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radramblog · 3 years

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Album Discussion: The Suburbs

Last week I felt like I didn’t have much time to pump an album review out. Was going to be in the lab all day, had work in the night, wanted to cover something quick. Then I finished really early, and had plenty of time in the afternoon to finish things off. This week I am in the same situation as far as scheduling, but someone’s bloody using equipment I need, so I’ve got a bit of extra time now. Time to talk about a >1hr 16 track record!

Also last week, I covered an album that I felt was more interesting from a meta level than it is musically. This week I’m talking about an album that I know nothing of the meta for.

The Suburbs I was reminded of recently. Mostly because I ran into the person who bought me the CD for the first time in like a year. I understand Arcade Fire have A Reputation as far as bands go, but the thing is: I have no idea what it is. I haven’t followed them at all, I don’t know whether they’re considered good or not, I haven’t even seen any of the music videos. I have never deliberately listened to an Arcade Fire song outside of this album.

But I do like this album. So.

Okay the one thing I do know is what the album is about. It’s about growing up in the suburbs of…I think Texas somewhere. I could look this up, but I refuse. The result of this is that the whole thing is intensely nostalgic, full of reminiscence and wistfulness, childhood innocence and what growing up is like. It’s one of those, you know? That does, however, make it fairly easy to like, because I think a lot of people are nostalgic for their childhoods.

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(yeah so the only music videos for this one are at the very start and very end. this is going to be a bit of a wall of words.)

This is characterised by the opening track, which is also the album’s title track: The Suburbs. It’s opening with a very folksy acoustic guitar and piano, and longing for that childhood is its modus operandi. It is, however, tinged by the anxieties of that era- growing up in the shadow of the cold war is going to leave an impact on anyone, and that cultural climate is also going to be running through the album. I think the most poignant section of the song lyrically is the start of the third verse- wishing to become a parent, so they can live vicariously through their child, show them their childhood world before the reality and the memory are completely lost. Okay that’s kinda heavy moving on- the track is pretty much built around that piano/acoustic bit, sounding relatively upbeat but coloured by these lonesome strings running through the background. It’s very effective of conveying the feeling- which is something that comes up quite a bit over the course of the album. The Suburbs is one of my favourite tracks on this album, and having it come right at the front makes it a very solid stage-setter.

Track two is Ready to Start, a faster, rockier track with this grimy bassline running through the verses contrasting the relatively bright instrumentation of the chorus. Considering the themes of the song, about working for the man, dude, and trying to escape that sort of life, it’s fairly fitting, though it’s a very different sort of nostalgia than the previous track. The instrumentation gives the whole thing this sense urgency, which is enhanced by some of the lyrics- I mean the track is called Ready to Start, isn’t it. I feel like this song would be great to try and hype yourself up for something you don’t really want to do, and I’m not sure how many songs we have specifically for that feeling.

Our next song is called Modern Man, and it feels like tumbling through a confusing life. God, I’m really getting pensive today. I feel like this is a lot because this album resonates a lot more emotionally for me than musically. I’m someone with a very weird sense of nostalgia, seeing as my childhood is pretty effectively defined into three segments, and I tend to fixate on one of them because it’s The Weird One. I’m nostalgic for high school which is when I was nostalgic for living abroad which is when I was nostalgic for when I still lived in Perth, which I do now, but I don’t know anyone from back then, so there’s a whole sense of longing, and it’s something I’ve always had, and that’s funky. And I’m still young, this isn’t going to change, it’s going to get worse, and eghhhh I’m supposed to be talking about music. I don’t really have much to say about Modern Man, I guess. It’s aight, the previous two were better, but here I am 800 words into an album discussion, and I’ve gone through all of 3 songs on a 16 track album, so maybe expect this to be a slog.

Rococo at least makes an impact real quick, with fuckin psychotic strings right at the start that’s kind of a shock to the system, especially compared to the relatively mild instrumentation the rest of the song provides. I think that’s a fairly appropriate tone for a song about looking at #thecoolkids, bemusement tinged with utter stark bewilderment. I think I’m too young to really get this, I guess. The song’s title regards an art movement that sounds extremely pretentious and fake deep, frankly, but considering the point of the song is that you don’t bloody know what Rococo means, that’s probably also fitting. I kinda wish the strings were more present throughout the song than they were, they add this existential dread to the track that I do think the later sections are missing somewhat.

Speaking of strings, Empty Room is up next, and it’s one of my favourite tracks as well. It opens with the strings but they’re fast and energetic and they’re going to blow right past you. I thought this track was in like the second half of the album, but nope, here it is. This is also where the album’s second vocalist takes the lead for a bit (she only does for like 3 scattered tracks) and she’s genuinely great here. The songs chugs like an old train, in a way that reminds me a lot of other songs; in particular, the bit between the chorus and second verse (and chorus/outro) reminds me a lot of Teach me About Dying by Holy Holy- I can’t unhear “teach me about dying, teach me about dying-dying” over that instrumental. Despite its desolate lyricism, this song’s energy is genuinely excellent, and it carries really well through the whole thing. I can’t think of a lot of songs that start on this sort of tempo and have it run the whole way through- not to keep referencing other songs, but it’s very Go with the Flow by Queens of the Stone Age. And that’s like in the top 3 QotSA songs for me, so.

It’s only just struck me how much track 6, City With no Children, reminds me of There There by Radiohead. Its mostly the percussion, I think. That’s fucking high praise, but it’s also about as far as the comparison goes. The song is pretty okay outside of that, this theme of a town left lifeless by the commercialism and capitalism of the ultra-rich and what that does to people. Maybe that’s just my reading of it, I do have a bias for this sort of thing, but I challenge you to find another one. Looking on Genius is cheating. I do like the riff the track is built around, but it gets old eventually, since it doesn’t develop at all as the track progresses- lost potential, I suppose.

The next song is the first part of the album’s first of two two-parters, Half Light I, because apparently this one is trying to be a long-running drama show now. With that said, this ballad is kinda gorgeous, and yet also kinda extremely boring? Which is a frustrating place to be, frankly. I get the feeling this is an opinion that would get me crucified, but aside from those strings what fuck, the song just isn’t doing anything for me. Maybe it’s because it’s kinda almost the halfway point and I’m just getting tired, maybe it’s just a generational and cultural divide between America/Australia and 90s-00s/00s-10s and I don’t Get It. But I’m afraid to say this one doesn’t land.

Half Light II (No Celebration), for the record, is one I enjoy much more. The instrumentation is a lot more fun, the tone is a lot more pained (and y’all know I love me some angst), as the rose-tinted lenses of the previous half are replaced by the jade of someone growing up through the GFC (and just, in general). Despite being a two-part song, the halves are very different, a deliberate dichotomy representing two facets of that same look backwards. I feel like this isn’t like other two-part songs I’ve heard before, in that you can kinda appreciate the halves separately- or, in my case, one and not the other.

Track 9, and welcome more officially to the Second Half, with Suburban War. It’s very much about reminiscing about old friends, and I think I’m going to wax personal for a bit, because I have very little to say about the song musically. I mentioned earlier that I basically don’t know anyone from back when I was a kid, and that’s kind of a product of what my childhood looked like. It’s hard to have a “childhood friend” that you still keep up with when you spend 5 extremely crucial, defining years somewhere away from where all of them are. When you leave at 7 years old and don’t come back until you’re almost a teenager. People change so quickly at that age, and I’m no exception, and so I just didn’t have the ability to relate to those same people that long afterwards, even if I could find them. I don’t resent the experience of growing up in such a fractured manner, but it means I have a fundamentally different experience to that discussed in this album. At the same time, as I listen to the closing moments of this song, with the line repeated, “All my old friends, they don’t know me now”, I can’t help but notice the similarity. The writer’s friends don’t know them because they’ve grown up, changed fundamentally as people, whereas I don’t know my old friends in a much more literal sense.

Our next song is a bit more fun. Month of May is unequivocally a rock song, as opposed to the..indie? folk? of most of its surrounds. Much like Empty Room, it’s driven by its tempo and instrumentation, but it’s a bit less dour than that one, almost a bit oldie in its rock and roll swagger. The song isn’t so utterly different that it wouldn’t fit on the album, the traces of The Suburbs still roll through the whole thing, the same guitar and percussion tones driven up a couple notches on the ol’ Mohs scale. Quite solid, ultimately, in my opinion.

Track 11 is Wasted Hours. I think it’s a kind of appropriate title, not because it’s a waste of time, but because it just kinda feels like a nothing song as part of the album. Like, it is unquestionably Part Of The Album, sonically and thematically, but I deadass would not notice if it was missing from the record. Sorry if this one is your favourite, but this one isn’t for me.

Deep Blue, on the other hand, is the song that got me into the album. There’s really something about this track, this sense of discomfort with the passage of time, that really wormed its way into me. It’s a shockingly cold song for this acoustic instrumentation that’s usually associated with quite the opposite. The piano feels desperate, the guitars grim, and there’s actual synths hiding in here- the song relates to technology, after all. It’s concern for the future of humanity, of the youth, and for, well, the Suburbs, through the lens of watching that match between chess Grandmaster Kasparov and the A.I. Deep Blue in 1996. Go watch the Down the Rabbit Hole on that if you haven’t already (and have a few hours), by the way, it’s utterly excellent.

I can’t really describe how Deep Blue makes me feel. There’s just something about it. I feel like if I hear this song again in 10 years, it would genuinely bring me to tears- it feels like loss in a way, and not the meme.

We Used to Wait has a fun instrumentation, glittery piano and that funky guitar noodling in the background, but unfortunately the chorus kinda lets it down for me. I just do not care for it, it’s really built on a vocal line that really doesn’t track for me personally. Like, I’m just young enough that a lot of the theme of the track is utterly unrelatable to me- I hail from an era that is post- the change the track is referring to. I’m focussing a lot this time around about how the songs make me feel personally, but I think that’s kind of the appropriate tack for this album in particular- like the idea of nostalgic reminiscence is so inexorably tied to your own personal experiences that there’s no way around those experiences clouding your perception of this album, and with that, how well you end up liking it. I bet this whole thing hits way harder for someone born in the same couple years as this band.

We’re up to the second two-parter, Sprawl I (Flatland), kind of the finale for the whole thing. I mean, in I’s case, it’s certainly that emotionally. The song is so utterly down, it’s lost in the urban sprawl the title and lyrics describe, and with that comes a very quiet track. Moody strings and guitar, that eventually build during the fourth verse (there is no chorus and they’re short). It does eventually resolve on a more positive note, at least, one that’s hopefully relatable to many of us- eventually, we find our emotional home is, and it’s often not where we grew up.

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Sprawl II (Mountains Beyond Mountains) is quite the different perspective. It’s got that other lead vocalist (I could look up her name but I won’t), it’s got a pulsing beat, and it has much more energy to work with. There are synths on this track that are absent from almost the entire rest of the album, but their introduction here, right at the end, is extremely cool. They’re cool, they’re clear, and they’re thematically relevant! I just really like the vibe of this track, and the way it trails off is similarly very good. Would recommend.

But of course there is one final track. Kind of. The Suburbs (continued) is basically a dark reprise of the album’s opener, shaded with more regret than that track is, more strings-y and whispered. It’s very short, but it acts as an appropriate closer for the whole thing.

And of course, that’s The Suburbs. In retrospect, I have a bit more mixed thoughts about this than I thought. There’s some really high highs, and some things that are just kind of bleh, but any album of this length is bound to have some misses. While I was browsing Genius to make sure I had the lyrics right for some tracks, I saw this record described as a Masterpiece, but I’m not sure that shoe fits- at least, not for me. The personal nature of this album, and anyone’s theoretical relationship with it, are such that I don’t think it can be given such a broad, universal title. I like the album as a whole quite a bit, but I personally wouldn’t call it a masterpiece.

It also doesn’t inspire me to go after more Arcade Fire. I’m actually perfectly content having them in my mind as this solitary piece, complete in its own way. Oh, they have like four other albums, but to me, Arcade Fire is The Suburbs. I don’t know why I’ve decided this, but it just works for me. So I’m sorry to any massive AF fans, but I did just dedicated 2.7k words to this album, so I’m sure you’re all satisfied.

God, next time I am going to have to cover something shorter, for my own sanity if nothing else.

#ramble #music #arcade fire #the suburbs #indie

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doomedandstoned · 3 years

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Doors To No Where Drop Rowdy Grunge-Punk-Desert Spinner ‘Darkness Falls’

~Doomed & Stoned Debuts~

Review by Billy Goate

Before us is the latest record from Santa Cruz heavies DOORS TO NO WHERE, a band new to these pages but which has played alongside many of our favorite West Coast acts, including KooK, Worship, and Year of the Cobra. As May is Mental Health Awareness month, it's good timing to be introduced to 'Darkness Falls' (2021). "This came to me during the pandemic," says frontman Marc Lewis. "I was watching so many folks struggling from all walks of life. Struggle isn’t biased -- it can hit anyone."

The album lyrically was a concept album in a way on the topic of mental health and its impact. I'm truly passionate about this and want it not to be such a taboo thing to talk about or seen as a sign of weakness.

Composed during the pandemic's most clutching moments and recorded with Aaron Cooper of Pylon Productions, the album features longtime collaborators Marc Lewis (guitar, vox), Marc Prefontaine (bass), and Pete Testorff (drums).

"Lie, Lie, Lie," dashes off to a furious Foo Fighters pace as we begin the record, with Pete Testorff's fervor and panache paving the way for Marc Lewis to deliver the three word chorus with all the snarl of a man who just wants to break his rusty chains and run.

"The riff in Lie, Lie, Lie," Marc tells Doomed & Stoned, "was written off something I heard Pete doing one night during sound check. He was playing his whole kit and then doing those snare hits you hear at the beginning of the song."

There's some nice give-and-take between Marc Lewis' guitar and Marc Prefontaine's bass that betwixt the introduction and chorus. I didn't pick it up at first listen, but it definitely grabbed me the next several spins through.

The grungy lyrics match the pissed-off spirit of the music, as the song mourns the loss of a common reference denominator for truth, warning that in its absence there is division, calamity, and ruin. "Together we rise, together we fall." Marc amplifies these powerful moments for us:

This track centers around the idea of false power and how someone could start to believe their own lies and self-hype, while others could fall for it. It can become a toxic relationship or even a cult kind of thing.

It may be hard to remember this far into this surreal "pause" in our world's history, but we too were afraid, alone, and angry for much of the pandemic's wake -- especially in those uncertain early moments when we followed the spread of this strange disease from China to Italy and onto the shores of Seattle and New York.

Darkness Falls by Doors To No Where

The aptly named "Fade" comes next, presenting at a doom's crawl with a sombre arpeggiated motif that summons the spirit of Trouble and Saint Vitus. Or you might hear a twisted, doomed-up variation of Metallica's "Enter The Sandman" in that low-end omen. "Fade was built of the rolling riff and bend," Marc explains. "I wanted it fat and raunchy." Certainly Pale Divine and Dirty Grave come to mind as I seek to match the mood with bands of similar spirit.

Then comes the pained chorus: "Run, run baby," which Marc illuminates in a very personal light:

"Fade" is about a friend of mine who is no longer with us. She was a larger than life personality that was loved by all. She played the personna and role of the happy-go-lucky person. She thought that's why people loved her and why they were friends. She was actually really struggling with mental health and depression though. She would behave in a way that she thought people wanted her to behave, while she was actually suffering. Those around her did not realize her pain or that their influence was making things worse. For years she would self-medicate with drugs and alcohol and that was celebrated by those around her.

I had started to see signs of her pain and tried to reach out. Unfortunately, I was too late. Any time anyone would reach out for help, she would disappear. The chorus line “disappearing one” is a reference to her pushing away and hiding from help. When she passed (sucide) everyone spoke of how special she was and how much they loved her. I was angry and sad. Why didn't more folks try and help her? My perspective was that coddling her addictions and self-medicated escape helped her to the grave.

The lyrics “We all love to see you fade, but don’t you go away” and “We all love to see you soar, but don’t you fade away” are references to the idea that sometimes humans are selfish in their relationships. Meaning that someone may give me the attention and things I need without me being aware of the sacrifices the other person is making.

"Worship The Machine" is another hefty doomer, with some wild guitar noodling contrasted against a rhythm that is quite machine-like as it dances stoically along its predestined chordal path. "Worship The Machine was written to be heavy and groovy," the band notes. "We wanted it to have a certain feel that pushed hard, while still having that chugging along kinda vibe." Closing in on the three-minute mark, Pete turns loose on the drums like a man possessed and the intensity continues when the rest of the band joins in, taking us right across the finish line to a crashing conclusion.

Darkness Falls by Doors To No Where

"I wanna live, but I'm dying" are words I can certainly relate to, not just in 2020, but in 2021, where the lingering impact of such a global (and personal) disruption is still very much a struggle on the daily. Turns out, my intuition was not far from the lyrical intent: "This song is all about the addiction to social media and how it corresponds with one's self esteem, mood, and self-worth. The social media world has become this giant machine and some are literally addicted to it. It creates this tool of status. I think it has truly impacted how people feel about themselves and others."

"Got Mine" is up next and this one is the most punkish track yet. It reminds me a lot of Soundgarden's periodic forays into punk, with songs like "Nazi Driver," "Never Named," and "Kickstand." On this point, Marc is clear: "Got Mine is influenced by the fact that I love old punk rock. I love the energy and the attitude. We wanted it to be loose but with tight stops and control." As to its meaning, we're told:

This song is about a revolution with the main character being selfish and self serving. So the character is done with the revolution or fight once their needs and wants are met. They are not really looking out for the cause or to tackle bigger issues for the good of humanity. They are actually looking for what is best for them. The chorus refers to a cold heart and lack of empathy.

Darkness Falls by Doors To No Where

All you lovers of southern sludge will dig "Policy" with its Goatsnake meets Acid Bath groove and sassy guitar lead. Speaking of Soundgarden, I really dig the Kim Thayilesque breakdown and stinging solo two-minutes in, though some may draw parallels with Crowbar here. These are all, of course, points of reference to try to do the near impossible: put the emotional experience of one listener (e.g. yours truly) into words. In the end, it's up to you to listen and find a favorite of your own. For my money, "Policy" is where it's at. Check out the fantastic dual guitar interplay two-and-a-half minutes in! Down, eat your heart out.

"Policy" is another riff I wrote to play off of a groove I heard Pete do during warm ups. It's got a swing to it but punches hard. Almost a heartbeat if you will. The solo was a direct result of playing the drums.

This track touches on letting toxic people go from your life. At what point do you stop investing in someone's negative energy? Fool me once, shame on you. Fool me twice, shame on me. It is the idea of surrounding yourself with people that want you to be the best version of yourself.

Up next: "Who Died", which summons all of the band's talents. Beginning with bursts of rapid-fire guitar picking set against a zombie-like beat and chorus, the song has something of a swampy feel. "I won't follow you!" Mr. Lewis shouts defiantly. I wasn't sure where the song would progress from there, and almost thought it was concluded at the false stop barely two-and-a-half minutes in. But the song rallies and the band pulls out its full force, with what sounds like the addition of the synth to present a layered effect that amplifies the intensity. I think this could have been developed even further, but sometimes brevity is the most appropriate option for a song.

"Who Died" was written off the chorus and intro. Zeppelin kinda riff. It's all about feel and giving the riffs room to breathe. This track is about the concept of thinking for yourself and not being an easy victim of mental or physical abuse.

The reverberating echoes of organ-sounding keyboards greet as "New Monster" takes its place next. We get our footing pretty quickly with a kind of "We Will Rock You" bass motif, but the song gets stranger and stranger as the seconds tick off. As with the previous track, there is a sudden atmospheric shift accompanied by furious strumming and ending on the swirling guitar theme we started with.

"Here we are, same ol' thing, round and round, 'ever again...I wanna run, I wanna breathe, I wanna live." This is, for me, perhaps the most relatable song on the record, lyrically speaking. This one especially gave off strong Prong vibes with its strong vocal lead, robust drumming, strong bass play, and industrial guitar feel.

"New Monster" was written in isolation and was originally an acoustic song. Even though the tempo is upbeat it's a dark and murky riff. We wanted the end out of the breakdown to hit hard. I imagine it building like a wave in the ocean.

Another track focusing on mental health with the idea of perseverance and to keep fighting, "New Monster" is the idea of not being perfect is actually perfect. We are all just floating on a giant rock in space and going through this thing called life together.

Darkness Falls by Doors To No Where

At last, we reach the record's namesake "Darkness Falls" -- the gem of this eight-pronged crown of thorns. I've always thought it was a great name. Darkness Falls is also the title of a 2003 movie about a malevolent tooth fairy, though I see no compelling reason to connect the film with either the song or record. I may not be too far off the mark, as Marc Lewis explains:

This concept came to me during the pandemic. I was watching so many folks struggling. All walks of life were struggling. Struggle isn’t biased and can hit anyone. “Please, please shine for me” and “Please, please glow again” reflect on how badly I wanted things to be better. For things to be ok. How I wanted those I love to be happy, safe and loved.

As it stands, Doors To No Where does a superior job of fleshing out the notion of "Darkness Falls" than previous contenders in any medium. The song stirs up a smokey, mysterious Near-Eastern ambience. Four minutes in and it's confirmed: there is indeed a synthesizer at play on Darkness Falls but its hypnotic effect in this song is interrupted by a screaming riffstorm and a gut full of churning bass. This song would make a great companion to "What The Hell Have I" by Alice in Chains. It also pairs well with Portland band A//TAR, whose metaphysical music we've also debuted in these pages.

"Darkness Falls" is special for another reason: Bob Balch of Fu Manchu and Big Scenic Nowhere was a guest on the album closer. "Him and I worked together on the track," Marc reflects. "He is a pro's pro and added so much to the vibe of the song. His playing and tone are phenomenal.

The new album Darkness Falls by Doors To No Where releases to the public on Friday, May 21st via Desert Records (pre-order here). This is its world premiere c/o Doomed and Stoned.

Give ear...

Doors To No Where · DARKNESS FALLS

Some Buzz

Featuring Marc Lewis (Guitars/Vocals), Pete Testorff (Drums) and Marc Prefontaine (Bass). Doors To No Where have been making music since 2010. Their sound is heavily influenced by Santa Cruz and the local beauty it offers along with the rich history of music. Doors To No Where have been called a stoner rock band but also touch on elements of punk, doom, metal and even grunge.

Growing up on a skateboard and surfing has played a huge part on the influences of the sounds Doors To No Where like to include.

The band has toured in and been honored to share the stage with bands like, Mondo Generator, Fatso Jetson, Fu Manchu, The Melvins and many more.

Doors To No Where will be releasing 'Darkness Falls' (2021) via Desert Records on May 21st 2021. The fourth studio album features eight tracks and a special guest appearance from Bob Balch (Fu Manchu). Staying true to their roots, 'Darkness Falls' is a combination of desert rock and punk influences. The band tracked and recorded the album in the unusual quarantine times of Covid-19.

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#D&S Debuts #Doors To No Where #Santa Cruz #California #grunge #desert rock #punk rock #heavy metal #Desert Records #D&S Reviews #Doomed and Stoned

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thebowerypresents · 3 years

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POSITIVE SPINS: NEW ARTISTS, NEW ALBUMS, AND NEW LIVE STREAMS THAT PUT OUR 2020 ON A BETTER TRACK

2020 proved to be one of the hardest years we have collectively gone through. While we didn’t have live music to lean on when times got tough, these are the albums, artists and livestreams that got us through the rough patches and will carry us into a brighter 2021.

Listen to our playlist of Positive Spins!

BEST NEW ARTISTS OF 2020 (in no particular order)

THICK

“Brooklyn-based pop-punk three-piece, THICK, are not afraid to say (or sing) what’s on everyone’s mind - with a fierceness and confidence I can only aspire to assume. Sticking it to the establishment is the name of their game - take “Mainsplain,” for instance - and they manage to do so with catchy chord progressions and an uplifting vigor. I can’t wait to see what’s next for the trio, and who else they’ll put in check.” - S. D.

Ela Minus

“Brooklyn-based techno-pop artist Ela Minus broke onto the scene this year with her debut album “ acts of rebellion.” The Colombian-born musician has a background in emo bands, is a trained jazz drummer, and she wrote, produced, engineered, and recorded the album on her own. “acts of rebellion” is moody and sultry, while still making you want to grab your friends and dance.” - K. C.

Arlo Parks

“Without even having released her debut album yet, Arlo Parks has made a name for herself this year. Singles released throughout the year, paired with 2019’s EP ‘Sophie’ and her slot as support on Hayley Williams’ (cancelled) tour have boosted Arlo to a new level this year, that we can only assume will continue to rise in 2021 when her debut album drops.” - K. C.

Beabadoobee

“Beabadoobee’s interesting name is only matched by her sound - bedroom-pop fused with nineties indie-rock, tinged with a tender, DIY aesthetic. Her track “If You Want To” will have you singing along, while her single “She Plays Bass” will take you back to your hormonal, vulnerable, teenage years met with sublime nostalgia. She’s without a doubt a silver lining in 2020.” - S. D.

BENEE

“I first saw Auckland’s BENEE at Rough Trade in October of last year - her sincere, to-the-point lyrics and quirky hooks instantly hooked me. You may know her track, “Supalonely,” which found popularity on TikTok during the height of lockdown, but BENEE’s sound isn’t limited to the confines of one social media trend. In her debut album released this year, BENEE displays an uncanny ability to tackle alt-rock, hip-hop and electro-pop all at the same time, in an unbothered, endearing way - making her a “one to watch” in 2020 and beyond.” - S. D.

Christian Lee Hutson

There isn’t a lack of acoustic singer-songwriters out there, but Christian Lee Hutson is an important new voice. Hutson first full length album, “Beginners,” released this year, has a warm and honest quality to it. The production is subtle (thanks to producer Phoebe Bridgers), and so perfectly complements a simple, acoustic narrative. The result is a soulful, beautiful, and special work of music. - S. D.

Do Nothing

“2020 newcomers out of Nottingham, UK, Do Nothing have already made a big splash in the post-punk world. Releasing their first EP, Zero Dollar Bill, earlier this year, the band have been compared to Idles and are setting out on a similar path of success. Upon first hearing their earlier single Lebron James, countless fans are sure to be sucked into the world of Do Nothing.” - K. C.

Kate Bollinger

“I first listened to Kate Bollinger when she released I Don’t Wanna Lose in 2019. I played the track Candy on repeat all year long. It has been so lovely to watch her grow into the artist she is today. This year she released an EP called A word becomes a sound, which quickly became one of my favorite releases of 2020. Her voice is so comforting. Whenever I listen, I feel like I am being coddled in a fluffy blanket with a cup of herbal tea and nothing could go wrong at that moment. I can’t wait to see what Kate has planned for 2021 and beyond!” - L. S.

SAULT

“After a year of intense racial unrest in the United States, SAULT’s importance is more significant now than ever. With themes focusing around the Black Lives matter movement, this mystery soul-funk group has become more than buzzy in the music scene, and has earned a spot on tons of year end lists.” - K. C.

Sorry

“London-based genre-defying band Sorry released their debut album ‘925’ this year, produced by James Dring (Gorillaz, Jamie T) which is already reason enough to pique the interest of most. The album certainly does not disappoint, with each song giving you a different taste of the many interesting sides of this up-and-coming group.” - K. C.

Honorable Mentions:

Gracie Abrams Remi Wolf Hailey Whitters KennyHoopla Jade Hairpins Jockstrap Model/Actriz Mild Orange Your Smith Neal Francis

BEST NEW ALBUMS OF 2020 (in no particular order)

Fiona Apple – Fetch the Bolt Cutters

“Fiona Apple is fearless in this album. The song structures and sounds take you on a listening experience I can only describe as emotional in the best way. Eight years of waiting was totally worth it.“ - S. D.

Fleet Foxes – Shore

“This album had been bright spot in a difficult year. St. Ann’s Church was the perfect location for their Colbert performance of Can I Believe You and the live stream will be the perfect holiday present. Ready to feel all the feels!” - K. A.

Khruangbin - Mordechai

“Khruangbin is one of my go-to bands, and “Mordechai” has been heavy in my rotation in 2020. It’s really a great album – I play it cover-to-cover and pairs well with a cocktail and cooking at home, infusing some needed spice and energy in what could otherwise be ‘just another night’ during a long, monotonous several months.” - C.M.

Moses Sumney - Græ

“The highly anticipated second album from Moses Sumney, shows us more of the highly personal, raw and emotionally moving music we have some to expect from him. The cluster of emotions that Moses works through with his beautifully unique voice in this 20 song album give us a look into the complicated mind of one of the most interesting artists of the last 5 years.” - K. C.

Perfume Genius – Set My Heart On Fire Immediately

“*Bill Hader’s Stefan voice* this album has everything! From the heavy and distorted bass on “Describe” to the melodic harp stringing of “Leave,” to the dance ballad (is that a thing?) “On The Floor,” Perfume Genius’ album Set My Heart on Fire Immediately really does have it all. Each song feels vastly different from the next in tone, instrumentation, and influence – yet they all come together so perfectly to make this stunning album, all while showcasing his vocal depth and range. There’s a reason he’s called Perfume *Genius*, and that is because Mike Hadreas can take familiar feelings and turn them into unconventional pop ballads that feel both relatable, but new and exciting at the same time.” - R. E.

Phoebe Bridgers – Punisher

“How does Phoebe do it? (a question I ask myself daily). I remember waking up on June 18 as if it was my birthday. Punisher is everything I hoped for and then some more. The last song on the album, “I know The End” concludes with a scream which is the perfect cherry on top to this masterpiece. This album is a rollercoaster of Phoebe’s emotions and I feel blessed to be along for the ride. It is relatable, heartfelt and honest. Thank you to Phoebe for this gift. The world will never be the same after this.” - L. S.

Rina Sawayama - SAWAYAMA

“SAWAYAMA is the early 2000s pop resurgence we didn’t know we needed, mixed with all the best parts of nu-metal. Rina Sawayama uses catchy pop hooks reminiscent of early Britney Spears, and pairs them with heavy guitar riffs to give us arguably the most fun album of 2020 that we cannot wait to experience live.” - K. C.

Tame Impala – The Slow Rush

Thundercat - It Is What It Is

“I love how this album embraces the darkness while managing to find the light in despair - it seems to acutely reflect the times we are in yet is simultaneously so personal to Bruner. The lyrics are set against a backdrop of funk, electronica, jazz, and soul, so there’s a little something for everybody.” - S. D.

Waxahatchee - Saint Cloud

“This album was released early in quarantine, and was the perfect musical escape during some of the toughest days. The imagery and reflection of the lyrics are why Saint Cloud tops my list of albums of 2020.” - J. F.

Honorable Mentions: The Beths – Jump Rope Gazers Fontaines DC - A Heros Dream Kevin Morby – Sundowner Jason Isbell & the 400 Unit – Reunions My Morning Jacket - The Waterfall II CHIKA - Industry Games Megan Thee Stallion - Suga Christian Lee Hutson- Beginners Idles- Ultra Mono Sturgill Simpson - Cuttin Grass Pup - This Place Sucks Ass Futurebirds- Teamwork Adrianne Lenker – Songs / Instrumentals Tom Misch, Yussef Dayes - What Kinda Music + the bonus tracks EP Some Kind Of Peace – Olafur Arnalds Tyler Bryant and the Shakedown - Pressure Josh Ritter - See Here, I Have Built You a Mansion Sahara Moon - Worthy Local H - Lifers Deep Purple - Whoosh! Indigo Girls Look Long Taylor Swift - folklore Against All Logic – 2017-2019

TOP TEN LIVESTREAMS 2020 (in no particular order)

Christine & The Queens (Live on KEXP at Home)

https://www.youtube.com/watch?v=3bavZe47um4

“Live on KEXP at Home” was home to some of my favorite quarantine livestreams, and this one did anything but disappoint. Not only does Chris, aka Christine & The Queens, perform, but interviews are woven throughout the livestream. The drama of her performances, juxtaposed with her witty and humorous banter with the interviewer was such a breath of fresh air. If you’re a fan of Chris, this is a must watch.“ - S. D.

Courtney Barnett and Lucius & Friends: Live From Our Lounge Rooms with Sheryl Crow, 3/25/20

https://www.youtube.com/watch?v=xbfRbw3o1jU

“This was a gift that kept on giving. The stream started off with Courtney Barnett and Lucius in matching pajamas. I truly thought it could not get any better but I was in for a treat! The stream included performances by Nathaniel Rateliff, Sheryl Crow, Sharon Van Etten, Waxahatchee, Kevin Morby and more. I can safely say this was my favorite live stream I watched in 2020.” - L. S.

Julien Baker, Themfest Instagram Livestream, 4/16/20

https://www.youtube.com/watch?v=tINSbY4wRjs

“Recorded for Themfest during the early days of quarantine, Julien Baker’s in-home livestream was a welcome respite from the Cuomo briefings and general despair of mid April. Just kidding, Julien Baker is the queen of Sad Shit and I certainly didn’t tune into this livestream expecting a mood boost. But if you subscribe to the “sad songs make me feel better” aesthetic purveyed by our sweet little siren, this moody, intimate shot-on-iphone set will scratch that itch. But let’s not fool ourselves, nothing will ever replace the feeling of holding your breath along with 1,799 others at Brooklyn Steel while JB rips your heart out, in a nice way.” - E. M.

Kurt Vile, Love From Philly Livestream, 5/3/20 (covers John Prine’s “Sam Stone” near the end)

https://www.youtube.com/watch?v=pjKG-7d5loY&feature=emb_logo - Jared

“Back in May, Kurt Vile took to his basement for a solo acoustic stream to benefit 30 Amp Circuit, a non-profit dedicated to support the health, wellness, and professional needs of Philadelphia-based musicians and artists. The intimate 3-song set rounded out with a special tribute to the late John Prine, as Kurt did his own rendition of “Sam Stone.”” - J. D.

Radiohead, In Rainbows - From The Basement, 6/4/20

https://www.youtube.com/watch?v=sWqDIZxO-nU

“This is the one die hard Radiohead fans have been waiting for. This session originally from 2008 existed in some pretty esoteric places and has been almost impossible to find – until now.” - G. A.

Sturgill Simpson, Live at The Ryman Auditorium, 6/5/20

https://www.youtube.com/watch?v=kO73im4J2sU

“2020 was supposed to be a banner year for Sturgill, until he got COVID-19 in April. He’s ok now, but something about this performance in the sacred church of country music The Ryman, hits different.” - G. A.

Haim - Women in Music PT. III Live Show, 6/25/20

https://www.youtube.com/watch?v=V_eJU6X3_jQ

“I love pretty much everything the Haim sisters do - so much so that I aspire to be a sister myself. When I was feeling those very familiar mid-pandemic blues, their “Women in Music PT III” livestream, which celebrated their new album of the same name, was the exact pick me up that I needed. For the first time since March, the 30 minute set made me feel as if I was at an intimate gathering - rather than behind a computer watching a YouTube video along with thousands of others. The stream will have you grooving, laughing, and you may even want to be a Haim sister yourself.” - S. D.

Nilufer Yanya, Boiler Room: Streaming From Isolation with Night Dreamer & Worldwide FM, 6/28/20

https://www.youtube.com/watch?v=kAaAicIJE7s

“Hauntingly beautiful and yet also somehow grounded, Nilufer Yanya’s June livestream was a special one to watch. It makes the case for how intimate an artist’s performance can be, even virtually.” - G. A.

Brittany Howard, Live From Ryman Auditorium, 10/17/20

https://www.youtube.com/watch?v=zLH59WLQbZo

“Watching Brittany Howard and her incredible band rip through a set on the Ryman stage like no one and everyone was watching all at once was cathartic. The combination of such a singular artist and historic venue hit a similar nerve to seeing an artist you’re excited about play a show in the flesh with people you love – not an easy feat!” - M. L.

Tkay Maidza - Live on KEXP at Home, 11/3/20

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

“13 minutes and 11 seconds of pure energy. This livestream is the moment we’ve all been waiting for, and, in my opinion, showcases Maidza as the star that she is. A must-watch if you’re looking for a refreshing and colorful approach to hip-hop.“ - S. D.

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ask-the-crimson-king · 4 years

Text

Music Shill of the Day

youtube

[YOU HAVE BEEN BAMBOOZLED IT’S AN ENTIRE FUCKING ALBUM THAT I’M SHILLING MOTHERFUCKERS.

This album is called Epitaph and it is by Pyramaze and GOOD FUCKING LORD do I love this.

It was released on November 13th, and I have been listening to it practically non-stop ever since. Since I’ve given it a few days to settle in my brain, I am now doing a full shill for it.

TL;DR SINCE I’M ADDING A CUT! Album slaps and y’all should go listen to it. It’s power metal (of course), very intense and emotional/uplifting sort. Best songs (in my opinion) are basically all of them. They are all good.

But if I did have to choose a top 3, it’d be:

>Steal My Crown >Final Hour >Particle or Indestructible

BUT ONTO the very rambly and more song-specific shilling.

I’m going to take this song-by-song and also link the full playlist here (youtube link, the album is also on spotify) because you can only have four videos per post and I don’t want to flood people with this thing.

Also fair disclaimer for people who understand music; I don’t, I just enjoy this shit enough to try and share it with others. So if this sounds like a five year old trying to explain music, I’m sorry. I just am like that.

Also also disclaimer that not all of the songs have lyrics that I can find, so for some (if I posted lyrics) they are what I can decipher.

ANYWAY.

Epitaph on its own is a very beautiful sounding instrumental. It feels quiet, a little somber, but also uplifting. After going through it a few times, I can hear bits and pieces of the other songs on the album, which is a neat touch. And then it ends and smoothly transitions into A Stroke of Magic. Now, I’ve already done a shill for A Stroke of Magic, however the song, even weeks later,

STILL SLAPS.

I love it. It is definitely a shift from Epitaph with its intensity, but it still carries over some of the instrumental into the song. I love the lyrics, I love the musicality of it, I love everything. It is one of the slower, more... forceful, if that makes any sense, songs on the album. It feels like something is slowly building and building as the song goes on, and this intensity carries into Steal My Crown.

Steal My Crown is an absolute banger. I love it for so many reasons. I love how it opens, I love its riffs, I love how the lyrics are sung, it just is an absolute BANGER of a song. I love it so very much. It is also a bit of a slower and forceful song, but it still has that more signature intensity I’ve come to associate with these guys.

The verses contrasting with how the chorus is sung is something I’m a sucker for. Especially with the guitars and synths hyping up the chorus and adding to this wonderful buildup. It makes the chorus sound even more powerful and amazing. I absolutely LOVE THIS SHIT. It is AMAZING.

Also love how the song ends. Just. It’s so good, guys. It’s so fucking good.

And now we come to Knights in Shining Armour.

Or, as I know it,

“THE D&D SONG!”

Knights in shining armour, On a quest for power, Taking charge of things you'll never know. To raise the name of glory, Is bloody mandatory, If you want to end this puppet show! Knights in shining armour, Embittered by the hour. Taking charge of things you'll never see. But the road is long and torturous, Paved with steady progress, To bring this villain to his knees!

Classic D&D, anyway. It has that jaunty adventurer feel to it, and the chorus is just. It’s D&D. It is simply D&D. It’s fucking great. It is a nice lil jaunt. Don’t have much more to say, it is just a very enjoyable listen.

Bird of Prey is next. It’s maybe the weakest song on the album. I do not hate it, nor do I dislike it greatly. This entire album is amazing and absolutely slaps. However this one just feels like a song I’d hear while watching a trailer for a romcom or some sort of superhero movie with a romance b-plot for the hero. It’s not as particularly amazing as the other songs, but it’s far from horrible. Nice lil song to listen to.

Your Last Call is interesting. It’s intro is a bit different, a bit choppy, but it still definitely works for the song. That choppiness carries over throughout the song and it fits. Very nice to listen to. This one is also a bit weak on the album, but it’s still a nice song.

AND now we come to Particle.

LET’S TALK ABOUT P A R T I C L E.

I'm chasing every particle of you, I don't wanna fight no more. But I can't believe it, I'm following your shadow's out the door. Calling out your name, but I know, I'm easily deceived and alone!

First off, love it. Love love love it. It has a similar style and feel to Steal My Crown with that intense opening and then a more subdued verse that begins to lead into a very powerful chorus. Plus it has that little choppiness in it.

The pre-chorus leading into the chorus just gets you ready for it to just... explode. AND IT FUCKIN DOES.

AND IT SLAPS.

And then it gives you some time to try and catch your breath before it punches you in the face again. But it’s still just... amazing. Wonderful.

Also the lyrical content is grand and I enjoy it immensely even if it is maybe potentially a love song? Not sure completely. Still love the song anyway.

I’m gonna be 100 with you okay.

Seeing this next song’s title I thought it may have been a cover.

It is not.

INDESTRUCTIBLE STILL FUCKING SLAPS SO DAMN HARD THOUGH.

I don’t know what we’re fighting for, Why are we trying to die so young? We are in-de, We are in-de. I don’t know what we’re fighting for, Why are we trying to die so young? We are in-de, -structible in life.

It is intense. It has that buildup. It has a great chorus. It has everything I praised the last few songs for.

Its pacing does feel a bit different to that of Particle or Steal my Crown, but that’s part of why I still think it slaps. It just. Slaps. THE WHOLE ALBUM FUCKING SLAPS OKAY-

Alright so Transcendence.

It has a guest singer! She has a nice voice to listen to. I’m not a fan of femenine singers personally, but I like her voice.

The song itself, it feels... more somber, more like the title track than some of the other songs. Of course it has that signature intensity, but it also feels just...

Can’t really describe it. Slower. Calmer. Like a bit of a breath, for the last leg of the journey.

Anyway.

Final Hour.

Uh.

Feels.

First of all, it just jumps right into the song. Not much of an intro before the lyrics begin. I like that. And the rythym of it is nice to listen to.

And then the chorus...

Oh honey.

In our final hour, When the times are rough. We were sworn together, Last chance -- it's now or never! In our final hour, For the greater good. One man, of fifty million, In our sense of brilliance.

(Don’t feel too confident about those last two lines to be honest).

Fuck man. I just. Undescribable love for this song. Its entire feel of it just makes me feel kinda sad. This has a similar feel to Heroes (of Dundee) by Gloryhammer. I can’t catch all of the lyrics, and I can very well be wrong, but it feels like it has a similar theme. Of a sort of inevitability that something huge is about to happen.

Warriors are about to go off and potentially sacrifice themselves to save lives.

A bit heavy, but I love it.

Anyway. From something a little heavy, we get to World Forgone.

Aka something even MORE heavy. If I’m reading the lyrics correctly, it’s a song referencing how the world is becoming polluted, and how it’s dying.

Mournful. Depressing. That somber feeling is back. Still a really good song.

And now.

We come to the end. A 12-minute song called The Time Traveler.

And GOOD FUCK I WOULD LOVE LYRICS BECAUSE THIS SOUNDS LIKE A REALLY COOL STORY IF I AM HEARING THIS CORRECTLY.

May do a Bonus Shill for this song in particular when the lyrics are released.

This song features two guests in it, and I will say the guest singer kinda reminded me of Fabio Lione. However I haven’t heard much of that guy’s stuff outside of the song he did with Ancient Bards.

(The guests are Lance & Matt King)

This is a very nice way to end the album. There’s talk of timelines, of maybe a sorcerer or warlock who is gaining power/succumbing to darkness. I say maybe cause THERE ARE NOT LYRICS OUT YET. I would LOVE them. I will do another shill when they come out.

SAME FOR THE OTHER SONGS WITHOUT LYRICS. Damn it.

Anyway, this is a very good song, of course it is. The pacing of it doesn’t make it feel like you’re listening for eternity, which is something I appreciate.

But I suppose that’s all I have to say. This post is long enough.

THIS ALBUM SLAPS. LISTEN TO IT. ITS GOOD.]

#music shill of the day #pyramaze #epitaph #fuck this album is so damn good

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soundrooms · 5 years

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Soundrs: DJ CYBERDAD

My name is John Verchot, I’ve released music under several names: J-chot as well as DJ CYBERDAD. Locally, I’m usually just billed as DJ Verchot. I feel like the first thing I should tell you about myself is that I have severe ADHD, which seems to be the single most consistent force guiding my art and existence. I often get distracted and always get ahead of myself when I try to explain things. DJ CYBERDAD started out as a funny pseudonym to release more profane songs that I didn’t want my son to hear, but changed into an outlet for my smoother dance jams as well as more introspective music.

What are your inspiration sources?

It varies from project to project. Often times with tracks, the inspiration to work on them comes in two or three different phases. Inspiration to create sounds is one thing, as inspiration to finish and structure tracks, create moods/themes, or even package them into a finished project, all feel like different driving forces/processes that need to happen in order for me to get anything done. However, whichever one of those forces I am able to utilize when I sit down at my laptop often seems to be beyond my control.

Most times I’ll hear a sound, loop or phrase, I’ll start to wonder what I can do with it, or how I can change and manipulate it. It might be the timbre of an old instructional video’s narrator, or an odd metallic sound I’ve managed to coax out of some equipment. Occasionally I’ll think of a concept, either of overall sound or thematic content and before I know it, I’ve got half a track planned out in my head. Many times I’ll hear other tracks or songs, and want to use just one part/concept/sound or re-do the whole track differently. With “Emotional in Destin”, I was trying to convey moods or feelings I felt during an unexpected trip to Florida in the middle of a crushing depression. It sounds bizarre, but I've never channeled personal experiences into my music before.

Overall what inspires me to create different sounds is the novelty of technology and bits and other people’s music.

What makes me want to sit down and make music is personal or professional success.

What inspires me to finish tracks and projects is the distant white noise of overwhelming anxiety and dread setting in as the ennui of the imminent collapse of western society fades giving way to the dark, almost imperceivable thrumming of the void drawing nearer, and is definitely getting louder. Your “time” is almost up John. Did you even do anything, or are you too skiddish and feeble of heart and head to make any clear decisions, impulsively flitting from one animal urge to another bad habit, clogging the chemical receptors of your brain for simple stupid pleasure. It’s night now and your eyes and fingers grow weary…

What was the question again?

Tell us something about your workflow.

Most times, it starts with just noodling around. Sometimes, it’s with synths and sequencers, either recording sounds or looping notes and tweaking/loading patches (virtual or real synths), sometimes I’m browsing potential sample material, but what happens next is the same regardless of how I’m making sounds or what I’m doing:

…I think hear something.

…And I STOP noodling. Basically, I either hear something I like, or I hit a riff or whatever and it’s like a tiny, tiny light bulb that blinks barely. Occasionally it’s like a hundred watt, and other ideas quickly fall into place. Most times, it’s a process of trial and error, but I’m making sure to document or isolate the little pieces that click and then attempt to refine or improve on those ideas. Ideas can quickly diverge, multiple sets with different names get saved, and I often jump around and get lost. I use color coding on clips and pieces in Ableton to help me sort those ideas. Some ideas form by running one sequence I’ve had already through a whole different synth/patch.

Very rarely, I’ll get a concrete idea while I’m driving, maybe I’ll make some notes on my phone (text to speech notes, voice recording).

When I get a spark that makes me imagine a full concept (“Charles Nelson Riley”, or that “My P**sy tastes like Pepsi Cola” remix for example), the track is formed VERY quickly (four to eight hours working time) and I finish the mix, structure, everything. This is rare, but these tracks are almost always my better material.

The next step is always the same: Let the track “cool-off”. Leave it alone. Do something else for a few days, or weeks… or in some cases, years… Then I’ll fuck around with it even more, or move on to:

STRUCTURE & MIXING:

I look for/experiment with arrangements that compliment my DJ style, or allow someone to do a rough edit if they want, (breakdowns at the end), or I’ll load a track that I like to DJ that’s similar enough and I will STRAIGHT UP copy the song structure in terms of intro, (drums or keys?) repeating bits, breakdowns, outros… Most times I fuck with it until it sounds okay, which is kinda bad because I end up drastically overscrutinizing it.

When it comes to mixing, something that I should do more often but don’t is load a reference track (someone else’s track) and try to get my mix to sound like theirs… This technique REALLY helps stop “nasty surprises” when you listen to it on a big system, or in the car.

Most of the time, I’ve been tweaking the mix the entire time I’ve been working on the project.

TL;DR

The “Emotional in Destin” EP is almost entirely soft synths, but lately my flow is:

1. dick around on hardware

2. “oh that sounds good, let me make another sound to go with it” (see step 1)

3. record a few pieces to an Ableton project.

4. “I don't know what to do now.” …maybe mixing or structure…

…almost ALL THE TIME, however I jump around and do everything very non-linearly. Hardware helps me not spend so much time tweaking patches or EQ-ing a snare drum for an hour. Texture is SUPER important to me, so I’ll often get hung up on EQ and compression before I even start on structure or mixing.

How would creative rituals benefit your workflow?

The hardest part for me is ALWAYS ALWAYS ALWAYS getting started, or shifting gears from other activities (resting after work, reading tumblr, goofing off…) and going to sit down at my desk and start music stuff. I’m certain it’s an executive dysfunction thing. The less I think about doing it before I do it, the better.

Animal sacrifice SIGNIFICANTLY speeds things up. Try not to get blood on the gear/laptop, and make sure never to clean, but regularly sharpen the ceremonial dagger (VERY important).

How do you get in the zone?

I don’t really try…

As soon as I start to approach a task as “a thing” I get nervous and anxious. If I go “okay, I’ve got this task to complete…” my subconscious hijacks my higher functions to make me look at memes or tumblr for three hours instead of do what I “should” or “want”… The problem with me in the past has been how do I get OUT of the zone?

How do you start a track?

Oh jeez, I really jumped the shark with that question earlier, didn’t I? A technique I’ll sometimes employ is load up an old track, keep the drum sounds/patches but delete all the data, and make an entirely different genre of track… or one that's very similar… That’s kind of a fun exercise if nothing else. Also it often winds up getting tweaked and adjusted to hell and back.

Do you have a special template?

Nope. I make TONS of drum, EQ, and effects presets though. And they all have terrible names like “gooddrums”, “$GOODrums” and such.

Even though I’ve started with carbon copies, they ALWAYS end up sounding completely different by the time I’m finished with the track, because I can’t leave em well enough alone.

What do you put on the master channel?

Sometimes EQ, but always a phat ass compressor (limiting). I’ve been thinking about investing in a nice non-free one lately, but for some reason I am not comfortable with purchasing software plugins… I also have learned recently, that I’ve been using compression on the individual tracks way too much… which makes final-mixing a pain in the ass.

How do you arrange and finish a track?

DAMN IT. I really did go too hard with the first couple questions. The “finishing” of a track for me (arrangement, mixing) is usually done much later than the rest of the process. I try not to force stuff, but lately I’m realizing more and more that I need to not do this as much.

I can’t stress enough how using a reference track for structure or mixing can very often break up stagnation on a project.

How do you deal with unfinished projects?

Several ways. The first step is to judge an old file and see if it's worth finishing. If there is ANYTHING of creative/sonic merit, I put it in a folder with the other “sketches and ideas” (project graveyard). Otherwise, I have been trying to delete the “junk” projects… this can make it easier to focus. Another thing I often do is to make presets/patches/Ableton instruments from the parts I like, then drop it in a folder called “meh”. Or I drop them into several categorical folders, i.e.: “uncircumcised electro bangers”, “abrasive techno”.

How do you store and organize your projects?

Aw jeez. Oh gosh-oh darn. (See above answer.)

How do you take care of studio ergonomics?

Trial and error, trial and error, trial and error. This year alone my studio has been restructured and moved about my downstairs room at least five times. I’ve finally settled on something that feels very useful and productive. I am also this way with my work station at my job. CHANGE IT UNTIL IT WORKS GREAT. This can also help with creative stagnation, or can trigger it, so be careful. I keep my “electronics laboratory” close at hand so that more of that tinkering can find it’s way into my music… no such luck, YET.

I’ve currently decorated my space with all the crap I’ve saved up over the years, that for some reason, I’ve looked at this and thought: “This makes me happy” …SUUURE, my studio now looks like a fourteen year old decorated it, but I gotta say, I feel pretty phenomenal. Soon I’m gonna try to put this “stars and space” wall paper on my ceiling… I’ll update with a photo when that’s done.

Also I would like to say:

Minimalist spaces and studios are bullshit, y’all look like sick baby birds in empty shoe-boxes.

I mean, NOBODY LIVES THAT WAY, right? Maybe some boring rich people do, but damn… I mean, I try to clean and stay organized… and it helps, but I also try not to get to hung up on it.

Tell us something about your daily routine, how is your day structured, how do you make room for creativity?

**LOUD SUCKING SOUND THROUGH TEETH** I don't… at least, not very well at all… but I’m working on that.

I am not the person you should ask this question, because THIS RIGHT HERE is the BANE of my existence…

Share a quick producing tip.

MAN, I’ve already dropped like… seven, but okay, here goes:

BY ANY MEANS NECESSARY, FINISH THE TRACK. For me, this means ghetto-rigging, DIY, using the same goddamn audio interface from 2002 for f****ng fifteen YEARS… (recently fixed) don’t get hung up on “proper” ways, or ways that are outside your current means. Also, get a set of decent monitors… or use several pairs of headphones/speakers to double check mixes.

Recently, I’ve had less time, but a little bit of money, which is the opposite of how I’ve ALWAYS operated… it’s been difficult to unlearn “time consuming but cheap”. Also difficult not to impulse buy synths.

Making music with just a mouse and keyboard may be the least sexy thing ever… it works tho… cheap MIDI controllers CAN work faster however.

Share a link to an interesting website (doesn’t have to be music related).

My son just showed me this ➜ https://dddance.party/ and I have to say, this is an outstanding achievement of mankind.

List ten sounds you are hearing right this moment : )

Traffic outside my window, gentle hum of laptop cooling fan, dog snoring, fingers typing, birds chirping… that’s it.

John has a lo-fi house EP out on UltraBold Records as DJ CYBERDAD. It’s called ‘Emotional in Destin’. Stream it ➜ here, audio cassettes are available ➜ here.

Thanks John! If you want to get featured next, send a message here on tumblr or email [email protected].

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adelyn-talks-vgm · 5 years

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OST #4 - Wave Race 64

Wave Race 64 Developer: Nintendo EAD Publisher: Nintendo Composer: Kazumi Totaka Released September 27, 1996

playlist

wait totaka wrote this?!?! oh, we are in for a GOOD time...

(sorry this one is out so late, had some things come up the past couple days and couldn’t find the time for this! also be aware that as a result of being stretched out over a little less than a week, this post might be a bit all over the place, so sorry in advance!)

wave race 64 was the first game to come out after the launch titles in japan (and in the US), and was a pretty big hit all-around. i never played it myself, nor had i even heard the soundtrack before doing this, hence why i never realized that it was written by kazumi totaka, one of my favorite nintendo composers of the ‘90s. as such, i was very excited to take a dive into this to see whether it holds up to the standard of his other works. does it? let’s listen!

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here in the title theme, totaka provides us with a catchy and memorable melody line over this nice driving rock beat, with a cheerful chord progression to boot, and also presents to us what is all but a totaka staple: a recurring theme, a simple-but-effective way to brew a sense of familiarity within the soundtrack (and also a very easy way to save creative energy when writing!). this theme sees reuse in a number of other songs, including “options” and all of the “prize” songs (1st - 2nd - 3rd - 4th), and also to an extent the “score” music. the ending music also goes into this category, but i’ll hold onto that for the end, as is typical fashion for these posts.

what makes all these songs really cool is how much variety there is in all of their takes on a single melodic line - this can apply to any totaka soundtrack, really. take for example “options”: in contrast to the title theme’s rock beat, this one just goes straight bossa, with some nicely accented aux percussion, some very specific chord progressions, and that classic “bummmm-bum-bummmm-bum” bass that defines the genre. “score” is actually basically the same thing with more liberties taken on the melody to keep the piece short.

then we’ve got the “prize” songs, which have quickly become my favorite uses of this main theme. the “1st prize” song holds a lot in common with the source in terms of style but has not only a furiously slappin’ bass, but also takes some liberties in the chords to give it a different flavor of sound, and it’s just - MMMMm. love it.

“2nd prize” takes a completely different approach, with these very ‘80s-reminiscent disco-rock-type sound, with a driving bass, all kinds of guitars, and SO many synths. an oddly-fitting step down from 1st prize in terms of style.

“3rd prize” is also interesting, being disco again, but this time more disco than before, with a piano lead, an organ at points, and some good ol’ sine arpeggios hovering in the back, managing to be just a bit more mellow than 2nd prize.

“4th prize” is the only logical next step: a ballad. it’s got it all: rhodes outlining the somewhat sentimental chord progression, the bass playing 1-2 notes per measure, the drums consisting of a hi-hat and nothing else, and a nice piano to top it off. this whole piece is as laid back as it oughta be.

there’s actually a couple more i didn’t catch at first in the course themes, like “sunset bay” and to an extent “glacier coast”, and to a much greater extent “southern island”

now, with all this motific stuff outta the way, let’s get into the bulk of the music and take a look at some of the aforementioned course themes!

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this one just screams totaka, the guy just has such a distinct style to his work that i love oh so much. something about the way he writes melodies is just so good, and you already know how much i care about chords, this being no exception - totaka progressions are always real nice, more complex than average but still simple enough to fit good melodies.

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this next one of note, “milky lake” (also known as “drake lake” apparently), is also pretty cool, starting off with what seems like a 4/4 rhythm before immediately dipping into 6/8, a subversion of expectations that i can always appreciate. it’s a nice little song, kind of evokes the same “nintendo sports game music” feel that i mentioned back on the pilotwings post at points. good tune

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this one, “marine fortress”, is also pretty evocative of the totaka style in terms of melody, with that classic riff at around 5 seconds in (C Eb G Gb) and other variations thereof being particularly prevalent in totaka’s other work, especially in songs based around wario (1, 2, 3). it also has big slappy and you know how i feel about big slappy. this song is also a bit on the harder side of rock in terms of this game’s music, as is “port blue”, giving some nice contrast in style to the soundtrack overall

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some other songs of note: - “sunny beach” adopts a similar rock-style that many other pieces in this soundtrack do but still sounds pretty cool, also has big slappy - “twilight city” is a really cool mix of latin-type music and disco and i kinda love it, the beginning reminds me of earth wind & fire’s “september” (funny enough, it’s actually the 21st night of september as i’m posting this!) - “glacier coast” sounds like that kind of music that accompanies flying levels in platforming games, especially with those strings and flute in the beginning, but then it goes into some cool stuff with a sound that i universally recognize as the kirby bell sample. really cool sounding tune all around - the goal songs are pretty great too, with “1st goal” just being slap city, and having some really interesting musical content for being such a short loop. “2nd goal” is similarly a jam surprisingly, totaka really knows how to make small loops count. “3rd goal” is almost just a faster 2nd goal, and “4th goal” is STUPID laid back, all of them have a great sound to them.

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this final arrangement of the main theme ties things up pretty nicely, with some good ol’ melancholy progressions, but i wish it was as long as it made itself out to be in the beginning.

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as i’d stated before, i went into this with pretty high expectations on how this would sound knowing the composer. did this live up to those? i would say... yeah, a bit. it’s certainly a totaka soundtrack, with some good ol’ totaka tunes, although i feel like some tracks are less...memorable? mostly the course themes, which is funny because those don’t use the main theme as much, so they kind of outline totaka’s strengths in a way. who knows, though - my opinion of these songs has varied a lot over the course of the 5-6 days it took to write this, so even i’m not sure if i know completely what i’m talking about!

in the end, i’d say overall the soundtrack is very much worth a listen, but whether or not the tracks stick with you might be up to personal taste (or whether you’ve played the game before).

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thank you very much for reading! if you have any questions, feedback, or thoughts you’d like to share, send me a message and i’ll try to get to it as soon as i can. check back here next time for Mortal Kombat Trilogy!!

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RESULTS:

Top 3 Tracks: 1. 1st Goal (how did a loop manage to beat out 20+ other songs) 2. Twilight City 3. Glacier Coast

FINAL SCORE: 8.5/10

#vgm #video game music #nintendo 64 #N64 #n64 ost ratings #wave race 64 #kazumi totaka

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tassium · 5 years

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#TAYLOR SWIFT APPRECIATION LIFE

PART 2 - Fearless

(click here for part 1)

So. This was supposed to go up yesterday. But then work ate my soul. And THEN it was supposed to go up this morning.... and I slept half the day after how tired I was from work eating my soul.

So! My timeline is all sideways but I’m GOING TO MAKE THIS HAPPEN DANG IT.

Without further ado, let’s get into @taylorswift‘s sophomore album.

1. Fearless

This! Song! I love this this song so much, oh my gosh. It opens perfectly - that drum hit and then that iconic guitar riff, which bleeds into TWO lead guitar pieces and then her VOICE comes in and just. Aaaah, I am a heart-eyes emoji over this song, honestly. I love the way it builds, the way it goes from, like... yeah, all the instruments are involved in the first verse, but they kinda kick it up a notch for the turnaround into the second verse, and then... the chorus hits. The drum build into the first chorus is so fun, but it’s not my favorite one - that title goes to the drop at the end of the third verse. The drums behind “capture it, remember it” are the best thing e v e r.

This song for me is absolutely all about the instrumentation, if you couldn’t tell. I like the lyrical content, and I think Taylor delivers a great vocal performance, but the production overshadows all of that for me. This song is definitive dancing-around-my-bedroom countrypop for me, and I think it is the ideal way to kick off this album.

2. Fifteen

I have... kind of a love/hate relationship with this song. I always have, thought I have to stay I’m a LOT less bitter about it than I was when it first came out. I won’t go into the gory details of it, but suffice to say that 15 was the age when I kind of... self destructed a little (it was the Disorder finally rearing its ugly head) and I was super bitter about the idea that for some people being fifteen meant ‘feeling like there’s nothing to figure out’ and first dates and meeting new best friends when I was like. Literally falling apart at the seams.

BUT! Now that I’ve grown up and started to come into being A Person with a metric ton of perspective dumped on me along the way, I think this song is really cute and endearing and nostalgic for a life I didn’t have, but in a good way. ESPECIALLY is this true when I listen to “in your life you’ll do things greater than dating the football team” and remember that this album came out a year after Taylor won the horizon award (”definitely the highlight of her senior year” oh my god don’t get me started about that speech)

And you know what? Time really can heal most anything.

3. Love Story

This album is just packed with iconic guitar leads, and I love it to pieces. This track is another excellent example of Taylor’s habit of building a track from softness into something a little more intense. I love her vocals on the second verse especially (that little oh-oh! in the middle just fills me with an unexplained joy) and then... there’s the fiddle turnaround into the bridge, which. If you read part one of this series, you know I have an obsession with those. (And it comes back for the play down to the outro, which. yes, good, I’ll take it.)

I’m something of a Romeo and Juliet fanatic, so maybe that’s part of what draws me to this song, I like the idea of a happy ending to the concept - Marie Kondo says throw it out if it doesn’t bring you joy, so. You know.

4. Hey Stephen

*Dreamy sigh* god I love this song. It’s such a feel good jam, and there are parts of it that I just find delightful, even though objectively they would drive me crazy in another setting (that electronic church organ sound in the background is one of them). And then! Taylor is just! so cute! that GIGGLE at the end of the bridge. Gosh. Who legalized this?

I think my favorite vocal thing that Taylor does in this song is the last post-chorus that leads into the actual final chorus and the way she leans into it. And if I was pressed to a pick a favorite ‘ad-lib outro’ thing, it would be this one.

5. White Horse

This song is such an interesting track to have on the same album with Love Story - they’re just total opposites and I think it’s an excellent choice of alternate narratives. (And yes, I’m aware that Romeo and Juliet isn’t technically a fairytale, shhhh)

I don’t have particularly strong feelings about this song until the bridge, because I love the bridge so so much. Honestly this song feels like a more mature version of Should’ve Said No (and if you read the first part of this series you know how strongly I feel about that song so...) Because it has the same sort of “you say you’re sorry but it’s too late for that” feeling to it.

Overall this track is an excellent example of lyrical storytelling - especially that “small town there in my rearview mirror disappearing now” is such an evocative lyric. I don’t have hierarchies for any of Taylor’s albums, but if I tried, I think this track would settle comfortably in the upper middle.

6. You Belong With Me

I. Love. This. Song.

It wasn’t until this listening to the album, actually, that I realized how much of this album contains more mature versions of the messages from the first album. Like, tell me this song isn’t like a more assertive version of Invisible or Teardrops on my Guitar. This feels like Taylor looking back at those experiences and saying ‘hold up, i’m not letting this happen again, get BACK HERE and let me tell you how I feel!’

But. Listen. We need to talk about this music video. This music video is like the ultimate coming of age ten movie condensed into 4 minutes. Tell me I’m wrong.

Never in my life have I felt so connected to Taylor Swift than during that dancing-in-her-bedroom scene. that’s exactly the kind of shenanigans I STILL get up to to this day. (Also, I will fight anyone who says they don’t love the Junior Jewels shirt.) I vividly remember seeing this video for the first time and thinking that having the Other Girl played by a brunette version of Taylor was just. Brilliant. And of course we have the classic scene of the girl entering the school dance and stealing away the boy for the happy ever after - still not sure why he would have that piece of paper with him, so I’ll just chalk it up under suspension of disbelief.

...But, really, Taylor.... who holds books like that?

7. Breathe

This song fills me with such a melancholy feeling - not that I’m complaining, because I love this song to pieces. It’s permanently connected to one of my friends, because we recorded a cover video of this song at about 1am the night before I left the first time we met in person.

I love love love Colbie’s harmonies on this song - a whole lot better than how I felt about some of the male harmonies on the tracks from Taylor’s debut.

I don’t have a lot to say about this song, but that doesn’t mean I love it any less. I like the more stripped down quality to the song, even though it’s not really that stripped down - all the same pieces are there, it’s just all in how they’re applied.

8. Tell Me Why

Once again, what an arrangement! I love this song for the lyrical content, yes, but this is another song that I love for the instrumentation more than anything.

Speaking of the lyrical content, though, this song is a look at a surprisingly toxic sounding relationship for Taylor’s usual topics. A lot of the things about this track sound like classic abusive tactics - though I don’t think that’s exactly what she’s trying to portray. This song doesn’t even have to be about any kind romantic relationship in the first place. It could just as easily be about a toxic friendship (god knows I’ve had enough experience with that to know just how applicable this song’s lyrics are)

But to talk about the music as well, real quick, just. The fiddle opening!! and the drums!! and the tasteful small additions of steel guitar! and Just. so much about this track that I love. Is it just me or does it seem like this album has a much more driving backing track on most of the tracks than we saw on the self titled?

9. You’re Not Sorry

It’s fascinating to me that Taylor paired this song with the previous track for her album lineup - they’re very similar themes - but this song seems... angrier, almost. That’s not quite the word I’m going for, but I don’t know what word I AM going for, so it’ll have to do.

I just. need to talk about Taylor’s vocals on this song. This is another one I would love to hear Taylor perform with her current vocal abilities, because I feel like it would be absolutely outstanding. There are spots in this track (’tired of being last to know’ and ‘there’s nothing left to beg for’ in particularly) where she leans into them a little bit, but I feel like given just a little bit more, they could really knock it out of the park.

10. The Way I Loved You

I have... mixed feelings about this song. Don’t get me wrong, I don’t dislike this song, and I think it builds really beautifully, but... It’s just not one of my favorites. I just don’t have particularly strong feelings about this one either way. I’ll still sing along to it in the car just as intensely as to any of them, and there are moments of it that I like - the almost military beat in the second verse and her strident delivery of “he calls exactly when he says he will” is a very nice piece, but... overall, it’s just not my favorite.

11. Forever and Always

THIS SONG HOWEVER. heck man. I love this song. I will go ham for this song anytime any day. There are so many good choices in this track - the drumming is brilliant and I think Taylor’s vocals on this song are better here than on the previous track, which makes it kind of refreshing.

Favorite parts include the bassline in the first verse, the way everything drops out from behind “coming down to nothing” except for the drums, and the “you didn’t mean it baby, I don’t think so” instrumentation, which builds up into the solo so well - and then we get the bridge. which is. just. stunning. I have no other words for it.

I love this song!!!!

Bonus commentary from the platinum edition:

The piano version of this song is so much more heart wrenching than the standard version. Her delivery is so much softer (those soft high notes are my favorite), there’s a lot more hurt in her voice, and I love her harmonies over her own vocals. Beautiful. Especially the bridge, those harmonies and her delivery of those lines... I get chills every time.

And. Listen. It’s called the piano version, but the strings added onto the second half is such a good choice. A++

12. The Best Day

Okay, so. Listen. This song is absolutely every bit as saccharine as people say it is, but I really think it’s entirely a choice. From my perspective on it, it’s supposed to read as if it’s got the point of view of someone much younger than Taylor’s, what, 18 years at the time of release? I love the line “I’ve got my big coat on” because that’s SUCH a great choice for a line about a five year old.

Now I just. Need to talk about my FEELINGS about this for a second.

u g h god this song kills me every time. From hearing other people talk about this song, it seems like it doesn’t hit you as hard if you aren’t a daughter or if you don’t have a good relationship with your mom. I am privileged enough to have a great mom, just like it seems Taylor does, and so I can barely listen to this song without crying through half of it.

Then again, that might just have more to do with the fact that I’m a total crybaby.

13. Change

WHAT AN OPENING. I will never not love the way it just blazes into life from the word go and then goes a little softer for the verse, as if giving you a moment to breathe before it throws that chorus at you. There are some incredible examples of instrumentation choices in this song (it all comes back around to the drums for me, I don’t know what it is)

And then there’s that one note - which, comparatively speaking, isn’t really impressive, but it certainly blew me away the first time I heard it. The build-up to it is so well done, with the quiet bridge-y bit leading into the explosive drop into the full chorus and then that instrumental outro-- be still my heart.

Time for the bonus tracks! All six five of them. >.>

14. Jump Then Fall

I love this song. This is tied to a friend of mine as well, primarily because of the line “I realize your laugh is the best sound I have ever heard”, which is also my favorite line in this song.

There’s a quality to the instrumentation at the very beginning of the song that makes me nostalgic for the days of recording tracks off youtube and ending up with these horribly compressed versions of them - even when i’m listening to it on spotify part of me questions if I have a corrupted mp3.

I can’t not smile while I listen to this song, especially to the second verse - “I like the way you’re everything I ever wanted” is the cutest thing ever and if you disagree, get out of my face.

There’s something so youthful and fluttery and cute about this song, it makes me feel as if I really am the one with this unbearably huge crush on someone in the best shivery way possible.

15. Untouchable

I didn’t know until I was listening to @stateofswiftpod (and yes i’m going to continue repping them because. amazing.) that this track is a COVER. I was blown away because... okay. Listen. I looked up the original version and... Taylor worked magic with this track. The original really is just... an average to mediocre pop punk song, okay? It’s exactly the kind of vibe I’d normally be into but then it just. doesn’t hold me.

But Taylor’s version is just Stunning. Her vocal delivery is spot on, and the final chorus makes me so happy, with the alteration of the melody. Honestly, her mind. To think that she listened to the original song and heard the potential for this piece of musical art just blows me away.

16. Come In With The Rain

This isn’t one of my favorites - honestly I have no strong feelings about any of the remaining bonus tracks - but there is something about the message of this song that hooks me. The idea that you’ve been wishing and hoping and thinking about something so much for so long that you’re just. tired. Too tired to keep worrying about it, so you just leave the path for it open and let yourself focus on something else.

17. SuperStar

This song also kind of fascinates me. The concept of Taylor as the fan instead of the star, set at possibly the very last point in her life where she could realistically sing the bridge - “I’m invisible and everyone knows who you are” - is just... there’s something about it, you feel? It’s like a time capsule from that exact time of Taylor’s life, and it’s wild to think how many people feel like this about her now.

18. The Other Side of the Door

I’ve elected to ignore the obvious read of this song where it’s just. Young failure to communicate and unhealthy relationship dynamics.

Here’s my take on the song: It’s about that feeling where you want things to go like a 90s teen movie, but that ideal teenage experience isn’t real, it’s all fictionalized for those exact movies. And you know that’s the case, you know that it’s all too good to be true, but you’re still kinda salty about it.

Side note, I really like the delivery on the ending lines, with the way it kind of contrasts against the music behind it.

Roll credits, we’ve made it to the end of another album! I don’t know about you guys, but I need a break. So I’m gonna do that, and we’ll be back with another review after a word from our sponsors.

Next up: Speak Now

#taylor swift #fearless #album review #taylor swift appreciation life #Our Lady and Savior Taylor Swift

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thesassiestcolor · 6 years

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First impressions of V5 Soundtrack

No one asked, but you’re getting them anyway. I didn’t have any lyrics to go on (yeah I know they’re somewhere out there). I’ve listened to just the previews and these are pure, Songs Only impressions after one listen (I am also not music-theory smart in any way)

Ignite: One I was really excited for, I love Yang’s songs always, especially when they’re cocky as hell, and thisbhad the same energy. The weird jazzy trumpets were a surprise, and I don’t know if I like them or not, but they didn’t annoy me. Also YES Lamar Hall (I’m P sure it’s him), though I’ll need some time to figure out the lyrics. Loving all the allusions Of Yang becoming a maiden (My eyes of Fire, I’m something higher). It seems like it’s an entire song about just the moment in her character short (at first listen at least) which is kinda weird, it doesn’t seem like that big of a deal, but I love that it’s all about protecting her family, and your ass is gonna get kicked

The Triumph: This one is....good. The opening themes always seem to win me over in time (Let��s Just Live started out as my least favorite but the whole track fucking blew me away) so I was kind of expecting a lot. There were many Classic Jeff Williams guitar riffs, but they seemed the same thing over and over again? I did love the “This isn’t Destiny, our future is what we make it” or something like that, just spitting in Cinder/Salem’s faces. The chorus is fine, but I wanted some variation throughout the song, I guess I just wanted more, but it’ll probably grow on me like all the others. It’s very similar to Let’s Just Live’s whole ‘we’ve faced tragedy, now we have to move on’ but this time it does add ‘and we’re gonna WIN dammit’

All Things Must Die: Surprise, surprise, the emo one about the Branwen is my favorite!!! So far, at least, I’ve been looking forward to this since the SECOND I heard it during the season, and it delivered! I love the maiden theme being used in the beginning, it’s one of my favorite themes they use in the show, and it deserves to be here. I LOVE how slow it starts, kinda like a funeral song, and it when it returns to this piano-ballad kinda thing I loved it too. I thought it would escalate into the heavy chorus we hear in the show, so when it just jumped in it caught me off guard, I’ll see if I like it later on. I didn’t really expect anything else, and it kinda fits, but the lyrics aren’t that deep lmao. it’s literally just “you’re dying. Enjoy hell, you’re dead”. I’ll probably find something else in future listens (there will be many) bc leave it to me to overthink about Raven Branwen. I still don’t think Cinder’s totally dead tho lmao that’s a whole other issue this song is amazing

Path to Isolation: Trying to even listen to this was a train wreck, my headphones made it sound like a soupcan recording until I could fix them lmao. But I loved it in the trailer, I really wish the song was longer, we only get 1 more verse. And I guess that’s fine, it’s supposed be a .5 in Weiss’s story. And I do really like that at this point she’s totally lost, she hasn’t found even her coping mechanism yet, it’s great (not really) to see how just awful life was before the show came along. Some of the lyrics I couldn’t understand, the guitar kind of drowned them out, but I’m LIVING for “the joy that my heart used to know is alluding me”. Idk man I guess it’s even sadder to know Weiss USED to be happy in Atlas. But I loved it, at this point she was totally lost, the lyrics are great as always, Mirror Mirror trilogy (? Kinda) is still definitely my favorite series of songs

Smile: I am very conflicted about this one. Firstly, I don’t really care about Illia? There’s nothing wrong with her, I don’t really dislike anything, I was just never really interested, so I wasn’t looking forward to this, I didn’t expect anything and I’m a little confused. It definitely from POV of her parents, talking about how she behave in Atlas. At first I thought there was a brilliant underlying LGBT-relatable message (about being Faunus, you were born perfect, but people in power will judge you, you can hide until you think the time is right), and then sometimes it turns into this weird, scheming for revenge song??

And yeah, that really fits Illia, but coming from her parents it’s really jarring. Blake straight out says in the show her parents would not have wanted her to be hateful and bitter in the WF, so it really caught me off guard that half this song is about biding your time to get revenge?? Like kinda the whole point V5 is her leaving the WF?? Idk, maybe there something about being patient, and equality will come in time, and Illia turned it into this weird game of revenge, but I don’t know. It still a beautifully arranged song, I’m always down for Jeff adding his vocals to anything, and the jungle-y thing is cool. I’m just more than a little conflicted on this one’s message.

All That Matters: Alright everyone’s losing their shit over this one, it’s like BMBLB all over again but BS are just sadly in the corner. I wasn’t all excited this one, RWBY’s slow songs always seem to take forever for me to actually get into them. A Smooth jazz club sounding song definitely wasn’t what I was expecting from this, but the lyrics are definitely interesting. There’s a million posts about it already, but I’m always gonna love the line “the only thing I can count on is that I cannot count on you” like SHIT Blake’s got some making up to do damn. I knew Yang was at least a little bitter towards Blake leaving but if this song is really accurate to where the show’s going, Vol6 is gonna be tense

Not really gonna get in to This Time because it’s pretty straightforward and it’s been out for a while. If you’re BS shipper, do with that what you will, my personal thoughts is that it’s mostly about taking back the WF, that this time things will be different and for the better.

But I loved the soundtrack!! There’s stuff I really need time to settle on, or look in to, I’m glad we got Gold as an acoustic!! I was hoping for Sacrifice, but maybe in the future! My one minor gripe is that there isn’t really a Ruby song? Ignite is kind of about Ruby, but again it’s Yang’s song. Hopefully next Vol she’ll be more of the focus and soundtrack will reflect that! But I loved it!!

#thanks for coming to my ted talk #rwby #rwby5 #rwby soundtrack #yang xiao long #weiss schnee #raven branwen #ill find Gold acoustic at some point too #now to go to work and just think about this shit more!!#it’s me talking

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fantroll-purgatory · 6 years

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Phomet Burzum Review

Alternia

They’re they/them and where one of my original struggles was deciding whether they’re boy or girl, I think I’d rather keep it ambiguous. Not sure if the sprite helpfully evokes that. This is mainly playing into the idea that the Sabbatic goat possesses all sexual characteristics to be ‘both’ at once, and with how Norse Seidhrs (magic practitioners) were generally woman with magic being seen as a womanly thing. Despite this, Odin himself is shown to study and use Seidhr magic, so that’s fun.

I love that they’re nonbinary and tbh you don’t need justification for them to be nonbinary any more than you’d need justification for them to be a boy or girl. (Everyone please send us more nb trolls we have so few and I love them all dearly). I would…caution you about creating a nonbinary character using the reasoning that Baphomet has intersex characteristics, since those two things are neither synonymous nor even really related at all? I mean I love this androgynous kid and will die for them and will pour my heart and soul into the redesign in which I maintain their gender ambiguity but just. Y’know? And there’s still enough reasoning for them to be nb on the basis that subverting gender norms is very much a part of punk culture and that Seidhr does indeed have a murky history in terms of which gender “should” use it so it still holds if you need a narrative reason.

Name: Phomet Burzum

‘Phomet' is from a shortening of ‘Baphomet’ which is the goat-headed figure that has come to represent the Sabbatic Goat, tying to their symbol and minor Satanic themes.

Burzum is the word for ‘darkness’ in Black Speech from The Lord of the Rings series.

God I love that’s he’s a little bit similar to a troll I recently reviewed. Hecate Bafmet and Phomet Burzum: BFFs 4 LYFE (however short Phomet’s may be)! Skulking around in the dark! You’d better watch out, you’d better watch out, *you’d better watch out,* *YOU’D BETTER WATCH OUT*! These two unsavory characters are comiiiing to tooown.

Strife Specibus:Axekind for now mainly as a joke on an ‘axe’ as a guitar slang term. Could instead do ‘guitarkind’ and have it go into axes later a la Rose’s knitting needle kind acting as wands.

Fetch Modus: Cryptogram - Has to spell out words with musical notes. Probably gonna use the French method for simplicity.

Blood color: Rustblood - Blooooood. But no, they’re a rustblood kinda based off a concept I had. With the True Sign of Aries being a Time one, with the social pressures kinda forcing Time as a concept over the rust caste, I’m making a cult based off Death Metal aesthetics rather than juggalos. Some sort of redblood solidarity where they wear corpsepaint. It’s meant to be a kind of mirror to the Juggalo cult, who are mirthful and the highest land caste, whereas this Metalhead cult is more stoic, macabre and comprised of the lowest ladndwelling caste. Dunno.

I do know!!! That’s metal as FUCK. Also I’m DEF adding corpse paint to their sprite!!!

Symbol and meaning:It’s a goat head, referencing the Sabbatic goat.

As with the previous troll I reviewed, it reads well and matches Aries “sign language,” and I’ll see what I assign them after looking at their aspect and moon.

With that said, since I’ve now made a similar comment twice in a row I think it’s worth going back and establishing what exactly does make a sign fit its caste’s language in case anyone wants to do a fan sign beyond the extended zodiac that could still plausibly fit within canon…

Trolltag: Nothing yet, used to be ‘cantankerousGrendel’ but I’m not sure it’d fit them these days.

Given that you’ve worked them into a death cult, how about culminateGeneration? It also works with their Void aspect.

Quirk:They talk lyke thys tü be as BRÜTAL as possyble - They replace ‘I’ and the matching sounds with ‘y’ and replace ‘u’ and matching sounds with ü. This is meant to mimic the trends a lot of metal bands to to their names in order to look cooler.

hjfsdk;l when I said that with the umlauts it honest to god sounds like someone trying to do a goat imitation so PERF. Also brings to mind associations with Brütal Legend so I figure we’re gonna take this WAY over the top.

Special Abilities (if any):They’re a magic practitioner, and regularly communes with mysterious dark entites (Horroterrors) for song advice and inspiration. In return, their resulting music often carries a lot of eldritch effects to it, which Phomet doesn’t mind because it looks so BRUTAL.

Lusus: (I’m proud of this) Pentaram - It’s… a goat head with five spider legs. It’s species doesn’t live long, they can barely move around because they have five fucking legs to support a whole goat head. Not even big ones, they’re just about average. Phomet hates their lusus and thinks it’s completely lame. When it gets sprites and is this not bound to the cruel mistress of gravity, it looks WAY cooler. Mainly based on the Sabbatic goat again, this time with the goat-headed pentagram.

dhgsljk;lafjha;jeg I love them so much. They’re a Parentaram.

Personality: Honestly, this is kinda where I struggle the most. The most I can think of is Nathan Explosion from Metalocalypse. Their voice is a similar growly type.

The character you seem to have created with Phomet is one who is very attracted to the lük of things and not to the substance. I like that for a Void player! Their interests in stuff is initially superficial, ‘empty.’ This sets them up for a very interesting arc in which they will need to actually face up to what they’re doing, the good the bad and the ugly. Dig a little deeper into this theme! You can do a lot with it.

Interests: Magic, music (playing guitar, listening to bands, composing their own stuff, singing), occult studies, looking up brutal and gruesome things online (basically an average troll google), haircare.

Title: Knight of Void - Off the bat, I’m in the 'Knights are passive’ camp and that their class verb is 'Serve’. I often try and approach my Knight characters from different perspectives but they all more or less come to the same thing, so it’s cool.

(ʘ‿ʘ ) You have come to…a blog that does not actually subscribe to that verbiage so my advice from here on out may not apply…

Anyways, their interest and dabbling with dark, esoteric magic is a good link to Void in my opinion. Forbidden, unknowable things that are best left obfuscated. The Horrorterrors are very Void-coded, such as how people can interpret Rose’s Grimdark status as her acting as a Void player, as well as residing in the Furthest ring, furthest from the Light of prospit.

Phomet regularly communes and 'serves’ Horroterrors in the way similar to a Warlock from Dungeons and Dragons serves their patron. What Phomet gets out of this is some kickass riffs and lyrics whilst the HTs just get another emissary or plaything.

I…hm. I mean I think Knight of Void actually does apply here just not for the reasons that you do. Knights tend to be drowning in their aspect, and Phomet is definitely doing so here. They’re surrounded by secrets and horrorterrors and have almost no understanding of the depth of the forces with which they’ve involved themselves. Ideally, a Knight would grow to eventually wield the very things under which they’re being suffocated.

I’ve not really thought about personality in regards to this classpect, that’s what I’m struggling most with them.

Yeah, if we look at someone like a Dave or a Latula, Knights tend to come off as very superficially cool specifically because they don’t understand that they should be concerned by everything they’re overwhelmed with. I think you’re fine just making Phomet a punk #aesthetic kid like many of us were in middle school and letting them come into their own from there.

Land: Nada

Does this mean you didn’t assign one or that they don’t have one??? Because the latter would be really interesting if you want to give them no choice but to consort with horrorterrors; if they, for example, die before getting in and wake up on their moon after a kiss, they might find that their planet never manifested/was destroyed before they could enter.

Or, if you do ant them to have a planet, how about Land of Metal and Mirrors? It would fit their aesthetic really well and also be a sly dig at their own vanity, with mirrors that show warped reflections or aspects of themself that they don’t like. The way to reach the denizen would be to accept all reflections as true expressions of themself, allowing them to warp between mirrors (including one located at the heart of the planet, inaccesible by any natural means).

Dream Planet: I wanna say Derse, but Prospit would be a nice ironic fate for them.

I think this is a question of what you want to do with them. It’s not as simple as Prospit = nerdy goofballs and Derse = edgy coolkids, though that may be what someone gets if they initially saw the moons to which the kids were assigned. Vriska, one of Homestuck’s most famously murderous and grey-moral characters, is a Prospit player. This is because her character’s focus is on Destiny. She relies heavily on predestination and is all about living up to be the grand hero she knows she’s meant to be. If you want Phomet’s arc to be about breaking free of forces to which they’ve dedicated themself with little understanding, you’d go with Derse (which is my pick, personally, especially because it puts the horrorterrors right in their ear before they even get into the game). If you think that they have a destiny to fulfill (even a dark one like eventually becoming the horrorterrors’ permanent plaything), then you’ll wanna go with Prospit.

So. With A Void assignation and a Derse moon, we get Arittarius, The Sign of The Astronaut. And interesting pick, especially if we go with the concept that they don’t have a personal planet! So let’s move to the redesign!

So. You may have noticed that Phomet has undergone something of a transformation. Let’s go top to bottom on this.

Horns - I gave them a new set of horns to match their new symbol. We already have a troll with this symbol, but I didn’t want to repeat her horns on them and their new pair looks like the tops of eighth notes as a nod to their musical inclinations!

Hair - So the thing about death metal fashion is that the folks in it have great hair, but it’s not necessarily as neat as Phomet’s original style. Their hair also tends to be longer, and chin-length on a Homestuck sprite sometimes translates to ear-length in Hero Mode, so I really wanted to hit the length home. I pulled this straight from a fan-troll sprite sheet, then added some definition at the top. One of the little cowlicks got lost behind their horn, but I wanted there to be five directly surrounding their face to reference the pentagram.

Corpse paint - I pulled the colors directly off Gamzee’s face to further drive home the mirrored implications. I even mirrored Phomet’s own face paint to make it look a little like a Rorschach blot. Finally, I futzed with their mouth makeup until it kind of looked like the silhouette of a goat head?

Eyes - So part of maintaining an androgynous look is to make things a Little Unsure. Did I add eyelash definition to their eyes or did I just make them more diamond shaped? ¯\_(ツ)_/¯ Who knows. We’ve seen undereye makeup exactly ONCE on a troll but I liked how it made their bags stand out so I applied it over the corpsepaint.

Mouth - Hey :V Did you know goats don’t actually have upper teeth? That’s all just one gum, baby. I found this out while spriting Phomet’s mouth and now I have to live with that information and you do too. They have an underbite now, and just enough lip definition to make you cock your head. Is that lipstick? Are their lips just full? ¯\_(ツ)_/¯ ¯\_(ツ)_/¯ ¯\_(ツ)_/¯

Vest - I added some pockets to make them more utilitarian

Symbol - t b h this one just looks like a totally plausible variant of the symbol you already gave me.

Belt - It is. A SPIKE BELT.

Boots - constantly use fantrollartroom’s combat boot sprite???? MOI? Yes, yes I do, they have done a better job of spriting combat boots than I ever could and I love combat boots and they’re metal as hell so they get some.

So that concludes our review! Luv this scamp please get them a comb for me.

-TR

#ancientvacation #phomet burzum #phomet #burzum #rustblood #review #redesign #tr review #fantroll #submission

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doomandgloomfromthetomb · 6 years

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An Interview with Dan Bejar — 2004

Sunday interview! I remember feeling nervous about this one -- there weren’t a whole lot of interviews with him at the time and Bejar seemed kinda mysterious! But he was very friendly and receptive ... I still think Your Blues is one of the best Destroyer records. So there!

Under the ominous moniker Destroyer, Dan Bejar has released some of the most adventurous and iconoclastic indie rock of the past few years. Never content to settle on one particular sound (or backing band), Bejar's already impressive body of work displays an artist with a gift for infectious melodies, a unique lyrical voice, and a fearlessly experimental streak. Your Blues, the latest Destroyer release, sees Bejar flinging himself wholly into the alien world of Roland synthesizers, MIDI guitars, and highly orchestral song forms. It's almost the polar opposite of his previous record, the sprawling, messily brilliant This Night. But once the shock of this jarring sonic shift wears off, Your Blues reveals itself to be another idiosyncratic masterpiece. On the eve of a rare North American tour, Bejar talked about the genesis of the new album, among other topics.

I understand you just played SXSW? How'd that go?

Well, it was with the incarnation with the band that's playing songs off of Your Blues, which is basically this band Frog Eyes who have learned the songs. It was our second show ever, so keeping that in mind I thought it was really good. I just started practicing these songs in the last couple months, and we've got a little ways to go, a couple more songs to learn. We did one show in Vancouver just before we played SXSW.

So are there challenges in presenting these new songs in a live setting? The album certainly isn't a "rock band" type of record.

There's no challenge, because the idea of trying to replicate or even approximate what's on the record was the first thing that we threw out the window. I mean, on some songs the vocal melody is the same, the lyrics are the same, the chords generally stay the same, but they bear no resemblance whatsoever to what you might hear on the record. For the most part, it's a full-on rock band. I'm in the middle of it right now, so I feel like I can't quite describe what exactly is happening to the songs. And also, it's really being shaped by Carey [Mercer], who is the main guy in Frog Eyes.

How'd you hook up with Frog Eyes?

A few years back, the New Pornographers played a show in Victoria and [Mercer's] band at the time, Blue Pine opened up. I met him briefly then, and heard his record and was a big fan of it. Then he started this new band Frog Eyes, and when I moved back to Vancouver I went to go see them play. We corresponded a bit, and when it came time to figure out how to tour the record, Nic [Bragg], who played a real integral part of the This Night experience, had the crazy idea that using Frog Eyes might be an interesting way to decimate the songs in a cool manner. And he ended up being right.

I'd like to talk a bit about the new record. Obviously, the production and execution of Your Blues is radically different from This Night. Did you go into recording this new one thinking you wanted to do something completely different?

You know, it was an idea I had even when we were making This Night. I don't think it was purely reactionary to the last record. I liked the idea of actually sitting down and composing something. But the idea I had is actually a fair bit different than what came out. I wanted it to be along the lines of a weird, crooning record. Lots of orchestrations, though I had a feeling I'd have to go down the MIDI road, because I knew I wouldn't be preparing charts for an orchestra or anything like that. So yeah, the idea was growing for a while. That being said, I don't think it's something I'll ever do again. I'm pretty sure of that actually.

Was it a pleasurable experience to make it? I know you've worked in more "band" settings in the past.

Yeah, it was fun. And in some ways, it was kind of leisurely. In other ways, it was nerve-wracking. But the set up was pretty easy. You just pick up your MIDI guitar and plug it into the computer and you do your metal riffs and you punch in the 101 strings setting and there you go. But at the same time, I was questioning from beginning to end whether the whole thing was completely misguided. Like, was there some sort of strange death wish I had in making the record? And I still listen to it with a certain amount of trepidation. I think it came out way more palatable than I first thought it would be.

Did you know you could get a good sound out of all of these synthesizers? Or was it more of an experimental thing?

With the MIDI technology we were using, we really didn't want to court some kind of eighties nostalgia. We got the highest end sound module we could find. Hopefully the one that ["Late Show with David Letterman" band leader] Paul Schaffer uses or something like that. And I really did want to approximate the sound of strings, or the sound of a woodwind section as much as I could. And with the synth settings, I was thinking more along the lines of new age settings more the New Wave settings. But also, my ears are worse than most people's, so you could probably play me a fairly chintzy violin sample and I'd be like "Oh man, that sounds so great!" Meanwhile everyone else would just be rolling their eyes. Having heard the record a few times, I can see where people are hearing synths where I'm hearing strings. Maybe that kind of backfired a bit. But I always knew that would probably be the case, and I wasn't too concerned with it.

Are there any sonic touchstones for Your Blues? Any records that you used as reference points?

I've always been a big Scott Walker fan. And I've listened to certain Richard Harris records that Jimmy Webb did.

Are those spoken word records?

No… well, the way he sings, it could be debated [laughs]. He did try his hardest to infuse some sort of drunken melody into the thing. And I would listen to somebody like John Cale, who I've always really liked. Just the way he used classical instruments. He always ends up being a specter on whatever record I do.

Is there any reason you're drawn to his stuff?

I just really like his solo records. There's kind of like a marriage of this old world austerity with this unavoidable pop sensibility. I can't seem to shake that.

That makes sense actually. I hadn't thought of it before, but his early eighties stuff like Music For A New Society is kind of similar in tone to Your Blues.

Exactly. When I had the idea for the record I pictured it being way more desolate and kind of barren and brutal. But the songs that I brought to the table, for the most part, were just too busy. Too many major chords. Too wordy. So things changed.

Is that the case with most Destroyer records? Do you have ideas for them that change through out the recording process?

For the Thief and Streethawk records, we were essentially trying to put forth what the band ideally would sound like if we just walked into a room and played the songs. And that was always a bit of sleight of hand, because we were always a messed-up lineup. But [producer] John [Collin]'s pretty good at creating those kinds of illusions.

And with This Night, I just wanted to make a sprawling, fucked-up record. And that was easy - I just practiced with some people who I knew would be really good at that kind of thing. And we just totally messed up the songs and didn't practice much. I went in the studio and just threw stuff at them. Those records actually ended up pretty close to the way the initial idea of them was. While this one, because it had a definite conceptual basis, changed a bit. And also, I had no idea what it would be – I'd throw around the word "MIDI" and I just didn't know how it would work or what it would sound like. And John and Dave [Carswell], who were pretty integral in shaping the record, they'd never done anything like this either. I walked into the studio with the chords and the vocal melodies and the lyrics. The rest was just us sitting down and saying "Oh, well how about this here," and John coming in at the end of the day to edit it to make it sound… not completely embarrassing. Once in a while he'd have to say, "You know, maybe MIDI congas aren't a good idea." [Laughs]

So it wasn't a free for all. But I think it definitely came out sounding a lot more melodious than we were originally thinking. And that has a lot to do with Dave as well. Once you get him on a guitar -- even if it is a MIDI guitar – he's gonna come up with catchy parts.

You mentioned the "sonic" concept of the record, but I was wondering if you'd dare call Your Blues a "concept" record? I mean, is there a narrative going on in the lyrics?

No. Lyrically I've never approached having a concept. A theme, maybe in some ways. I've kind of dabbled and waltzed in and out of this idea of a record that addressed, I don't know what, some kind of abstract bankruptcy in underground music and culture [laughs]. But I wanted to get away from that as soon as I did it. But any conceptual basis for Your Blues is purely a musical idea.

I guess the reason I ask is that a lot of the tracks have this theatrical, dramatic feel to them. I can almost see them being sung on stage.

That's funny. I'm always hesitant to mention this, but a lot of the songs on Your Blues are to be used in a play.

No kidding! But that came after the fact?

No, that came before the fact. But I have a) no ability and b) no interest in writing narrative songs. So it wasn't like I sat down to write a libretto or something like that. It was more like, here's a bunch of songs, and maybe you can use them to color the play somehow and see if somehow a Destroyer song would make sense with someone other than me singing it. And also I was pretty adamant that I had this idea for making this record that some people might mistake as like "The Sound of Music" [laughs], and that in no way would that be the way I would envision the songs being played onstage. The songs that do get used will hopefully be really stripped down and just will shine some different light on the songs.

But anyway, I think there's always been a certain amount of theatricality, if that's the word you want to use, to Destroyer songs going way back. And the songs on Your Blues, if I look at them, don't seem that atypical from the rest of the stuff I've written.

Your lyrics have always been really strong and distinctive. Are there lyricists you admire?

Yeah, of course. Somewhere in the heart of me there lurks an indie fan boy, I think. There's always a couple songs off of a Smog record that I'll hear, I'll just shake my head and walk away from it. Just like, "This fucking guy." And then I'll wonder if you can really approach writing [those sorts of lyrics] without being some kind of sociopath. And there's stuff that I really love that most people don't associate being really lyrically based music. Like the Plush records or the Neil Hagerty records. There hasn't been anything in recent years that's really leapt out at me. Frog Eyes I think are really awesome. I like the Cass McCombs record, I think that's really good.

Do you consider your songs autobiographical, or confessional in any way?

I would never write something down just to confess it. Usually it's a pretty conscious effort to create something of aesthetic value. You know what I mean? I mean, my approach to language is not super conscious in that I sit down and have some over-arching idea that the language has to fit into. It's actually really instinctual. But the aesthetic is one of using language that just works. You write it down, and somehow it's just working for you. It's not what the words mean, but what they do, I guess. How the phrasing interacts with melody, and how meaning can change once you throw that in there. That being said, you could probably comb through my lyrics and find a handful of threads that would piece it all together.

One thing I think that makes your lyrics stand out is that often they're really funny. Not in a novelty sense, but more like Bob Dylan can be really funny.

Yeah! That's cool that you think that. No one has ever said that to me. That's really good. It's not something I'm striving for, but there will be times when I look at something [that I've written] and -- I won't laugh at loud -- but I think it's just… yeah, I'll use the word "funny." In the same way that like Leonard Cohen can be funny. And Dylan can be really funny. I think that any writing I really like walks the line between severity and playfulness.

#dan bejar #destroyer #new pornographers #sunday interview

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umusicians · 4 years

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UM Interview: Mike Robins

CCMA and JUNO Award-nominated artist Mike Robins is stepping out on his own. Mike Robins exploded on the country music scene in 2013 with his group Autumn Hill, achieving radio success, and being nominated for multiple awards including Canadian Country Music Awards and JUNO Awards. Following the success of Autumn Hill, Mike continued to grow working on a side project, East Adelaide. Last month, Mike released his debut single as a solo artist, called “Lightning Don’t Strike Twice”. His music showcases his soulful smooth vocals, raw emotion, and electrifying guitar work and continues to be deeply rooted in country music’s long tradition of storytelling.

Amandah Opoku sat down with Mike Robins to talk his new single “Lightning Don’t Strike Twice”, pursuing a solo music career and more!

Amandah Opoku: Mike, thank you for doing this interview today! Before we kick off please tell our readers about yourself and one new artist you've discovered recently. Mike Robins: I am a country singer, songwriter and guitarist. I am starting a solo project now after being in two country bands. I have a french bull dog named Maui and I am a big foodie. Lately I’ve been really loving the new Hardy record. The level of songwriting is absolutely amazing, I’ve really become such a fan.

AO: What inspired you to branch out and release music as a solo artist? MK: It’s something I’ve always wanted to do. I’ve always had this vision for a solo project and I have been writing music for it for a long time. It really just feels like the right time. I’m going all in and I could not be more excited about getting this next chapter out there.

AO: If you could use 3 words to describe your music, what words would you choose and why? MK: I guess I would have to say honest, relatable and energetic. I would say honest, because I really love writing songs with a great personal story to them. I think country music has always had this deep tradition of incredible story telling and I really try to do my best to continue that in my music, it’s what I love about country. Relatable, especially with Lightning Don’t Strike Twice. It’s got a Universal theme to it, telling that special person in your life that they are your “once in a lifetime” someone. Energetic because I really love playing live, I would say it’s my favourite thing to do. I really try to create music that will translate well on stage and make a great rocking show.

AO: As you pursue your career as a solo artist, what goals have you set for yourself? What do you hope to achieve within the next 5 years? MK: I would have to say I hope to be in a position where people have connected to my music and I am back playing on all the incredible festivals I got to play with the bands I have been in. Playing live really is my favourite and it would be a dream to play to large crowds and rock out with them again. There is no better feeling then standing up there and hearing an audience sing your lyrics back to you.

AO: What would you say is the biggest challenge you’ve experienced as you’ve pursued your music career? MK: I would have to say going through a vocal surgery and the recovery process, that was really a strange time. Having to be silent for quite a while, learning to sing again in a different way was extremely stressful. You’re not really sure what your voice is going to be like after that experience. I’m so lucky to have had a wonderful doctor and team work with me and I can say honestly I am singing better then ever.

AO: For anyone thinking of pursuing a career in music either as an artist, songwriter or even behind the scenes, what would your advice be to them? MK: I would say if it really is your passion and it’s something you just have to do, then put your all into it. Be prepared for the “no’s” but always push through. If there is no plan B then you have to make your plan a reality. It’s ok to dream so dream big and just go for it.

AO: You made your solo music debut with “Lightning Don’t Strike Twice” on October 2nd. What was the inspiration behind the song? MK: I was supposed to get married this past summer. With the pandemic happening it really through a wrench into those plans. While we were going through the process of postponing, I wanted to say something to my fiancee to let her know she is my “once in a lifetime”. I’d been writing all this new music and had the EP finished when my producer sent me this song and I just thought it was so perfect, it said everything I wanted to. It’s such a special one for us and I’m so pumped to share it. I know a lot of people are going through things like that now. I think with all the negativity and uncertainty in the world currently, a little bit of positivity is what we all need right now.

AO: Looking at the writing and recording process for “Lightning Don’t Strike Twice”, what was it like? Would you say it greatly differed from the writing and recording process you’d engage in for Autumn Hill and East Adelaide releases? MK: The writing process was very similar for this whole project. It usually started with a lyric idea or hook and then I find a guitar riff that excites me. I think starting with a strong lyric idea is something I try to do in order to tell that story but there really isn’t one way, music can totally come first and inspire the lyrics. Recording was very different this time though. The pandemic changed everything and this was the first time I wasn’t in a room with a band playing. I actually recorded all my parts on this single at home. There is this app that lets you stream in real time with no sound quality loss. So Dave my producer and I were working in two different countries as if we were in the same room. It was really kinda wild, it was the closest thing to normal but I would have to say I still love being in the studio working with people. You just get this inspiring vibe.

AO: “Lightning Don’t Strike Twice” can be described as the perfect wedding song. It really captures a type of love we’ve witnessed in movies and/or television shows. If you had the chance to hear this song in any romance movie, what movie would you choose and why? MK: LOL I love that, thanks. Yea I could see it as a wedding song absolutely. Hmmm this is a tough one, if I could see it in any movie I would have to say either Say Anything, I mean c’mon who doesn’t want John Cusack blasting their song through that boom box outside the girls window. I would of course also have to say The Notebook, such a classic, I think that is the epitome of romantic movies. Can’t you see it? “It wasn’t over, it still isn’t over” cue Lightning Don’t Strike Twice.

AO: Keeping in the theme of the story that “Lightning Don’t Strike Twice” captures, what’s one thing you’ve learned about love? MK: Wow, this is getting deep lol. I would have to say listening, trust, communication and patience are the most important things in a relationship. Also just realizing I’m usually wrong. My fiancée is a teacher so she is probably right…

AO: Following the release of “Lightning Don’t Strike Twice”, what can fans expect from you next? MK: This year is all about getting my new music out there. I have been writing for a long time and cannot wait to share all of these new songs. Along with the new music I have also created a ton of new content. I’d love to get back on stage as soon as possible. I am so excited about this next chapter.

AO: Mike, thank you for sitting down with me! Before we close this interview is there anything you want to say to your fans and our readers? MK: I want to say how grateful I am that people have made my music apart of their lives. You guys have really allowed me to turn my dream into reality. I just want to say thank you to everyone supporting my music, it is truly appreciated and I can’t wait till we are all together again rocking out at a show. See you guys soon!

Connect with Mike Robins on the following websites: https://twitter.com/mikerobinsmusic https://instagram.com/mikerobinsmusic

#Interviews #Amandah Opoku #Mike Robins #Autumn Hill #East Adelaide

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chorusfm · 6 years

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Alkaline Trio – Is This Thing Cursed?

This first impression was originally posted as a live blog for supporters in our forums on August 29th, 2018. I’ve decided to make it free to all users of the website. First impressions are meant to be quick, fun, initial impressions on an album or release as I listen to it for the first time. It’s a running commentary written while listening to an album — not a review. More like a diary of thoughts. This post has been lightly edited for structure and flow. I figured with the album coming out on Friday this was really the last time I had to try and get some early thoughts down on this album for everyone before you’ll be able to hear it. Hell, there’s always the chance this leaks while I’m typing this up. Then everyone can join in with me. At a high-level, this album works for me more than any of their albums have since Crimson. I’ve liked the stuff that followed, but it never really captured that same magic as their earlier work. I would find myself listening to them for a few weeks (with the exception of This Addiction, which never really grabbed me), but after that, when I wanted an Alkaline Trio fix, I’d go back to Crimson or something before it. That’s just how it played out for me. I can’t predict with certainty that this is going to be an album I come back to in the future, but there’s something about it that hits me just right and gives me that feeling. There’s an energy here, a feeling of immediacy that they touched on with My Shame is True, but feels much more rolled into a “classic” Alkaline Trio-sounding album. This urgency to the songs is really resonating with me at the moment. There’s some stuff I don’t love, and I’ll touch on that as I go through the album, but the good definitely outweighs the bad. As always, I reserve the right to change my mind in the future, this isn’t really a review as much as it is just me listening to the album, writing some thoughts down, and speaking off the cuff about what I like, don’t like, and the over all impression the album gives me. Feel free to jump in either nor or later with questions or anything you’d like to know more on, I can always expand and offer more thoughts and such. Is This Thing Cursed? 2:28pmThe album begins with three songs you all have probably heard by now. Which always makes something like this a little funny, because we’re waiting like 15 minutes until we get to some new material. So, I’m going to be brief on the first three for that reason. The main thing about this song is that I think it’s a really great opener for the album. Not only does it give you a feel for where the album as a whole is going, similar sounds/melodies/pacing, I think that it sets up the theme of the album (duh, it’s the title track) in a way that sets the mood for where we go from there. Blackbird 2:33pmWhen I first heard this song I was like “holy shit, yes, Alk3 are back,” and I really liked the energy it brought. It kinda reminded me of a more modern “Private Eye.” It made me remember that I loved this band in the early 2000s, and a little sad that I hadn’t spent as much time with them in the past 10 years as I maybe should had, or wanted to. With that said, I’ve now decided I think this isn’t one of my favorite songs on the album. I don’t dislike it, it’s just that we’re blessed with better. What this does do for those that have heard the album is give a good indication on the production style. The album has this raw feel, it gets a little muddy sometimes, but, to my ears, I like how it sounds. I think this is what a lot of people want a “rock” album to sound like in 2018. You hear the guitars. Vocals are turned up. It’s compressed, but in a familiar way, and there’s not a whole lot of extraneous stuff going on. Demon and Division 2:37pmThis is one of my favorites from the album. That melody excites me. I love that it walks between this little mid-tempo place and a killer chorus. It’s really right in line with the kinda music I want from this band. It’s dark and yet secretly really catchy. That’s the thing with Alkaline Trio, they go to some dark places, but they have to walk it in a way where it doesn’t feel so over the top that you roll your eyes. When they do that well, it’s what elevates them above all the copy-cats. The lyrics and how either of the two singers emotes is such a key ingredient to this band. Little Help 2:42pmThis is my least favorite song on the album. It reminds me of something that could have been on the previous album, with a fast punk-rock sort of sound. Throwback to the 80s and dive bars. But, if I had to cut one song, it would be this one. It doesn’t feel like it fits in with the rest of the album. It feels out of place to me on subsequent listens. I think that’s because I know what I’d consider “better” songs are coming. But, it may also be that the repeated refrain, “does anyone know where I can go get high?” — while catchy and very Social Distortion sounding — doesn’t do much for me. Dan sounds good though. I like Matt’s background vocals too. I like that the band lets both of them shine on this album. They’re used together in enough of the songs that for the first time I actually have trouble hearing/remembering/picking out who is singing what. It’s not as “here’s Dan’s song, and here’s Matt’s song” as it has been in the past. I like that. It leads to a really cohesive album in that regard. I Can’t Believe 2:46pmThat little rolling guitar and drum intro is just classic Trio to me. It reminds me of the first time I heard From Here to Infirmary, and it felt familiar, but in a new unique way. “I can’t believe, anything that you’re saying to me, I just can’t see how you ever dreamed this was for the best…” 2:50pm “I just don’t see how the fuck you could ever thing that I’d agree.” Heh. Some good Matt being Matt lyrics on this one. Earlier, after one listen to this album, I said that it felt like a pop-punk album for 30 year olds. To me that’s from something like this next stretch of songs. There’s an underlying pop-punk/rock sound to the music, but it’s got a clear bend away from what we’ve seen Sum 41, Blink, and Green Day do with their past few albums. “Nothing to see here, move along … nobody to hear your black swan song.” Sweet Vampires 2:59pmThis has become one of my stand-out favorites on the album. I could see it becoming one of my favorites in the band’s discography with time as well. To me, this is what I’ve wanted the band to play with more since Crimson. I wouldn’t call it an experimental song, but I would say that it gets to do more than a lot of the others. It opens with a nice little guitar riff. And the opening melody gets stuck in my head in the same way something like “This Could Be Love” becomes so damn hummable. “I was the live fast, car crash, Mulholland Drive, open the flood gates, this love hate(?) is making me cry, the tears feel the tug of the blood from your wrists that night. If we should live forever, like sweet vampires … ” 3:02pmThe bridge is great. Really love the use of vocals and the lyrics are pure spite. 3:05pm”If we should live forever, like sweet vampires/we could reign together, our own empire/now we should try to sever all our past ties.” I can picture this being sung by a lot of people in complete seriousness, and I kinda love it. That’s what I’m talking about when I talk about the Alkaline Trio melodrama, and the ability to use what some could call silly lyrics — we’re talking about vampires here — but when they wrap it in a catchy package and sing with sincerity, it works even when it probably shouldn’t. And that’s the definitive Alkaline Trio to me. Pale Blue Ribbon 3:06pmGreat gym song. Fast and a toe tapping ditty. Dan at the front again. 3:07pm”We’re supposed to bleed sometimes, we’ll make these scars together.” 3:08pmThis one goes by fast. Barely two minutes. Goodbye Fire Island 3:07pmI can’t hear this song and not think about the Fyre Festival. 3:08pmAnother song that gives me Good Mourning/Crimson vibes. Where they come in strong with the guitars, then pull back, just a little, to calmly deliver the lines. 3:10pm”Dowse my house in gasoline, strike a match and walk a…wayyyyy…yeah.” I love the little “hey yah” part in the chorus. Great chorus. “Ocean filled with plastic bottles … heyyyyyy yah … and tidal waves will wash us all away. Wash us all awayyyyyyy.” 3:11pm”Feed me pills and happy meals.” 3:12pmGood song is good. Stay 3:16pmThis is a slower, confessional, song. But, it’s also become one of my favorites. I wasn’t sure how I felt about it at first, but it grew on me more than almost any other. The main theme of the song makes me think of a few things in my personal life that I’m … well … I’m glad it doesn’t resonate on that level right now, that’s for sure. “We could never break up, so I’ll love you to death, the man I’ve become was so comfortably dumb.” 3:18pm”Let’s take another day to call it quits and walk away, let’s find some other time to break down.” 3:19pm(PSA: Leave bad and toxic relationships. Heh.) Heart Attacks 3:22pmSince the album leaked in the middle of this (man, what a weird prediction to have come true), I’m gonna speed through the next couple before I head to the gym, then I’ll come back and we can talk more about the album after people have spun it once or twice. This track reminds me of From Here to Infirmary. Worn So Thin 3:23pm I think this should have replaced “Little Help” earlier in the track listing. I think it works a whole lot better and fits the same vibe that that song was going for. Throw Me to the Lions 3:24pmThe kind of song that Alkaline Trio seems to be able to write in their sleep. They’ve done songs like this before. They’ve done a few better, quite a lot worse. Matt’s lyrics shine. Krystalline 3:26pmI think this is the best song on the record. I’ve fallen more for it every time I hear it. I think anyone that’s ever been in any kind of relationship can smile at this one. “Kissed away our memories, fucked away the pain, went out for some coffee, and then we did it all again.” 3:29pmThe track ends and we get some fun little noises to close out the album. There’s just something so simple about the song, and the relatable lyrics, that close off the album so perfectly. A perfectly relatable, sing-a-long-able, song. Can’t really ask for much more than that. 3:31pmAlkaline Trio are a band that I’ve always really liked, but never considered a “favorite.” They were a band I loved to listen to, really enjoyed their first batch of albums, but they never hit me in the same way as they did other fans. After Crimson I considered myself even more of just a casual fan. However, I have to say, I really like this album. It’s brought me back in and reminded me why I used to spend so many nights air-guitaring to “Stupid Kid.” Now that the album is out there, and will be in stores on Friday, I’m curious to read thoughts from other people. I wanna know what everyone thinks works and doesn’t work, favorite songs, and all that. 3:32pmI recommend giving this one at least 2-3 spins. It was that third spin for me, while on the treadmill, that everything clicked just right. That’s when I went from liking it to elevating it up with some of their best. --- Please consider supporting us so we can keep bringing you stories like this one. ◎ https://chorus.fm/review/first-impressions/alkaline-trio-is-this-thing-cursed-2/

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