romantics.
The visuals are just gorgeous—all these videos with dynamic, high-quality video. And a lot of more obscure/artsy visuals, too.
I love the album (obvs, 1989 is one of my old faves). Some do the vault tracks I wasn’t too keen on, but I’ll have to listen more than once to form a proper opinion.
To close out:
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Song of the Day 01/05/2023
Never Learn - Good Boy Daisy (ft. The Wrecks)
Not one, but TWO incredible bands. I love the way these two mesh in this song. The instrumentals are so fun, and I love the lyrics. There’s this part at the beginning where it gets all intense and growly and it scratches my brain in all the right ways, and the same with the chaotic instrumentals in the later middle. It’s even got some pleasant synthy spots. The voices blend so well between the two singers. I love that it’s equal parts upbeat pop and sort of darker alternative in spots. Overall just a really fun song.
Favorite Lyrics
I could learn
I could learn to hate you
But I'll learn to put myself first
As a recovering people pleaser, the chorus does hit <33
So, twist your words around me
Yeah, hold me one last time
GOOD SHIT, I love this imagery
Gasoline by my feet light me up
Make it clean make 'em think that it was love
Break the needle spin yourself like you're the hero
'Cause the ashes make my lashes look lovely
I will forever and always scream about amazing metaphors and imagery. Something about coming out of the fire stronger in that lashes bit, incredible
Final Takeaway
The Wrecks are popular, but I don’t know a lot of Good Boy Daisy listeners, which is a CRIME. The singer’s voice is so pleasing to listen to, and the background instrumentals of this song are so good. It feels like something I would drive down the highway at midnight to. Truly an incredible collaboration. Can you tell I love gravelly songs and synthy stuff?
Check out the 2023 SOTD Playlist!
#the wrecks#good boy daisy#never learn by good boy daisy#alternative music#indie music#music rec#song of the day#song rec
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Sugar - Shine
I’m not too sure what to think about this album. Parts of it felt kind of SNSD, but most of all it just felt … old? Or maybe boring? Not old in the kind-of-endearing retro way, but old in the just … really boring way. Then other parts felt weird, and also not weird in a good way, but weird in an annoying way. It was synthy, but not Gee synthy; more like … boring synthy. The average score is 6.2 which is fair enough, it really wasn’t bad as an album, and I did learn from it. But ultimately I probably won’t save a single song from this album – not that I could anyway, they aren’t on Spotify haha
I just wanna say, it was surprisingly difficult to find this album. Not only was it not on Spotify, it looked at first like it wasn’t on YouTube either! But I found a playlist. This album apparently didn’t chart in Korea, sooo make of that what you will.
Let’s Feel The Music
Alright, nice disco feel
I’m gonna be comparing this album to SNSD because I just listened to a ton of SNSD yesterday
And this does actually feel like something that SNSD might release – not as a title, but as a b-side. And this is a b-side for this album, so maybe that bodes well
Nothing too interesting musically yet. I’ve heard a bunch of songs with similar vibes
(Now all we need is some unnamed male rapper to make an appearance!)
Bridge slows down for a few precious seconds, just to immediately speed right back up to where we were
Could’ve used a bit more dramatic effect personally
6/10
Summer Sunset
Oh this is interesting
Unnamed male vocalist, appears a decent amount in harmonies but doesn’t seem to have his own lines
This seems less SNSD to me. It’s a bit lower-energy, if SNSD did this song then it would be Louder
Actually, just having the male vocalist there for the harmonies is a pretty cool addition, more songs should try that
6/10
Shine
Kind of an artsy MV in the intro at least
Unfortunately this song appears to be a slow jam
I love the aesthetic though. White background and outfits with bits of saturated color around the environment
Oh ok, this isn’t like, true slow jam, it’s more slow jam plus
The vocals sound kind of jpop to me
The instrumental / dance break was kinda fun
I’m starting to buy into the chorus, the “lalala” section really helped
Oh god the outro though with those smiles
7/10, why not
Hang on one sec I have a sudden urge to watch the Cherry Bomb dance practice
Okay I’m back
두번째 사랑 (Second Love)
Oh that’s interesting, we don’t usually hear songs about second loves
Unfortunately this song is in a very similar slightly-upbeat-rnb synthy space as the rest of the album
This synth feels like it’s trying to put me to sleep haha
Yeah sorry but I just could not get into this song because of that
5/10
Unpretty
Slow intro, group chorus
The default sound of this album is like, “music to listen to while lying down in a meadow on a sunny day” and unfortunately that type of music happens to put me to sleep
5/10
Hold on Harry Kane just scored against North Macedonia let me go watch the replay
Wow that was a terrible goal, very much worth putting off the next song
Just For My Love
How much are we gonna skirt with slow jam vibes without actually having a proper slow jam?
What even is the name of this genre? Is it just like, early 2000’s pop?
The guitar at least is cute
The outro is nice too
6/10
레인보우 (Rainbow)
The thing is – could we have gone from this album to SNSD in 3 years? Yes, absolutely. Gee is not a million miles away from this album, and Into The New World was apparently pitched for M.I.L.K., so this sound definitely carries over
Wow, random electric guitar hit
Also I do appreciate the piano, vocal harmonies too
6/10
선물 (Gift)
Is it finally slow jam time?
The electric piano suggests it
The violins suggest it
The drums suggest it
The vocals suggest it
Well, you know what they say. If it sounds like a slow jam, and it sounds like a slow jam, it’s probably a slow jam
Actually though I kinda like this. It feels way prettier than the other slow jams we’ve heard. Maybe meadow jams are more my thing
Oh that ending totally got me
6/10
비치 (Beach)
Spoken intro, very quiet, not quite whispered
And now it’s all bouncy and synthy
Some horns here and there, alright
Kind of excited for the chorus if they stick around
Lol
Okay, I like it, it’s not bad at least
Very curious about the lyrics, let’s see what we can find
Okay, I see
Wtf with the harmonies
Y’know what? This is good
8/10
굿나잇 (Goodnight)
Wait this isn’t the last song on the album, why are they telling me goodnight?
Bells? Chimes? Harmonies? What is this, christmas music?
And then, as is par for the course on this album, it suddenly gets groovy
Group chorus, very SM
That’s something I’ll have to do, go back and figure out when all the group choruses started
Honestly I should’ve been paying attention to that from the start, silly me
6/10
Winter Dream
More christmas music then?
This one definitely sounds – oh they’re literally sampling Jingle Bells haha
And now it gets all excited
“Everybody scream” followed by cheers haha
Why does this sound so AKB to me
Idk why but these synths really annoy me haha
I do hear the guitars, not a big fan of the instrumentation in general though
Like this sounds Nothing like a winter dream
This group chanting part is kind of fun, not sure if that’s the chorus or what
7/10 I guess?
From Sugar
Ending on a slow jam, fineee
Does make me wonder if it’s a fan song
And also if the members have writing credits
Wikipedia doesn’t have an individual page for this album unfortunately
6/10, not bad
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music i heard in april 2023 that was notable (accidental brony edition)
(i went on a spree of going through top brony music lists and the pony music archive, so here we are)
a really quite sweet (and catchy) song about both enjoying youth and the desire to grow up to see what you become. I especially love the synth just before the final chorus which just has such a powerful feeling of triumph and understanding; like everything has finally clicked.
while the original choral version still holds up today, I feel this stripped back version to be more appropriate for the subject of immortality: a life becomes more introspective with time. furthermore, the more simple vocal and guitar arrangement lend the song a cozy lullaby-like quality which is especially potent when framed by the mlp fandom. the original came out 9 years ago, with the fandom arguably at its largest and most energetic, then this version came out a year after the last episode of the show and the last bronycon. the song then now serves as a melancholic reflection on the goodtimes past, and an acceptance that the community will never truly disappear.
a deeply cerebral rendition of the bats song, playing out like an internal debate between the cold and logical (applejack), and the kind and empathetic (fluttershy) parts of the mind. this imagery is greatly assisted by the sparse and ethereal instrumental which provides a solid ambient groove. the vocals also sound somewhat robotic or uncanny, making everyone sound exceptionally serious and pointed with their statements.
youtube
for this song i adore the vocals and the caracterisation they provide. It begins tame, like lyra is talking about something taboo, though she quickly grows too excited to care about this. as the listener seemingly shows a level of interest in the topic, lyra quickly reels you into their world by selling you on the advantages and achievements of humanity in comparison to the pony world. lyra then begins just throwing facts, fiction, and justifications for humanity wildly at you, becoming so empassioned by anthropology that she denounces her ponyhood to the world for the hopes of experiencing even a slice of the human experience. so uhh, a perfect encapsulation of my experiences with ancient history.
possibly my favourite chrysalis song so far, with the vocal effect for the lead singer working great for the (relatively) alien but regal queen, the choir embodying the power, numbers, and dedication of the hive, and the grandiose orchestral hip-hop instrumental putting the changelings into an imposing opposition for the more conventional sound of the ponys. Additionally, the instrumental switches between more positive (0:35), conspiring (1:04), and fiersome (3:02) tones repeatedly, making the song effectively depict chrysalis regrouping the changelings, briefing them on those they face, and rallying their strength, confidence, and morale before their next battle.
similarly cerebral as was BATS!, however rather taking a confidence in it's conflict than idly basking in the theory of conflict. This is due to how the characters are presented, with Chrysalis's confident "this day IS going to be perfect" overpowering the "this day WAS going to be perfect" and further dispirited statements of the crestfallen Cadence. Where the tables are turned however is the instrumental, with it's piano making clear the situation's generally unclear outcome, but with the chiptune synth raising the possibility that things may sway against Chrysalis's plan. The triumph of Cadence is then foreshadowered by the synthy piano growing in volume and the natural piano disappearing, reflecting uncertainty has turned in the favour of the true princess. although, doubt can always surface even when confident as is shown by the natural piano closing the song.
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oneus teaching *** what funk actually is
#black mirror is such a bouncy BOP#AND THERE'S STRINGS IN THIS SONG AYIEEEE#AND THE ISOLATED CLICKING PART IN THE BRIDGE?!#AND THE SYNTHY PART IN THE FINAL CHORUS#AND THE RHYTHM OF THE ENTIRE TING
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"feel my rhythm" album thoughts!
guess who has 2 presentations for work in the next 2 days ripppp but whatev rv is still my no. 1 priority 💗
this got quite long, so under the cut!
feel my rhythm:
okey dokey what is going on HERE
alright first of all, the first 15 or so seconds are just Sublime, lulling you into that gentle flow and causing you to relax - before that beat drops a dirty bomb over the whole thing. why TF is this so clinky clanky???? why???? the bach sampling is so beautiful and if you were to isolate the vocals with it, I think it would actually sound pretty nice but for some reason they overlaid those damn skirr skirr trap beats and bass boosted it into oblivion. I get they were trying to create this classical-hyperpop hybrid but I don't think this came together quite as cleanly as they has hoped. also enough finger snaps in bridges!!!! please sm tell me you have more up your producing sleeve than the 10 free effects that came with the trial software. otherwise I feel like the bridge actually sounds pretty decent? and don't even get me started on that key change in the final stanza oh my god!!!! why!!! key changes always feel like such a cop-out way of adding an extra 30 seconds to a song that already feels too long.
it feels like they were going for psycho v2 (but now on shrooms). which is a shame, I feel if they had maybe pitched the song down a few notches and added in some more subtle beats to actually complement the classical sample, this could've actually been really good. for a song called "feel my rhythm", there doesn't seem to be very much of it at all 😔
also note about the MV: DANGGGGGG it's so beautiful!! part of me wishes it was a bit more darker thematically but all the art references were sooo cleverly incorporated, plus I loveddd all the sets and outfits. ok, so in seulirene's "monster", seulgi corrupts irene and turns her evil. here, I think they are showing seulgi still being evil, except now she can also take the shape of a bird (seen in the epilogue). irene, dressed in black, is still evil from the "monster" MV, and is shown handing a basket of strawberries to a giant...mask-guy?? idk what that is lol 😅 joy is seen holding that mysterious red light in a cage, except it escapes. bird-seulgi gives the light to joy and we see her turn (thanks @littlesunshinedae for making the connection that her wings are actually the evil swooping in for her). yeri gets corrupted through that floating water thing (and leaves her egg to hang out with the birdy-people) and wendy gets corrupted with the rotten strawberry. they're all seen wearing black and sitting in a dark room, with their lighter counterparts in a garden. so now there's two versions of them?? at least that's what I got, anyone else find other things? also are birds supposed to symbolize anything...
rainbow halo: ok, 8-bit stomp n clap that's a vibe...ooohhh okkkkk that's a CRUNCHY bass line, v nice! oh yeah this is sounding slick! oh snap irene ok I see, love how she doubled up on that beat there. woooo love this synthy groove! did they add a freaking saxophone in the chorus omggggg. nice drop-off in the bridge, that's a satisfying build-up to the last stanza. ah ok like the stop-n-start. also pls bring this sax back for other songs, I think that's my fave element of this song! oooh this was so clean from start to finish, this is def going into their "velvet" portfolio!
anyone wishing that this is what they tried mixing into bach for "feel my rhythm"??
beg for me: OK!! OK!! that dirty dirty synth at the beginning 🥴
oh SHIZ that beat drop and then those vocal lines on top? HELLO?? THIS CHORUS???? dance for me work for me beg for me, I'll do it all!!! is that JOY coming in after the first stanza?? 😦 BRING OUT YOUR FREAK GUYYSSSSS IM !!!!!!!! these lyrics PHEW
this is It. nothing else to add.
BAMBOLEO: rv citypop?? is that you?????
retro enthusiasts, rejoice!!!! ofc you can't have a retro song without those boom boom space drums they did their research! oh WHOA that chorus, that modulation is soo interesting!! LOVE LOVE LOVE what they have going on here. oh nice guitar solo! THESE CHROMATIC HARMONIESSSSS OH GEEZZZZ im just blown rn honestly ram these instrumentals ** ** ***** idc anymore.
good, bad, ugly: oh very classy, this is so seg-c. looks like "automatic" had a glo-up! oh they all sound FANTASTIC, love these jazzy vibes, it suits them perfectly! "every day I just love me" DANG RIGHT'S RIGHT LADIES
in my dreams: oh those harmonies!! oh that drop! I was not expecting the bass to come in that strong! the instrumentals definitely convey the highs and lows of unrequited love. ohhhh I'm getting some aespa "lucid dreams" vibes. that symbol crashing during the chorus, like you’re screaming your love to the clouds!! this BRIDGE 👌👌👌 wow what a finish!! so beautiful and bittersweet :')
overall: the title track isn't feeling the rhythm, but the b-sides sure are. WOW I think these are some of the strongest songs they've put out in a while!! I'm so glad they got to showcase their "velvet" side in some of these quieter, more subtle songs. we got some showstoppers!!
#album thoughts#dang i had like four different people ask me if I was gonna post thoughts asldkfjsadkjf I love fame 🤣#well I hope this was what you wanted lollllll
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every single lmam song, ranked.
i just finished listening to let’s make a music for the first time, and Oh My God it rocks. it’s a great podcast and if you’re reading this without having listened to it...i don’t know what to tell you. i don’t know what you think lmam means. but, that aside, if you haven’t listened to it yet: go listen to it! it’s not a crazy long podcast, overall or episode length-wise, so it’s manageable even for people who usually can’t handle podcasts (like me!) anyways, now that it’s over, what’s left for me to do with my time and energy that i used to spend thinking about lmam?
listen to the episodes again so that i can rank all fourty-one songs from worst to best, of course. so that’s exactly what i did.
i mostly ranked these on my gut feeling, because i didn’t come up with the idea of ranking it on a set of points before like...five minutes ago. there’s a bit of personal bias in here, so if you disagree with me on rankings, hey! send me an ask, or a dm. we can talk about it.
so, now that that’s out of the way, let’s get into it! let’s...make a ranking. haha. that’s just a fun little lmam joke for you.
41. the roquefort stank
this song only gets points for laura’s stanky noises in the background. i love laura.
40. shan’t he shanty
weirdly catchy. for a sea shanty, that is. that’s all i have to say.
39. well, i’m on child...
i do love a good gay song about polyamory but it just wasn’t enough in this case. truly heartbreaking.
38. dog trash
i’m not a big fan of polka in general. that’s all i have to say. i don’t have to explain all my decisions. this is my journey. and it’s your journey that you’re taking with me.
37. echoes of wednesday
it’s not my favorite but i do think it’s sweet and i like all the laura vocals. also the zuko vocals.
36. brothers in legs
not their best character song but it’s still a song you could quietly headbang to. i just don’t love full story ballads (there is an exception to this, you’ll see) most of the time.
35. ol’ tim’s tricks
i’m not saying it’s a bad song, i’m just saying it sounds like it was once in a made for tv disney channel-esque movie about a girl who finds her calling in sports and friendship.
34. don’t give me that altitude
very queen-esque with general 80s vibes and i like that.
33. dreamless
if it was longer i think it would be a lot higher on the list, because it’s Good. but i don’t feel right putting a 45 second song above, like, tobie’s razor. still! i love the mellow, kind of sad and eerie tones of it.
32. holiday crime!
look i know this one’s fairly low on the list, hear me out: it’s a good song and it’s pretty memorable as well! but as far as holiday songs go, i don’t think it’s their best or most iconic one. laura’s laughing and beat in the back is absolutely wonderful and heartwarming, though.
31. mr. dad
this one gets a higher rating than the previous holiday song for its good good harmonica and because when i heard the lyrics “but you love to watch him go” used to describe mr. dad i almost toppled my chair backwards with me still in it.
30. mourning ritual
the biggest load of 1980s bullshit i’ve ever heard in this decade. somehow it’s also got a big panic! at the disco vibe and i’m not sure how i feel about it but it’s definitely Strongly There and i can’t deny it.
29. outback sadhouse
it’s RIDICULOUS how well they nailed the sufjan stevens vibe with this one. plus the restaurant dialogue bit in the back of the song really adds a lot.
28. let down my better dynamite
it’s really easy to bop to and the instrumental in the background is FANTASTIC! jonah really killed it with this one. plus they talk a lot about rats in the episode which is nice for me because i love rats. also it’s the first episode with an instance of “brian does a bit”.
27. the tale of the greazzy creek
i just think it absolutely nails the vibe of a rural campfire grizzled old cowboy song while also being a really catchy theme song. like, i think you could’ve snuck it into holes (2003) and i would’ve been like, yeah, that sounds right.
26. turn around and come down slowly
not one of their more iconic songs but brian’s voice is so pretty in this and it’s really soothing.
25. ratless randy’s
i don’t know why it’s this high on the list either, but it is. ratless randy’s really IS the place to be, guys.
24. tobie’s razor
i will be honest. when i saw the title for this episode for the first time i just thought “occam’s razor” and as i type this i can’t even think of what that actually is, so..... anyways, i’d say this song absolutely NAILS the vibe but i have no idea what vibe it’s even remotely related to. certainly does nail the internal childhood monologue though. i think this song is the first one where they really started hitting their stride, also. not that it’s better than some of the earlier ones, but this one forward their songs were pretty consistently high quality. plus, and no one will be surprised by this by now, it gets extra points for laura.
23. armoire of royals
it’s weird, it’s synthy, has a vaguely billie eilish-esque part near the end which is not necessarily a point in favor depending on your taste but it Definitely is surprising and cool, and it’s got fake british accents. what more do you need out of a song?
22. sybil’s night scare
the piano in this is perfect and fantastic and the comedic timing in the song is just right. jonah’s delivery of “they’re actually real human eyes” is so goddamn good and his singing is Also great and frankly i think we can all agree we’re fucking tired of him saying he can’t sing. i mean, i assume (i fucking hope) he’s stopped saying that by now considering he had the majority of vocals on silo by a bit but Still. it’s a good peppy halloween-y song.
21. chalice for your thoughts
two spooky songs in a row! honestly, i’m not sure what reasons i have for ranking this song as high as i did. i just like it a lot. they were able to include a lot of weird twitter suggestions fairly seamlessly, and it’s just soft and pretty. spooky, but still pretty.
20. 21st blitheday
i admit it: i fucking hate the voice brian uses in this. but i really, really like the song. the beat’s very good and somehow brian still manages to sing the chorus well and make it sound nice even though his affectation is Stupid as hell <3 the background whistling is nice and his robot voice, which he’s used for several of his videos but i think most notoriously for scrundler in his week in revue series (here), is also featured. it’s a real bop, i think.
19. monday night boomball
i genuinely think this is their weirdest song, ever. it’s incomprehensible and it’s so fucking theatre kid of them, and it’s dumb as shit but it’s really funny and enjoyable and strange and i love it.
18. gentle light
this is a really good song. it’s not weird or funny, it’s genuinely just a really soft, calming, normal song. i can’t in good conscience rank it above the others for this reason, because it’s easier to make a regular song good than it is for a song about fucking a tree, but i want to be clear: i really love this song. it’s a song that you could fall asleep to, cry to, cuddle up in a blanket to, whatever the hell you want to do to it.
17. proud egg mouth
extra points for fitting the word “maw” in any kind of song, a feat i’m not sure anyone else has ever accomplished. also for brian actually singing with an egg in his mouth.
16. you can take that to the bank
brian does an incredible randy newman impression and i love him for it. also it’s just a good song! it’s not my favorite but it’s very pleasing to my ears and it’s well made.
15. rainbow trout eggs
i listened to a shit ton of colbie caillat in middle school and i can tell you with confidence that the lyrics “i feel so alive and i know that i’m happy na na na na na hey hey” would be in one of her songs. it’s a good song with completely ridiculous lyrics and it’s a better character/full story ballad than their previous ones, in my opinion. which is what you’re specifically here for!
14. car mitzvah
i think this is a song my dad would listen to if it came on the radio. i also think it deserves to be in an early 90s or maybe coming of age movie. brian’s vocals are fantastic in this, also.
13. dr. brims
“it’s a new year, Ha Hah!” this song is sooooo fucking funny and exemplary of a lot of their other songs that came afterwards. i’ve been saying that a lot i think. writing reviews is hard.
12. let’s make a music (theme song)
maybe it’s the emotional value of this song being the song i associate most with the podcast, since it’s the theme song, or maybe it’s just really good. (spoiler: it’s both but mostly the second one) the episode is also really funny in general and if you’re new to the podcast and don’t care about order, i highly recommend this one first!
11. heartbreak in michael’s
a very very very good sad gay love song and i recommend it to the ends of the earth! because this is the internet, and i can!
10. arbor day!
you try making a horny song about deforestation.
9. why don’t you like our song title?
such a fucking bop and showcases their skill for just doing whatever the hell they want and STILL making a fantastic song or video or whatever. they just stop saying words in it and it does not take anything away from the song. could you do that? i mean...maybe! but for the sake of this review and my point i’m gonna be like fuck you no you couldn’t. moving on.
8. akimbo
the backing track in this is ABSOLUTELY what makes the song. plus that one video of brian strutting but technically that can’t affect my review of the song because Technically it’s not part of the song. anyways it’s really peppy and fun and enjoyable and Good.
7. heartbreak in michael’s (reprise)
it’s the perfect finale song. like, it genuinely sounds like the song that plays at the end of a romcom after everything’s finally worked out. i Did cry when i heard brian sing the theme song at the end but that’s just because i’m a sentimental son of a bitch. so besides that ending bit that i can(’t) guarantee will make you tear up at Least, it’s really fucking fun! it’s upbeat and happy and i think they made the right song to go out on. or to go on a hiatus on, if brian’s website is to be believed. i don’t believe it, but hypothetically, y’know? hypothetically...
6. debutaunt ball
if the met gala doesn’t make this their theme song i will personally burn next year’s event to the ground, i swear to god. also it’s a good song to show off both jonah and brian’s range. it’s not like a lot of their other songs but it’s SUCH a banger and i adore it.
5. madame zamporium’s wax emporium
fuck yeah. learning that the “ooh come on baby” from several unraveleds came from a let’s make a music is the reason i finally started listening to the podcast in the first place. but BESIDES that, since that’s not a reason for my ranking (just a fun little fact about me!), this song slaps a ridiculous amount. they went insanely hard and it’s the first song they made that really sets the tone of the podcast, which is: great comedy, great high production music.
4. alan rickman’s edible zoo
GOD! the anti-celebrity, anti-capitalist rock song i’ve been waiting all my fucking life for! also it’s anti-america but only in one lyric. but in Another sense....throughout the whole song. PLUS, and most importantly, it features jonah’s literally and i mean LITERALLY impeccable alan rickman impression. like, it’s fucking bulletproof. alan rickman was in the goddamn room.
3. horsecar!
look. when this song started playing for the first time i went...fuck no. in general i don’t tolerate country or cowboy songs very well because they just don’t sound appealing to my ears most of the time. i put up with country road only because of a funny mario edit someone made of it and now the original song has more value to me. this is relevant only because the same thing happened with horsecar! in that the chorus KICKS ASS. i may make a post on just my favorite lmam songs and also this is already a crazy long post so i won’t go into it too much but i will say this. the shock value of going from the first verse in this song to the chorus is...........Incredibly high and it Works So Fucking Well! it literally makes the song. and not even just for the short term value of Oh My God That’s A Twist, it lasts through the whole song. i’m listening to the song as i type this and i’m currently at the country/cowboy part and i don’t hate it because i know the chorus is incredible. in fact, i’d argue that the chorus on its own may be the best thing lmam ever made, even better than my two actual favorite songs of theirs. i’m definitely going to have to make a full post on this. (SIDE NOTE: BRIAN’S VOCALS ARE FUCKING CRAZY AND HORSECAR! IS ONE OF THE BEST EXAMPLES OF THIS. his goddamn RANGE!! SIR!!! his falsetto is literally ridiculous my pants are OFF)
2. dragon me to this wedding
this is what i meant when i said there’s an exception to the “i’m not generally a fan of full story ballads”, because this is one of my all time favorite lmam songs. as in, it’s in the top three. which i guess you can tell from it being number two in the top three. in fact, it’s probably one of my favorite songs in general. the first time i listened to the episode i went back and listened to the song again three times in a row, and all three times i cried real tears. it’s GAY it’s REALLY PRETTY and i LOVE IT.
1. save 2 4 tony
so we’ve finally made it to my all-time favorite lmam song. maybe it’s that i recently graduated myself and so this song hits a little harder, but it also just GOES hard. i genuinely think they peaked when they recorded this. it’s one of those bdg songs where you’re listening to it, you’re just chilling, and it’s like “yeah wow this is nice!” and all of a sudden he hits a falsetto and you go “oh FUCK that guy can SING!” literally his vocals in this are incredible and it’s very fun (and on brand) that the Oh Fuck moment here is the line “tony hawk babeyyy!” plus jonah killed it on the backing and composition and everything. it’s the best let’s make a music song and i won’t take constructive criticism.
#i fucking LOVE lmam and once i finished it i knewwww i was gonna make this.#brosephs if anybody would like to talk to me about lmam my inbox and dms are always open!#i've never said brosephs before. out loud or in written form. it's a year of trying new things i guess#this took quite a bit of time. which is like. thank god i've needed a project for so long sfdfsd#lmam#let's make a music#brian david gilbert#laura kathryn gilbert#jonah scott#f.txt#bdg
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Don’t Call Me (SHINee) - liveblog reaction
I’m finally sinking my teeth into the new SHINee album. For the title track, this is doubling as an MV reaction too.
Don’t Call Me - I’ve never seen a SHINee music video before! Concept is immediately intriguing, like what’s the story here? Oh, the vibe of the music is unexpected. I like this styling that reminds me of a raven. I really like the beat. I hope there’s a dance practice video, because I like the choreography and want to see more of it. I’m sure this set is mostly CG but I LOVE it. Kinda reminds me of the five minutes of Bioshock that I played. Creepy masks remind me of NCT 127′s “Simon Says” MV. I think my least favorite part of the song, musically, is the repeated “Don’t call me, don’t call me,” chant during the chorus? I do quite like Onew’s voice. Okay, I really like this shot of the phone submerged underwater. Holy shit this piano??? LOVE IT. Taemin’s voice is also very strong. Oh, I like the typography subbing a 7 in for the apostrophe on “don’t” because it’s their 7th album.
Rest of the album below the cut because long post:
Heart Attack - The very opening instrumental reminded me of “First Love” by NCT 127, but once the vocals started, the whole vibe shifted. It’s smooth but driving. And I like it. Makes me want to dance. The bassline makes me very happy. Oh hey, I think I’ve reached the point where I can distinguish Taemin’s voice from the others. (Makes sense since I’ve listened to a few of his solo songs and also SuperM.) Wow, the ending snuck up on me.
Marry You - Funky. I really like this bassline, but I don’t care for the lyrics “Girl, I just want to marry you, right here, here now.” I mean, it’s about what I was expecting based off the title, but it’s just not my thing. Another pretty smooth song. It’s fine, but not doing much for me, musically. I guess I appreciate the harmony in the chorus. Voice at the 2:44 mark is nice. (Edit: I looked it up, and it’s Onew. I have been somewhat prone to his voice in the past, so that checks out.)
CØDE - Just based off the title alone, if this song doesn’t go hard, I’m going to be disappointed. Promising start. The synthy instrumental is doing things for me. Oooh, a very driving beat. Someone at the 0:42 mark has a head voice. (Edit: Looked it up, and it’s Key, which is unexpected to me for whatever reason.) Okay, this song doesn’t go that hard, but I’m still digging it. Really into the instrumental, honestly. Holy head voice at 1:24. If it isn’t the same person as before, color me impressed. (Edit: It’s Onew. Huh.) The “let’s crack the code!” beginning of the chorus reminds me one of “Hitchhiking.” Actually, I bet someone with better audio-editing skills than me could make a really compelling mashup of “Hitchhiking” and this song.
I Really Want You - I like the opening instrumental a lot. Less sold on this spoken vocals. This has a kind of old school vibe. I’m into the little guitar backing riff during the verses. Very peppy, you know. It’s a nice enough song, but I doubt it’s one I’m going to come back to. Around 2:50, it just hit me that this “I really wantcha, ooh, babe” bit really reminds of “Wanna Be Startin’ Somethin’” by Michael Jackson.
Kiss Kiss - I think I’m going to this like based off the bassline and opening harmony, but we’ll see. Oh, it’s smoother than I was expecting. Loving the harmonies, yes. Laugh at 1:38 mark, yes. (Edit: Minho, maybe? If it is, I think this is the first time I’ve specifically reacted to something from him haha.) The chorus makes me wanna dance. I may never get over how much I like these harmonies, actually, wow.
Body Rhythm - Okay, I think this song has been like a fancam meme on twitter, or something? Big fan of this beat. It’s like a slow samba. Oh man, whoever sings “Won’t you follow my body rhythm? Come on, follow my body rhythm,” at 0:47... good sir, your voice and delivery is immaculate. (Edit: Wait, it’s Taemin? And after I claimed that I thought I could recognize his voice now lmao. Damn, he sounds so good. I misread the color-coded lyrics video, and it’s actually Key singing this part. Thank you @subtextread for the correction, and thank you, Key, for your amazing voice.) This song REALLY makes me want to dance. Specifically, it makes me want to choreograph. Singer of the chorus at 1:45, I don’t think it’s the same person as before, and I don’t like it quite as much, but it’s still very nice. (Edit: It’s Onew, which is funny, because I’ve tended to like his voice a lot.) A strong contender for favorite song on the album.
Attention - Why does the intro make me think of “0 Mile” by NCT 127? Like, not to be a NCT fanboy on main (lol), but the cadence of it is very similar, despite the songs have very different vibes. Mr. Head Voice is back at 0:42. (Edit: So actually it’s Taemin, which means it’s *checks notes* a different Mr. Head Voice than the other two I’ve already mentioned, so. Welp.) Actually, this song also reminds me of one of the songs off NCT 127′s Neo Zone, but fuck, which one? Oh my god, I’m going to have to relisten to a slew off Neo Zone that I don’t otherwise listen to in order to figure this out, because otherwise, it will bother me forever. (Edit: I was thinking of “FOOL,” which is... not off Neo Zone. Oops.) Wow, sorry that so much of my reaction to this song was just me thinking about NCT 127 songs.
Kind - Interesting, unexpected vibe. Okay wait, does SHINee really end every album with a ballad-y song? Brb, checking my other SHINee liveblogs. *Magic 8 ball voice* All signs point to yes. This song is fine, but not likely one I’ll come back to. The harmonies are nice, classic SHINee. Gah, what is the name of this vocal effect used at 3:05 (and also at the very beginning)? I’ve heard it used in other songs, but what is it??
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okay! for my first fun musical post i’m gonna talk about my top twenty songs by a-ha, which i ranked using this sorter! (that i made, everybody go nuts. i’ll make one for yall if you got requests)
20: we’re looking for the whales off the album scoundrel days
this song has such a cool straightforward beat! it starts with a drumbeat that reverbs a little if you get what i mean, and then almost immediately starts in on the vocals. i really like how each time they use the word ‘girl’, it gets a bit faster
19: move to memphis off the album memorial beach
move to memphis is super cool. it starts off with a kick drum, followed by a really low synth and a deep guitar chord. “you were the one that taught me better...” is a really cool line, just from the way morten sings it, real low and gruff sounding
18: between your mama and yourself off the album memorial beach
this song is absolutely sick, and i’m surprised it didn’t rank higher. “the thing is babe...” i really vibe with the bass in this song, it really carries the song on, chugging away through the whole thing. i REALLY love the bridge where almost all the instrumentation drops out.
17: locust off the album memorial beach
this song is fuckin’ haunting. i’m not kidding. it starts with just a low riff, then some really slow cymbals (i think) kick in. locust is a real slow ballad, and i think about this song quite a lot. i listen to it when i have a big change in my life. “i know we’ll break it down...” “oh weeping eye, oh creepin’ sky...”
16: love is reason off the album hunting high and low
this song is super overshadowed by a lot of the other songs on this album. (take on me i’m looking at you). the high pitched synths really make this song. “love is reason enough.”
15: this alone is love off the album stay on these roads
i looove this one. the way morten’s vocals have that slight echo to them.. oof. “and all of us who are traveling by trapdoors...” the part after that line where the song gets slightly more intense is genius. i also really vibe with that minor key echoy synth. a song i listen to when i gotta have a good cry cause that shit’s healthy sometimes!!
14: hurry home off the album stay on these roads
this song is a fun one. it doesn’t sound that way when it starts, but when it speeds up... WOW. “hurry home, freight train runnin.’ jesus christ a fucking bop. “no more runnin’ (he’s doin’ right!”
13: forest fire off the album cast in steel
okay the SYNTHS IN THE BEGINNING. and then it just zooms straight into piano which then drops into guitar. “watch it flare up, ooooo... we are flames in the forest fire...” the higher vocals on this one really get me, and they show off morten’s range really well, too.
12: stay on these roads off the album stay on these roads
another ballad. this one makes me so fucking sad at the beginning and as it goes on i always feel like i’ll get through whatever rough patch i’m going through. morten really uses his high pitched vocals in this one. “stay on these roads, we shall meet, i know...” the ending chorus is fantastic and i urge you to listen to at least that part.
11: here i stand and face the rain off the album hunting high and low
the female vocalist they used on the beginning of this track kicks me in the face every time. then it goes into a nice classic synthy a-ha bop. “help me, i need your love, don’t walk away, the dark scares me so...”
10: take on me off the album hunting high and low
do i really need to talk about this one? classic synths, catch beat, that’s all. “tak on me, take me on”
9: (seemingly) nonstop july off the album east of the sun, west of the moon
ah, this song. the palm muted guitar at the beginning that slowly gets joined by morten’s vocals, very pleasing to listen to. a-ha really don’t do many acoustic tracks like this, and i wish they would, because this shit is phenomenal. “walking by strangers, stranger than me...” a-ha are really good at writing lyrics that i have to sit on and puzzle over and i love the challenge.
8: forever not yours off the album lifelines
at the time of writing this post, lifelines has just recently had a remaster and been rereleased on platforms, and boy the drums in this song... wow. “i’ll soon be gone now, forever not yours.”
7: memorial beach off the album memorial beach
a nice slow piano ballad that makes me think of that piano bit from the movie up. this song also makes me cry. i listen to this one when i feel stuck and need to feel better about life. “so we walk down to memorial beach, where things began...” morten’s vocals on this one are a little rougher and i love that shit morten please do more of that in your solo stuff.
6: rolling thunder off the album east of the sun, west of the moon
i vibe with the fact that they start this song with the sounds of a thunderstorm and how the thunder kind of makes the beat. i’m pretty sure this one is in a major key, so it’s nice and warm sounding. “if your world should crumble...” the chorus hits different on this one, it is just a nice feel good song.
5: did anyone approach you? off the album lifelines
the synths on this track make me think of a video game and morten’s voice is really whispery in the verses, then he kinda belts in the chorus. the chorus is a line of questions that are left unanswered and the steady beat is really pleasing to listen to. the whole song sort of feels like a rushed interrogation. “did anybody feel you? did anybody deal you? did anybody make you do some things now? did anyone approach you? did anybody coach you? did anybody tell you what to say now? hopeless, it's not hopeless, doubtful, but not hopeless at all.” the second chorus is another line of unanswered questions, while the verses are morten telling the viewer things he’s observed about them. very fun song.
4: you’ll end up crying off the album stay on these roads
i think the reason this song is so high is because of how different it is, there’s a ton of strings and a horn, plus the overdubbed vocals makes it super interesting.
3: the living daylights off the album stay on these roads
this one is VERY fun. i tend to put this one on when i gotta hype myself up. “heyeyeyey,the living daylights!!” i really like the drums in this one
2: east of the sun off the album east of the sun, west of the moon
another acoustic track!! this one is probably the saddest, in my opinion. morten’s vocals on the chorus REALLY shine. the rest of the song he uses a really deep voice, and in the final chorus he really hits those high notes. stunning. fabulous, ethereal. plus that fucking key change, HELLO!! “ oh, never going to get there later, you know I want to get there soon, never going to get there, baby, onn a desert road to home.”
and finally,
1: living a boy’s adventure tale off the album hunting high and low
this song fucking hits every emotional chord there is. i can listen to it angry, sad, happy, whatever. it is their best track, i love it dearly. the beginning is just that “aahhh....” echoy vocal that sets the key for the whole song, jesus. the high note towards the end fucking KILLS ME every time. if you listen to one song off this list, make it this one. “i've been lost in so many places, seeking love in so many faces...” i think this one trumps the rest because i relate to it the most. i’m always looking for someone to care about me, always looking for more. this song helped me realize that i can be comfortable with being alone, i can get along with myself. nobody is ever going to love me more than i can love myself.
that’s my list. if you’re curious, here is the corresponding spotify playlist!
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KALEIDOSCOPE: a project by DAYE
my dear friend serge aka daye just sent a full project for me to listen through before the release of it. It moved me so much that i couldn’t sleep without trying my very best to explain how listening to this made me feel, cause it made me feel very much, all 7 tracks. i want to (try to) explain to you how each song made me feel.
a little quick thing to know before you read this: i tend to reach a lot, and in this little post here, i will try to explain how i saw these songs and the conceptual interpretations i made. they’re probably wrong and might not have been the artist’s true intentions when making the songs, but songs are more fun if you listen to them in your own way. oh !warning! my “review” or whatever might be very biased lol okay
where were we? oh right, the feels. I feel like it made perfect sense to name this project KALEIDOSCOPE, because just like the real thing, daye reflects both his personal life and producing essence in his music and it creates this beautiful art that transforms into another masterpiece depending on how you decide to look at(/listen to) it. he has used things like audio clips from moments in his life, sounds of a cassette player being opened/closed, voices of friends with his (oh so) suitable voice to enhance theirs, and his own voice as main focus (spoiler: my fav song is where he raps the outro... stay tuned xo). It all results in a beautiful memoir, that i felt was focusing on the things surrounding him, perceived by serge and translated by daye into these songs.
the first song ROLLIN sucked me in with the very calming cheerful melody. the song features rapper mike jones that tells a story about a cute blossoming affection between two people who both seem too shy to come forward about it. the story is accompanied with beautiful inputs of shorter melodies created with something that sounds like a very pianoy electric guitar (comes in around 1:46). this song really shows dayes talent when it comes to creating melodies and layering the same melody with different sounds. we hear everything from violin sounds, to synths, backed by fabulous kicks and claps and hi-hats and tambourines and... you get it. he pays a lot of attention to details and it shows through the very subtle sounds of “plings” and his own “so now we” voice input. the beat is concluded with a beautiful piano outro played by one of his friends and puts a more “ripened love”(lol) denouement to the cutesy lovey dovey mood introduced in the beginning of the song. it ends with an audio clip talking about rolling....the green (or brown) stuff. This song feels: buoyant, calm, blissful, bubbly, cute.
the second track BADBOY (also my second favorite song) is just pure, fantastic, simple yet detailed quality production. this song feels like taking an evening walk in the inner city when everything is about to close during warmer weather & meeting up with fun adventurous friends. the drum loop is just so beautifully chosen and is the highlight of the song to me. the second name of this song should be SYNTHBOY (sry). the thing is, i usually don’t like synthy sounds, but daye chooses his sounds so perfectly and breaks it off with complementary non-expected sounds, and the result is... my second favorite track. the outro is a fun audio clip where his friends are joking around. The song really gives me both summer night and summer day and summer day vibes. This song feels: sunny, refreshing, cresent-moony, breezy
next song SWAGOO is my personal favorite. wow.. just wow. i would divide the song into 3 parts and i mean… 3 parts? ugh daye’s mind! the first part is a sample of a song with vocals that go “your love, your love, your love” and it’s a great introduction to the theme of the song. Next part we’re introduced to a very soothing R&B electric piano feel that was quickly accompanied by a very minimalistic, clean kick, snare and hi-hat. once again, rapper mike jones is featured and this time tells a story that seems to continue on where he left off in ROLLIN. but this time he’s ready to settle down. the whole minimalistic instrumental through the second part gave off the good feelings of liking someone and being really sure about the whole thing. but i realized that it all was a false feeling of comfort when the second part was cut off into an audio clip. the audio clip is from a video featured by yours truly (lol) & other friends and is from a house party both me and daye were at at some time in april 2019. in the audio clip you can hear us singing to self control by frank ocean, and the part daye chose to add just makes so much sense and is so fitting into the story. it was the part where frank says “i came to visit, cause you see me like a ufo”. after mike jones spoke about being ready to settle down into the relationship, it seems like it all fell off, just like what that part in frank’s song hints at. two people falling off. right after the audio clip, i was hit by what gave me kind of a revelation, kind of an unreligious epiphany… the third and final part of the song. the last part lasts for 30 seconds and that’s what i dislike the most about this project, because to me that last part is the highlight of this tape. daye uses his own voice (!!) in a gloomy way with a sullen beautiful instrumental that i was amazed by. that part of the song is what fits my personal music taste the most. its crazy. the goal of trying to write all of this down instead of reviewing it directly to serge was to give me a chance to fully express how i felt about this project, but still this part gives me a hard time to explain how wonderfully divine it was. his vocals concludes the love story that mike told. the love interest was just “bad news” and the whole thing left daye in a slump. this whole song is just a wonderful story about love that fades when the mutual feelings stop being mutual and daye portrayed it beautifully through merging 3 different parts and leveling it out to create one harmonious song. excellent. i wish i could replay those last 30 seconds over and over again. in the very end, you hear the sound of a cassette player opening, welcoming the next song. This song feels: jolly -> hopeful->surprising->gloomy, amazing, rainy
track 4 and 5 i will review together as one part. first we hear SMILLAS INTERLUDE and then we hear TIMELESS, both have beautiful melodies and lyrics sung by serges friend smilla. the interlude is just different cuts of her voice singing some words, but mostly overwhelmingly beautiful runs. wow what a voice. in between the cuts of her voice daye carries on the theme with cassette player opening/closing sounds. the interlude almost sounds like the process of writing a letter with drafts and parts that both are kept and thrown away but that in the end results in a fully written letter, and that’s what TIMELESS is. if deciding to look at this project as one big storyline where all songs are small pieces of a bigger story, the lyrics in TIMELESS seem like an explanation to why the love was “bad news”. the whole intention of the relation seemed to be confusing and not straight to the point, a “timeless haze” as told by smilla. the best point of this song, the music production by daye, made it feel like everything still was alright. the beat felt like a hug, saying that the confusion is okay. it felt like a rainy summer day. bright outside with gray skies and a rainbow. the song is fully nuanced because all of the elements in it. everything has more than one layer. the drums, the synths, the vocals. during the chorus, a simple bassline is added to the instrumental and it gives the song a whole new layer of depth. the mixing of this song is the best in my opinion. This song feels: reassuring, confidently confusing, self focusing, profound, like a kiss on the forehead.
the second last song of this tape, COMING HOME shares the spot together with BADBOY as my second favorite track. the production is just so spectacular and high quality! i love it. the drum loop hits hard throughout the whole song and once again, daye’s ears made my ears a big favor by choosing it. his talent with finding and picking out the best sounds & layering was really noticable in this song and it all feels like a whole majestic musical arrangement more than just a beat. it feels like the last day of summer. the melody created by the bass, synths and other sound effects makes the song feel like a sad farewell, but affirming of that better days will come. To further push the feeling of that this is a goodbye, we once again have the talented mike jones lifting the song even more with his added lyrics about “coming home”. between mike’s verses, i was blessed with a beautiful guitar solo played by daye’s talented friend edvin. i had a hard time choosing, but the point of this song is the drum loop and the bassline. listening to the project as a whole, it feels like this is the last song of the project even if isn’t. This song feels: elevating, reminiscent, bittersweet, concluding
like i said above, COMING HOME feels like the last song. but now, we have come to the official last song: INTRO2PHASE2. what im about to say, the title already hints on it. this song sticks out the most to me and it is made very obvious the first two seconds of the song with a very intense synth sound that differs from any synth throughout the whole project. the music composition differs a lot too and is no longer soft and summery but rather upbeat, more intense and less... lovey. it was impossible not to move your head along to the beat. What i like the most about this song is that it shows a whole different side of daye and portrays his versatility when it comes to production. whichever genre he decides to approach he does perfectly and leaves his fingerprints scattered all over the finished product, so it still sounds like daye. this feels more like an intro to the next concept more than outro to this tape, and that is why the song before this was (to me) the last song of this project (or should i say phase?). mike (who is featured here too) also uses his voice in a more powerful way compared to the more relaxed/soft way that is heard in the other songs he is in. if it still isn’t obvious that this is an intro to the switch of concepts, it is made even more clear with mike’s unfinished sentence where he says he doesn’t want drama, he wants-... to be continued i guess! This song feels: intense, like fire, stinky face, hard
im excited for what’s next to come, and curious about where the focus will shift in the next project. daye left us with a cliffhanger, and hopefully, in the future we will know what it was that mike jones wanted instead of drama.
to summarize, this project felt very conceptual even if intentional or not, the order of the songs made sense if you were to look at it as a whole story. generally, it sounds like the theme is love; from its exciting beginnings to the end of it (and maybe the rebound too?) in a very realistic way. all songs can be seen as one big coherent story, or as individual songs and which one you see depends on how you want to look at it through the KALEIDOSCOPE. This project feels like: love, summer, a story
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It’s been four years, so let’s talk about LOVE + FEAR!
MARINA dropped the diamonds and came back swinging with her fourth studio album, a two part experience built around the concept that all positive emotions stem from LOVE and all negative emotions stem from FEAR. Up until this point, I’ve heard the LOVE side of the album, but I thought that I would give my thoughts on each song on the record, as well as my overall consensus. There are sixteen songs, so sit back, grab a snack, listen along to the album with me if you want, and let’s dive right in.
LOVE
Handmade Heaven
I 👀 ENVY 😑 THE BIRDS 🦅, HIGH UP IN THE 🌲 TREES 😊
I’ve talked before about how much I love this song, so I’ll try not to say to much
the production on this song is so lush, with the trilling flutes, pianos, gently tapping cymbals, and explosion at the chorus. this song just feels so grand and larger than life. we stan this production
this is definitely one of the strongest tracks on the album, if not the strongest
Superstar
I’m not going to lie, this isn’t one of my favorite tracks. I think the lyrics are kind of flat (despite this song having four writers,) and the production just doesn’t do that much for me
however, I do like the sparkly and fun drop, and, as always, MARINA’s vocals
Orange Trees
I’m just in love with those “🍊𝓸𝕆𝖔๏ⓞ𝓸𝕆𝖔๏range 𝓸𝕆𝖔๏ⓞ𝓸𝕆𝖔๏range🍊” riffs
this is definitely a bop. it makes me want to sprawl out on a beach so damn badly
I can see this song getting giant this summer. I hope it does, it’s the kind of song we need on the radio right now
this song makes me want to jet set to Greece
Baby ft. Clean Bandit & Luis Fonsi
you know what? some people I’ve seen in the MARINA fandom don’t like this song because they think it’s “basic” or “too mainstream,” but I don’t mind it at all
Clean Bandit’s production is sharp as hell here, the Latin influences like the guitar and beat in the instrumental help it stand out from the rest of MARINA’s discography and also make me want to dance. I don’t mind Fonsi’s presence either, I think he and MARINA have pretty good vocal chemistry
especially that chrous! say it doesn’t slap, I dare you
I can understand the critique that this song doesn’t really fit in the with the flow of the album, I don’t mind its presence here. if anything, it’s a refreshing switch up
Enjoy Your Life
this does work as a song to listen to if you just need to feel better
I don’t know if this was intentional, but the way the lyrics are written kind of make it seem like the song’s message is to just sit back and enjoy your life despite anything wrong that might be going on. I get what this is trying to communicate, but you don’t necessarily have to “sit back and enjoy your problems” and “might as well accept” your lot if you’re unhappy. you just have to be proactive and work to fix whatever it is you’re unhappy with. I don’t believe MARINA is saying that you should be passive and just let anything happen to you, I just think this song would hit a little harder if it mentioned how you can go about improving and enjoying your life
True
the chorus of this song low key goes hard as fuck, it’s so damn catchy
nothing much else to say about this song
To Be Human
the imagery in these lyrics really elevate this song. little details like the “gold leaf” on the buildings, “Lenin's body lying dead" in the Red Square, and the village “where [her] father’s from” are just beautiful.
more great lines! “the missiles and the bombs sound like symphonies gone wrong,” “and if there is a god, they will know why it’s so hard to be human”
“Savages” may have been MARINA roasting humanity, but this song is her appreciating it. while this song might not have quite the biting, poetic wit of “Savages,” it still has some of the sharpest writing on this album
End Of The Earth
that vocal processing at the start of the song might only last a handful of seconds, but I really like it
also, those dark synths are great
this song has a more entrancing atmosphere, and works as an interesting transition track from LOVE to FEAR
FEAR
Believe In Love
the synthy bassline at the start of this song is giving me major Grimes vibes
the restrained and almost whispered vocal delivery is a nice change of pace form the LOVE portion of the album, but some of the vocal processing messes with MARINA’s rich tone and it’s kind of annoying. just let her sing, she has a great voice!
I love how the lyrics of the songs link together the themes of love and fear, like the final line in the chorus: “losing you is what I'm afraid of, I need to believe in love”
Life Is Strange
yesss, violins! and tambourine?
we’re dipping back into those sweeping themes of humanity and human nature, like on To Be Human and Savages
“is it ever gonna be enough to love another and be loved?” IS THAT A MOWGLI’S ROAD REFERENCE I HEAR??! cuckoo bitches! (I guess she really does envy the birds high up in the trees)
“seems like everybody's having the best time of their lives but we don't know what's going on at any given time” is a big fat schmood
still, I wish the lyrics went more in depth here, like there were more specific details or music on why things are the way that they are
You
I’m sensing another tropical beat here
this is a real treat if you’re listening with headphones. that vocal warping on the “you”s in the background are fun
I wish that this drop had more oomph to it. it feels kind of like an anti-climax
the flowing feel of this song is nice. if I had one word to describe this song it would be “nice.” it’s not too over the top or surprising but I don’t hate it either
Karma
some more Latin-y guitars like the ones on Baby, as well as some hi-hats? I’m excited to see how this song builds
this song is giving me flashbacks to The Family Jewels with the “oh my god” and Electra Heart with the “heartbreaker” name drop.
something about those “doubt doubt doubts” remind me of the DJ Snake remix of “You Know You Like It” by AlunaGeorge. on that note, what the heck ever happened to AlunaGeorge?
this song is very melodically satisfying, especially the chorus, but I still can’t help but feel like this song is missing something. maybe harder-hitting percussion? some bass? I can’t quite put my finger on it
I still like that there’s some more sass on this track, with the vocal delivery and in the lyrics
Emotional Machine
everyone’s been shitting their pants over this song, so I’m excited to hear it for the first time
that “I’m a ,-*'^'~*-.,_,.-*~ må¢hᵢïᶦᶦᶦᶦᶦᶦᶦᶦiᵢñê,-*'^'~*-.,_,.-*~ ” really threw me for a loop and it’s fucking great there’s that MARINA weirdness I know and love!
Too Afraid
I don’t really have anything to say about this song. it’s fine, but there isn’t anything that special about it
the lyrics are kind of relatable, at least. with the idea of being afraid to open up in a relationship and be vulnerable
No More Suckers
everyone has also been shitting their pants over this song, but in a less enthusiastic way than with “Emotional Machine.” let’s pray this is an underrated bop
I like those peppering piano notes in the background, it’s very summery and fun
the instrumental reminds me of “Cheap Thrills” by Sia a little bit?
“you eat all of my food” and “you mess up all my towels” made me laugh out loud. are these suckers just really bad house guests? it kind of plunges so far into the valley of ridiculous that it rebounds back to being great
at least there’s a bit more sass and personality on this track
I don’t see why people dislike this. it’s about on par with the other songs on the album so far, at least for me
Soft To Be Strong
her vocals on this track are so lovely and delicate
“I choose to love you without fear, no shame in being sincere” is a really good lyric, I appreciate its sentiment
the way the production builds up near the end allows the song to gain more momentum, especially with those echoing background vocals and prominent drums. there’s some of that oomph I was looking for
My Thoughts Summarized: I’m all for artists evolving with their sound. Of course somebody who has been in the game as song as MARINA is going to sound different now then when she did back in 2010 with The Family Jewels when she was in her early twenties, and she has every right in the world to make the music that she wants to and that makes her happy. But something about a majority of the songs on this album don’t invoke the enthusiasm that I have for songs of hers on other albums. One of the qualities of MARINA’s that I especially admire is her strong lyricism, and the lyrics on some of these songs just fell a little flat for me, not going into detail or being clever with their wordplay. Along with that, the production on all the songs never really goes there, if you know what I mean. I was expecting a little bit more experimentation or change-ups in sound as the album progressed, and I didn’t really get that. As always, MARINA’s vocals are great throughout the entirety of the album. I just love how complex and unique her voice is, and I’m convinced she could sing “Happy Birthday” and have it sound amazing. To me, the best tracks are Handmade Heaven and To Be Human, which showcase strong writing and grander-scale production.
slay goddess aslhldghsdklgda
Overall, LOVE + FEAR is a pretty standard pop album. It’s not my personal favorite in MARINA’s discography, but there are some standout tracks and moments that will stick with you after every listen. What did you think of LOVE + FEAR? Agree or disagree? Comment or reblog with your thoughts, I’m excited to hear what you think.
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“NINE” by Blink-182
So for my first “official” blog post, I figured I’d write about something near and dear to my heart. My favorite band, Blink-182, released their new album “NINE” 09/20/2019. As soon as I heard it, it sparked some sort of energy and interest in me to blog a review. It started out as a journal, but with some encouragement and motivation from my friends, I was able to pen a full review and now, post it. So here it is, my complete review of the album “NINE” as I heard it for the first time, with additional information added with subsequent play throughs.
1. The First Time - 2:27
Upbeat, loud drums, distant yelling. Cherish your first times for any occasion. Memories about taking risks, taking chances. What are you going to remember when you’re old?: the memories you made taking risks or the times you played it safe? Take risks, try new things, experience life. Still wishing Tom DeLonge was back, but his replacement, Matt Skiba (also the frontman of rock band Alkaline Trio), is fitting in perfectly fine with Mark and Travis.
Final: 8/10.
2. Happy Days - 2:59
Sounds very reminiscent of “Stay Together For The Kids”. A song about being positive when you don’t know what positive even is, don’t know what’s going on, don’t know what your next step is. “I want to feel happy days”. Memories triggering sadness, not doing enough, feeling like you aren’t enough. Yet, at the same time, still being content in your life. Still pushing, still trying, still working to achieve your true happiness. It’s like you can acknowledge there is room for change, but you don’t know if you can yet. It’s a first step, though, and sometimes that’s all it takes for everything to fall into place.
Final: 9/10
3. Heaven - 3:17
First thought: existential crisis. Impulsive actions. Self destruction. From good to bad, not getting into Heaven based off of prior actions. Struggling to better, but falling short due to lack of effort. A feeling of being forgotten, left behind, not fitting in because of your choices. “We’re lost in our ways, nothing left to say” .. “we’re stuck in our ways, I’ve got so much to say”. Acknowledging the need to change, but not actually changing.
Final: 7/10
4. Darkside - 3:01
Observing a mysterious, unknown girl. I get an 80’s vibe from this song. Waiting, waiting, waiting. Following someone into the unknown for a new journey, to a new world, an unknown place. New experiences. Sounds kinda synthy at the bridge. The fading of the loud voices make it sound more like a yell.
Final: 7/10
5. Blame It On My Youth - 3:06
Airy sound, bass comes in, Mark’s angel voice. Growing up in the past vs growing up today. Apologizing for differences in their youth vs how they are in adulthood, but ultimately saying to blame it on how they were raised. We are in a completely different time now than what they were when they were growing up. “I don’t need an excuse”. What was socially accepted then ( ) vs now (maybe 2016 on), they are two completely different time frames and have two completely different socially acceptable norms.
Final: 7/10
6. Generational Divide - 0:49
Heavy drums. Work in progress adjusting to life before and life after? This is probably the most confusing bit in the whole album. The rating is more for sound than message since it was so short and I didn’t get much out of it.
Final: 8/10
7. Run Away - 2:28
Sounds very two albums ago. Childish rebellion, teen angst vibes. Possibly a song about blaming others for your actions but still getting left with the responsibility. Running away from your problems, but hoping someone holds you down to own up to them. Definite “Neighborhoods” vibes based off of the sound alone. Another great Blink album.
Final: 7/10
8. Black Rain - 2:46
Starts slow with Skiba vocals, then the pace picks up and it’s loud singing by Mark. Chorus comes back in and is slow, lighter than during Mark’s part. A song about struggling with loss. Mark’s voice seems far away when listening through a phone or TV speaker, different when you’re wearing headphones/earbuds/etc. “Tragedy erased my memory and now all I see is this black rain. Tragedy, you too my everything.” Sound is actually kinda shit in conjunction with their voices.
Final: 6/10
9. I Really Wish I Hated You - 3:11
This song hit hard, it’s very relatable. “Cuz I really don’t like myself without you, every song I sing is still about you. Save me from myself the way you used to, cuz I really don’t like myself without you. I really wish I hated you right now. Won’t you say something?” Being broken with someone you clearly love, not knowing what to do without them, unable to cope with them being gone. A longing for someone you wish you could have because you gave them your all, you tried your hardest, but love being too strong to stay. Stuck in the past, thinking, reminiscing. Hard to let go of someone you care about, even though you know they are better off without you. You start to feel like a burden and it doesn’t even get better. “I hate the way you’re better off” .. basically letting them go because you know it’s the less selfish thing to do if it means they’re happy. You can’t keep someone for your own benefit.
Final: 10/10
10. Pin the Grenade - 2:59
Another song about losing someone, life changing and going on without them. Not being able to let go, t hint to drag it out as long as possible. Not worth losing someone compared to being dead. “Just another night before I’m lost and all alone. If you’re gonna kill me, baby, please just do it slow” .. dragging out the torture of being killed to get more time with that person you love.
Final: 9/10
11. No Heart To Speak Of - 3:40
Remembering a life you had before, losing someone, being heartbroken over the memories you keep thinking about. There’s nothing left for you here. “Laying on the bedroom floor, hanging on the words you said before” .. “Dying on the bathroom floor, thinking of the life we had before”. When you’re so heartbroken, is it worth staying alive when you don’t have that person who made you whole? The sound overall is good, reminds me of “Ocean Avenue” by Yellowcard based off the sound alone. I love the range of Skiba’s voice, from soft and lull to loud and emotional, almost strained.
Final: 9.5/10
12. Ransom - 1:25
“Say the word and I’ll be there”. Sounds kinda trappy. Like SoundCloud trappy. Two opposites attracting, becoming one. A guy obsessed with a girl, uprooting his life to be with her across the country. Trapped. Ransom.
Final: 7/10
13. On Some Emo Sh** - 3:10
Missing someone so much that your current life is put on hold. You remember things so vividly that it interrupts your current life. Questioning why you exist without that person who made your existence seem painless, easy, worthwhile. Memories, flashbacks, stories, all about someone you still love. “These feelings pound in my chest, maybe I am better off dead.” Still leaving yourself 100% open for someone you love that takes advantage of your soft spot for them. Is it happiness you’re after? Or is it the fear of being alone? Is there a sliver of hope left that things will fall back together eventually or are you just torturing yourself holding onto that hope?
Final: 8/10
14. Hungover You - 2:59
Fuck this song, first of all. Second, I absolutely love it. Super relatable for someone, anyone, that has had their heart broken. Maybe even for people who have broken hearts. If you’ve broken a heart, does this open your eyes to the feelings you left your significant other with after you were gone? The overall sound, the breakdown on the chorus, and the way Hoppus and Skiba harmonize gives me chills. The only song that I found myself screaming along to while I was driving. Can’t get over someone, they disappeared from your life. “It was just one time, one time. Started turning into two times, a few times”. “It feels like last night, you come over. And now I wake up, and you’re nowhere.” Is this even real? Is this a drunk hallucination? How long has this person been gone that he can say he’s “still hungover you”? Shouts out to Travis Barker on the drums, this one is one of my favorites because of the work he puts in with the sound.
Final: 10/10
15. Remember to Forget Me - 3:30
Sounds like a song that represents giving someone your all, being broken into tiny pieces in the process, and then all those tiny pieces being scattered. Sounds like some soft dubs in the second verse. Not sure of how to exist on your own without your person. Lack of ability to be independent. Kind of sounds like you want someone to get rid of every thought, memory, trace of you when they forget you. Don’t even think about me in the future. Erase your memory.
Final: 8/10
FINAL THOUGHTS
Well, I obviously fucking love Blink-182. I was always a little skeptical about Matt Skiba taking over for Tom DeLonge, but at the same time, I was never a fan of Angels and Airwaves (Tom’s other project), so I feel like it could be a reasonable compromise. Personally, the lack of vibe balance throws me off a little. You start out super happy, upbeat, encouraging, and then the whole album takes a turn into missing someone, losing someone, feeling completely lost without someone. And honestly? I fucking felt that shit. You can only be so positive when you feel like you’d be better off dead. The last, like, 12 months of my life have been absolutely chaotic and I’ve lost so many people from friends, fuck buddies, boyfriends, family members, wherever it is, I’ve probably lost it. I’ve made a lot of big life changes and shit so this album actually kind of hit me hard. Only two 10/10 songs, but a lot of 9s to back it up. The two 10/10s (“I Really Wish I Hated You” and “Hungover You”) made my “Top Songs To Scream Along To” playlist for when I’m driving and feel hyper, bummed, emo, etc.
I’m not entirely sure what I expected from NINE, but I don’t think that I was necessarily disappointed either. I like the sounds, I like the progress, all the guys are doing great together. They just did a tour with Neck Deep and Lil Wayne, including a few shows guest starring my favorite band All Time Low out in Ohio. It was a really fun album to review. I’ve listened to it all the way through a handful of times, writing over them between two instances and the rest just trying to listen without pressuring myself to make something out of it, but instead just to vibe and understand.
The big difference with this album is that it’s so serious. This Blink album is honestly so mature, there’s no dick jokes or short interludes about fucking someone’s mom. It’s super foreign territory for Blink to delve into, but I respect the change and enjoyed the album just the same without the jokes and silly antics. Another thing with this album is that I heard a lot of throwback sounds and I actually fucked with it heavy. Hearing an old song’s tune in a different way actually made the album kind of nostalgic. The beginning of “The First Time” has big time “Feeling This” (Blink-182 self title, 2003) vibes. On top of that, “Hungover You”, (yes, I’m obsessing over every aspect of this song), has BIIIIG “Snake Charmer” (Neighborhoods, 2011) sounds with the maraca/salt sounds. Almost every song on this album, if not for sure every album, has throwback sounds in a different pitch, frequency, order, etc. and I’m actually really digging it. The synthy sound from “Ransom“ is a dead ringer for the beginning of “Love Is Dangerous” (Neighborhoods, 2011), which is the last album that featured founding member Tom DeLonge. The sound itself isn’t spot on, but the concept of the sound is what is familiar. I don’t know if this was intentional, but regardless, it’s an interesting take on the new sound playing off the old sound.
So, what did you think of the album? Did you hear any other similarities between albums or notice any big differences between old Blink and seemingly new Blink? Comment down below what you think and suggest some new albums that would be worth a review! There you have it, an opinion nobody wanted, but y’all are getting it anyway.
#blink-182#tom delonge#mark hoppus#matt skiba#travis barker#alkaline trio#blog post#music blog#follow#music#pop punk#punk rock#everything
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it’s 7am and for no especial reason im gonna throw out “bat boy” numbers that really go off which is, really all of them, but still, might as well share my wisdom
a) COMFORT AND JOY: obviously!!!!! THE song. it is seriously like, wow. the drama. and its Such a jam. what haven’t i already said to endorse it? cuz i’ll say some more.
b) SHOW YOU A THING OR TWO: automatically gets second spot b/c its second most likely to be in my head. it’s all “i’ll show you a thing or two, second verse with these-two-notes [two-notes]” and i do a little dance for those two-notes. and the lyrics “you’ll soon complete it—but, wait! ((??)) don’t eat it ((oh))” will loop thru my brain like fifteen times. lot of Musical Style variation in this whole show and this ones got like, a highstepping chorus line theme & thats a delight. and lots of incredible lyrics too, like this song’s “but now say howdy to a summa cum laude.” oh wait and i suppose its self explanatory but meredith The Mom and shelley The Daughter are teaching edgar The Bat Boy like, all of general knowledge in a matter of weeks / maybe several months. dr parker The Husband / Vet is tangentially helpful but not really because he sucks. meredith’s patience is v nice. you really have to root for them, except dr parker, because he sucks.
C) CHILDREN, CHILDREN: any ranking order beyond this is basically just me throwing darts w my eyes closed but this is a good third cuz its again that musical variety......this ones like, this 90s-ish movie credits remix echoey chimy synthy thing going on?? but its really a jam too. when the company joins in with the “oooo~shalala” i go BERSERK.....and there’s this suddenly punk rockish break in the middle of it. pretty great. what’s going on is that, as edgar and shelley are fleeing from Society into nature / the woods to reinvent their notions of humanity, the god of that sort of stuff Pan has shown up with an eden-esque panoply of animals to sing this song to set the mood. obviously.
D) WHATCHA WANNA DO: speaking of punk rockish...this is that? it’s a bit head-tiltingly jarring as its just this number in which one of the local teens who found edgar in the cave shows up to the parkers’ house where he’s currently caged and reacts to him in a Thematic Microcosm of what will be others’ reactions, aka to reflect a like, lack of inhibition re sex and mostly violence back at his feral nature and perceived inhumanity. one of the stranger numbers in a weird musical, but still a jam, see: punk rockish
E) A JOYFUL NOISE (REPRISE): end the musical here and everythings fine! just a real short one but a lot of fun because of what i just said. edgar goes to the local revival to beg the townspeople’s and preacher’s acceptance, and they give it to him. yet more musical style variety and a shoutout to this exchange
F) THREE BEDROOM HOUSE: send the musical in a different direction in the middle of this and everything could still be fine. this is a fun boppish number kinda reflecting elements of “show you a thing or two” musically, which i suppose is since its again mostly about meredith having decided that they can make this mess of a situation work. that mess being that, edgar Was accepted by the town but actually her husband killed a local teen and then showed up and blamed it on edgar & implied the mysterious plague upon their cows was edgar’s fault too and edgar’s run off into the woods. then this one is followed by children, children. i could go in order but its chaos rules only!!! the amount of fun energy in this song is frankly great and its like hell yeah meredith!!!!! hell yeah hock this stupid ring!!! kill your husband!! or whatever. js
G) CHRISTIAN CHARITY: god this one is fun idk......also self explanatory imo. local teens have found a cave cryptid, now the sheriff has him, he’s dragged him into the house where the local vet lives and is just p much casually dumping said cryptid on them, which is funny. there’s Musical Themes here repeated w some of the townspeople’s numbers & set up for comfort and joy....what really gets me is the sheriff’s part that starts abt a minute into the number where it’s like, this really neat almost-lilting musical phrase in the key of i don’t know, but its cool. i like it
H) INSIDE YOUR HEART: man, this one’s got this like, p simple musical Theme in there that’s just like, that’s all you need really. sort of like, the classic ballad duet type of song now. but also sort of cutting its own drama, b/c the musicals like, tragicomic and all. like edgar has this whole swelling “oh god this curséd existence you have to leave me” declaration and then immediately you get shelley’s matter of fact “...no.” even tho its a bit Meta Humorous like that, frankly its still a pretty great straightforward and sweet number which im sure a lot of musicàl love songs Wish they could be, which is just made more Smh by the fact that a) it’s about shelley trying to convince edgar its okay to drink her blood and b) because right after it ends meredith shows up to belatedly inform them that they’re half siblings. shits a wild ride.
I) A HOME FOR YOU: careening back to the beginning....this one is also less like, oh shit im gonna dance along, more of a subdued and quiet number, but its a nice solo of meredith’s and p sweet but not in a way like Inside Your Heart where its gonna get immediately wrecked. instead its one of the more grounded songs where she’s just telling the feral bat teen now in her house that maybe he can like, belong somewhere. it also has the Additional Depth not yet revealed in the plot that meredith is aware that edgar is her own child whom she had previously presumed dead. and this song is also Significant in that it’s Reprised when edgar realizes he might actually be fully human (he’s not) and is eager to go to the town’s upcoming revival and win their acceptance; and its Musical Theme is briefly reprised in “apology to a cow” when edgar is at the total opposite end of things, having been turned on by the town thx to the betrayal of his evil stepdad, and then having his and shelley’s attempt to forsake the need for social acceptance in the first place Also Wrecked by their mom telling them she’s their mom, so then he’s just mad at everything and murders a cow b/c he feels the only thing left is to embrace their idea of him as a killer monster, and he Reprises the a home for you theme as he swears to kill both meredith and dr parker, which he doesn’t, although they do Die around him. whoops. wanna @ will roland and be like “hey can you sing this one single line from Apology For A Cow?? cuz its rly cool and honestly a lot of these songs make me sure that wroland’s version of this material what with his voice and acting and how dramatically that production seemed to treat the outlandishness in general all means i’d fucking go ballistic and i wanna hear ‘this face will be the last thing that you ever see’ cuz that key change and that like, rise and fall at the end,,,,OOF,,,”
J) I IMAGINE YOU’RE UPSET: just round it off by slapping this climactic song right down. it’s a lot. dramatic again but also kinda fun...ish......i mean its the “everythings gone to shit and lets bring everyone together for peak disaster” so how much fun can be had? yet the quick exchange of “i smell [...] her sweat” “oh my god” whole town: “JESUS!!” and the sheriff singing “im sorry your life’s a sham” like hfvlmao thanks dude. but there’s all the clashes of characters’ built-up emotions and edgar is over here covered in blood and demanding to be killed while the town is like YEAH but all meredith’s lines are especially bittersweet and honestly like its a weird absurd story obviously and we’re all here to be ourselves and have fun but the story does make me bummed cuz of thinking about it all as “okay, yeah, but if you treat it earnestly,,,,Sad” like man you hearken back to three bedroom house and how meredith is determined to see it all be okay and really like just wants to live with her kids somewhere safe and NOT with her crap husband who’s been ruining everything the whole time for once. and then she’s here caught between the final confrontation of the Dramatic Foils that are edgar and dr parker and in general everything is a bit too late. ugh. lot of Dramatic Exchanges here and musical theme reprises!! that’s the good shit. and then the song ends on dr parker’s sort of ominous yet resigned-ish “are you hungry edgar” (shoutout to comfort and joy!!) after which he cuts his own throat, and, just like in comfort and joy, (and sort of like just prior to comfort and joy, when edgar reflexively defended meredith from dr parkers Violent Behavior) when he presents edgar w the fresh blood edgar automatically Attacks, wherein dr parker takes the chance to stab him, and inadvertently stabs meredith when she tries to shield edgar, and they all three die w edgar bleeding-outly refuting his humanity to shelley, and then there’s the final number where everyone’s like wow that was some shit. but ACTUALLY there is also this one specific detail i’d be desperate to see from the nyu steinhardt version, which is that after they all die and there’s that Breathless Moment, the Man From The Institute who the sheriff had called earlier to deal with edgar Rushes In and sort of beholds the whole town gathered staring at these three bodies and maybe a cow’s head off to the side, and one of the townspeople just goes “...you’re late.” and i am so certain that this line is HghhfGH-wheeze-laugh worthy; but the performance i saw they did NOT do the timing right!!! they said it like right off whereas what you need to do is hold the pause at least three full seconds!! and then go: You’re Late. i’m adamant about this. so much of Landing The Delivery is timing!! anyways. god. press f. anyways. it’s now 9 am. thanks and good morning. basically saying that the whole soundtrack is basically pretty great and really will roland has doomed me to actually be invested in this weird story, b/c its the ol magical realism comedic-framed wild obviously-that-would-never-happen plot, but, still, you’ve got this teen trying his best and it COULD all be fine actually but it all goes to shit b/c nobody killed dr parker in time really. well i’d just like to conclude by saying it’s raining and that’s great b/c i love when it’s raining
#long post ///#but a great and essential post //:/#february 2011 nyu steinhardt players club bat boy production starring will roland#like i WISH bc i wish we had that productions versions of all these songs!!! and the whole thing rly!!!! help me william spinnato!!!!
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[NEWS] 170825 Billboard: “How EXO's 'The War' Came Together: A Song-By-Song Breakdown With the Band, Its Producers & More”
A behind-the-scenes look at what went into making summer's hottest K-pop album.
From the frenetic synths of “Going Crazy” to the dreamlike melodies of “Walk on Memories,” EXO's latest album, The War, held nothing back from fans. Pulling inspiration from funk, reggae, EDM, trap and more, then weaving it all together through top-notch production, it proved a logical progression in their sonic journey and a summer-friendly successor to the group's darker previous album, Ex'Act.
With The War, EXO topped Billboard's World Albums chart for two consecutive weeks and went on to sell over 1 million copies globally, proving that the EXO-L fandom is sticking around for the boy band's evolution.
Learn what went into the hottest K-pop album of the summer from the members themselves and some of the producers behind its hottest tracks.
“The Eve”
Mike Woods: I was one of the producers on “The Eve” which was originally titled “Black Dress.” I wrote it alongside Kevin White, Andrew Bazzi and Henry Lau. Originally the song was for Henry Lau's project, but we all felt that it going to EXO would be best for everyone as it was a perfect record for them. The sound came about from us wanting something sexy and melodic, but also performance driven. We wanted to paint a dark and mysterious vibe, hence the title “Black Dress.” We wrote the song during a writing camp for SM [Entertainment] -- we basically write one to two songs a day for about 10 days and see what we come up with. “The Eve” came about on the fourth day of the camp and only took us one day to complete, from conception of music and lyrics to the final composition. We recorded the demo for the song the same day of conception.
“Ko Ko Bop”
Styalz Fuego: I went out to Seoul early November last year. It was maybe 10 of us ... and basically we were all put in the the SM studios for a couple of weeks. It was my first time out there. [You're] basically hearing a quick [overview] of the whole scene and everything that's going on in K-pop and then you're put in the rooms every day to just write songs. “Ko Ko Bop” was maybe the fourth of fifth day in. The first couple of days I was trying to get a hang of [it.] I listened to a lot of K-pop, but still, it's a different scene to write a song [for] because it's so much more complex. [K-pop songs] have so many more moving components to them, than say, if you're out in L.A. writing, trying to make things very simple and trying to get to the core of the lyric and have the beat as simple as possible.
I kinda knew as soon as we'd done the song and we played it back for everyone, just from the response we got to the song it was gonna be something, but I had no idea it'd be [EXO's]. Going into writing that song, it was basically to do something with the reggae feel, that was the main thing we were aiming for. It took a whole different direction with the crazy drop section after the chorus. We went into this doing a reggae-pop song and it transformed into what it is.
I don't think it was ever for EXO -- I think it was more for a female group. Shaylen [Carroll, co-producer] did the demo. When they did the playback for everyone at SM, [we thought] they would essentially understand this is for one of the girl groups. A girl is singing it and it's in the range of what the girls can sing. The song was actually in a higher key -- I think three semitones higher -- so it was more fitted for a female [group] originally.
But I guess it worked out well because we had a few of our voices in the song spread out, so I guess when they started picking where the song could go, it made sense for EXO because there are so many different sections vocally.
Shaylen Carroll: I wrote the lyrics and melodies with Tay Jasper, then I sang the demo. It's a “feel good” type of track, so the melodies came easily. Styalz's stuff is easy to write to. When I was recording some melody ideas I kept on singing nonsense phrases and one was “Shimmy shimmy Ko Ko Bop,” which we all thought was super quirky and catchy. So we built off that and turned it into something real. The song is about not worrying about things... Sometimes you just gotta go with the flow! Don't worry about the haters.
Jared Cotter, Shaylen's manager: [SM Entertainment] let us know it was being considered for a girl group.
Carroll: [I] definitely never thought it would get flipped to EXO, but obviously we are thrilled it did. We [knew] it was special when we finished it. I am really glad it found the home that it did.
Chen: [The members and I] wrote the lyrics separately and worked on putting the lyrics together for the song afterwards. We worked on the song using a special method, where we gathered all three of our lyrics for the song and selected which lyrics would suit the song the best. I don't think I have any regrets or wish that it could have better since it's the best result produced through all the effort that our members and other various writers have put into the process. Through the lyrics, I wanted “Ko Ko Bop” to have people shake off all their stress and enjoy themselves just as who they are.
Baekhyun: I felt that a lot of our fans were unable to fully enjoy our concerts or performances because they're conscious of what others would think. Since “Ko Ko Bop” is a reggae and EDM genre and it's easy to groove to, I wanted my lyrics to have people to become more carefree, release their stress and dance away with the music.
“What U Do?”
Ronny Svendsen: The song was written in Seoul last December. We went over to Korea to do a camp for SM with our, at the time, new publishing company called Ekko Music Rights. We tried to create a song that would be danceable and organic sounding with emphasis on real instruments -- bass, guitar, piano. The song was really based around the guitars and a simple chord progression. Sound-wise we had a reference from another boy band of SM Entertainment's called NCT, which we originally aimed for: danceable, but not “synthy.”
“Forever”
Greg Bonnick of LDN NOISE: This was written in Seoul with Kenzie and Adrian McKinnon. We knew the vibe was perfect for EXO so we worked on it for about a week on and off to get it right, trying different chords and toplines. The intro part was initially the chorus. We thought, “Great, we nailed it,” but once we listened back, it needed to go up another gear. We then added the extra section, which is now the chorus, and it came to life and made it so much bigger.
To be honest, we wanted to make a “Monster” 2.0 but still be different and bigger, you know? We always have fun when we can mix hard hip-hop verses with a bright chorus, and for a group like EXO, it gives it the perfect balance.
We wanted to make a statement: this song, this album, it's EXO forever. We feel really connected to this group and the fans so it's important we got it right, and the feedback has been amazing, so we are very happy.
“Touch It”
Denzil Remedios: From what I recall, “Touch It” came to Ryan [Jhun]'s hands first. He got the song originally from the Jackie Boyz [Carlos and Steven Battey] and the Fliptonez. I think they sent it to him while we were still in Korea and this was actually more than a year ago now, maybe close to almost two years ago when they sent that record, and it just kinda connected right away. We heard what it could be -- it already sounded like the guts of a smash was there, at least something we could put into a big group's hands. From there, Ryan and I did what we normally do, which is pick it apart and say, “Hey, what parts could get stronger? What could we do extra with the production to pump it a little bit more?” That's how we got the record, and then we just worked on all those elements over probably months back and forth.
“Touch It,” when we first heard it, already had such a non-today-ish vibe -- a classic vibe. It's not like the everyday pop EDM electronic-y sound that everyone's doing, which was refreshing when we first heard it. We were like, “Yo, this sounds like an old Justin Timberlake, almost Michael Jackson type of thing.” That old school vibe. We didn't wanna change the production or toplining to the point where it didn't sound like that anymore. When we were hearing it, sonically we were like, “Cool, this can be something that a group like EXO can take and use for the album and it doesn't sound like everything else they would normally be putting out.”
We were thinking stage performance at the time too. It's just a really fun track that doesn't have to be too serious -- you don't have to have crazy choreography where they drop from the top of the stadium.
Chen: My imagination provides the most inspiration for the lyrics. For “Touch It,” I played out the lyrics in my mind as if it is like a scene from a movie when writing it. After completing the draft, I worked on it by fixing awkward pronunciations by singing along the lyrics with the music. This helped me figure out more suitable and comfortable words that would enhance the groove when listening to the song.
“Chill”
Otha “Vakseen” Davis: We went to a song camp last year -- I wanna say it was November -- and it was probably the third camp my team has been on. Anytime we go to song camps at SM, they usually have a focus for us as far as what to work on and I know we worked on some things for EXO. For any creator, you always wanna try to make an EXO project. We fell in love with the vibe and the energy[of “Chill”] in the studio and SM's team felt the same way about the record. That happened to be one that everybody loved -- the guys loved it ultimately when they heard it.
There were certain elements like the breakdown in “Chill” that was added at the camp, but we came with the ideas already fleshed out. Ultimately, [the breakdown] was to serve as a dance breakdown. K-pop acts, especially EXO, are very performance-oriented, so you wanna have sections to show out. You wanna make something that feels good but still can allow them to move.
Chanyeol: Usually it's common to work on the lyrics based on a demo guide, but for the song “Chill” I worked on the lyrics with an empty track without demo lyrics. I think that’s part of the reason why the lyrics were able to come out pretty naturally.
“Walk on Memories”
Albi Albertsson: In late 2015, Wassily Gradovsky, who was actually interning for me as a producer at that time, brought an instrumental to me, which was later to become the instrumental for “Walk on Memories.” He had recorded a loop on the upright piano I have in my living room and incorporated it into this smooth R&B style beat.
I immediately liked the chord progression and the vibe of the track, so I sent it to Justin Reinstein, a writer from New York who we had just started working with at that time. He had a very smooth topline and vocal style that I thought would be perfect for this track, so he worked on the instrumental to craft the melodies.
From then on it was only finalizing the song: I added stacks of vocal harmonies and other details to make it work better for a group performance and make it more “K-pop,” added some vocal adlibs and then finalized the production by adding more instruments and finalizing the mix.
When I sent it to EXO's A&R, he immediately loved it but wanted a more distinct intro that reflected the fantasy theme he had in mind for the new album. So instead of the very basic intro the track originally had, I came up with a new, more mysterious and vibey intro, which is the intro you can hear in the final version of the song.
Wassily Gradovsky: The track was influenced by the genres of '90s R&B and jazz, reimagined with contemporary sounds. The arrangement of the piano chords -- being arpeggiated from bottom to the top -- was inspired by Justin Timberlake's “Cry Me A River,” but with a lighter and more positive tone. The slightly melancholic bridge, which is modulating into the final uplifting chorus, represents an uplifting, “happy ending” twist to the story.
“Going Crazy”
Otha “Vakseen” Davis: It was something that we did maybe around February of 2016. They loved it and for some reason could not find the right topline for it -- I think they had one originally and it didn't work at the end of the day. So they had this track, it was already placed on EXO and my team was presented with the opportunity to write to it. So I had one of my writers go in and do what he does. Funny enough, it was supposed to go on the Ex'Act album. It was something that they loved, but it didn't make sense then. We were persistent. Between myself and my business partner, we [would say], “Hey, what about this one? Don't forget this record!” Fast forward to now, the new album was coming out, [and] we were finally able to get them to connect. I think we had to make a couple of edits on it between that year or so passing just to make sure it was as fresh as possible.
The track's over a year old -- there's something so special about it because you drop it now, 2017, and it's still hot, still relevant. And that's the goal: create timeless music that can be good any time.
Credit: Billboard.
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Live Picks: 3/4
Sudan Archives
BY JORDAN MAINZER
Post-metal and post-punk highlight tonight’s live picks.
Cult of Luna, Emma Ruth Rundle, & Intronaut, House of Blues
Last year, Cult of Luna finally released their proper follow-up to 2013′s great Vertikal. Even longer and more epic, A Dawn to Fear is less concept-driven (I mean, you can’t get more concept-driven than mirroring Fritz Lang’s Metropolis) though no less cinematic and dark. Moments of quiet are just as important as the clashing metal dirges. Squeaky, foreboding droning guitars introduce “The Silent Man”, gorgeous, sliding guitars bringing it to its logical conclusion. Guitars buzz to silence at the end of “Lay Your Head To Rest”, contrasting the lawnmower pulls at the beginning. The longest track on the album, “Lights on the Hill”, is mostly creeping and quiet; “Nightwalkers”, which purportedly took forever to write, builds around a repeated main riff. I didn’t expect Cult of Luna to center around so many circular rhythms or doomy slow-burns, but they prove another side to themselves on A Dawn to Fear. “Sleep, sleep, sleep / Our eyes are shut, my hands are shaking / Bodies aching,” Johannes Persson sings on the lurking “We Feel the End”, finding the appropriate words of demise to match the structure of the songs.
We previewed Roadburn 2020 co-curator Emma Ruth Rundle’s set at Empty Bottle two years ago:
“Singer-songwriter, guitarist, and visual artist Emma Ruth Rundle has released her opus. On Dark Horses, inspired by her move to Louisville and musical and life partnership with Evan Patterson of Young Widows/Jaye Jayle (who we profiled earlier this year), is about anxiety, dealing with pain, and escaping trauma, but it’s also about being enveloped by love. Its songs are sludgy and slow-burning, anthemic and emotional all at once. The verses chug and the choruses crash, the core band of Patterson on guitar and piano, Todd Cook on bass, and Dylan Nadon on drums providing tension between darkness and light. At the center of it all is Rundle’s weary, empathetic voice, addressing a loved one’s trauma on ‘You Don’t Have To Cry’, the perfect complement to Patterson’s baritone on love duet 'Light Song'.”
Intronaut’s Kurt Ballou-produced sixth album Fluid Existential Inversions was released last Friday, five years after their previous record. Parts of it were written immediately after the release of 2015′s The Direction of Last Things, but the band took a break instead of rushing into recording it. Adding drummer Alex Rudinger and working again with producer Josh Newell and guitarist Ben Sharp on a couple songs (“The Cull”, “Sour Everythings”), the album is progressive and thoughtful, per usual. Instrumental opener “Procurement of the Victuals” ascends into chaotic drumming and riffing, laying the foundation for buoyant guitar-heavy songs like “Contrapasso” and the groovy “Check Your Misfortune”. Best, though, are the songs where guitarist/vocalist/lyricist David Timnick shines. “Tripolar” was inspired by a nightmare of his. “Pangloss”, referring to the character in Voltaire’s Candide, bemoans blind optimism. So does the anti-xenophobia anthem “Speaking of Orbs”; lead vocalist Sacha Dunable sings of the current world where “austerity bites...Luddites try as they might / Disconstents appear in every face / And dwell upon every tongue.” It’s not a political diatribe as much as a plea for a spiritual revolution. “We miss the forest for the trees,” he warns on “Sour Everythings”, arguing before on “Cubensis” that “shadow and substance / its depth knows no bounds,” that critical thinking is the one thing that can save us all.
Wire; Photo by Graham Duff
Sudan Archives, Sleeping Village
Sudan Archives’ Athena was our #8 album of last year:
“On her debut album Athena, violinist/singer Brittney Denise Parks–better known as Sudan Archives–directly explores and conveys her sexuality. Adapting church hymns and delivering classical music-inspired interludes, among honest songs of love and relationships, she manipulates the violin to convey all-encompassing emotions and physicality. 'I realize I lost my mind,' she sings on opener 'Did You Know?' next to staccato plucks. 'Confessions', on the contrary, features lush, weeping lines over a panning click beat. And violin textures provide even percussion on the resonant 'House of Open Tuning II'. The best songs, though, are confrontational. 'Do you wanna go play outside? Do you wanna go down?' Parks poses to a lover on 'Green Eyes', a song that begins stark with a low-mixed flange effect but eventually juxtaposes synth and violins for maximum depth. And on the finger-snapping 'Limitless', towards the end of the album, she addresses someone changed for the worse by an unhealthy relationship. 'What happened to your dreams? All you care about is things,' she asks, the alternate to this materialism the spirited love and lust she’s presented throughout Athena.”
Canadian hip hop duo Cartel Madras opens. The show is presented by WLUW.
Cult of Luna; Photo by Silvia Grav
Wire, Metro
British post-punk band Wire’s latest album Mind Hive succeeds, ironically, when it abandons post-punk. While sharp, staccato tracks like cynical opener “Be Like Them” and propulsive, synthy “Primed and Ready” are heavy, it’s the poppier and softer songs where Wire achieve something new. Take “Cactused”, which centers around a simple chorus but is nonetheless smartly catchy, the sky-high melodies of slow ballad “Unrepentant”, or the jangly sunny-to-dark “Off The Beach”. These are songs you wouldn’t have expected to hear on a Wire album in 2020 based on aesthetics alone. Juxtaposing lyrical dread with gorgeous hues and textures takes it to another level. On “Shadows”, Colin Newman sings about mass execution. More subtly, on the 8-minute, noisy, minimal “Hung”, he repeats a story too often heard on the news these days: “The jury was hung / In a moment of doubt / The damage was done / Trust was lost / And the wheels had spun”. On Mind Hive, misery comes in equal parts from societal structures and the chaos of living. Both appear on closer “Humming”. “Spy the Russians / Brushing scandals / Under oligarchy rugs,” sings Newman, topically, before Graham Lewis moves on to the random nature of trouble, independent of location. “I’ve been robbed in Roma,” he sings, “Gutted in Glasgow / From the Rockies to Chicago.” That’s one way to certainly relate.
Tonight, opening for the band is a member of Wire itself, spinning some tunes before they take the stage.
#live picks#cult of luna#emma ruth rundle#intronaut#house of blues#josh newell#sudan archives#sleeping village#wluw#wire#metro#fritz lang#cartel madras#vertikal#a dawn to fear#metropolis#johannes peterson#roadburn#roadburn festival#roadburn festival 2020#roadburn 2020#2020 roadburn festival#on dark horses#evan patterson#young widows#jaye jayle#todd cook#dylan nadon#kurt ballou#fluid existential inversions
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