#and i was doing a pop punk rendition of this song and it fit way too fucking well

[justsomeguycore]

this is fucking wrecking my shit

#i am stoned and i was singing taylor swift songs to myself in varying genres and voices as one does #and i was doing a pop punk rendition of this song and it fit way too fucking well #i knew there HAD to be a cover #and when i put this on it was fucking EXACTLY what was in my head #amazing moments. brought to you by weed #and taylor swift #like it or not #Spotify

[sugar-petals]

So Caro how do you like "butter"?? 😳🤔

i’ll be cranking out my media major, let's review butter stylistically. ✍️ in four aspects — sonically, visually, lyrically, and concept-wise.

sonically: 9/10. here’s an interesting comparison i found, this can be calculated by looking at the stats of a musical piece. if you want to do harmonic mixing with another bts song, seesaw (!) is the most similar to it. with the exception that it’s written in f minor but other than that, the bpm/energy/danceability is uncanny. mindboggling. in other words, two bts songs can have the same anatomy and be entirely different worlds. that’s seriously hard to pull off. talking genre, recalling that namjoon said it's a "super retro disco pop new age acoustic ballad", that description is right on 😂it gets very daft punk after 1:38, groovy, the production is quite proper. especially in the second half, it’s a firework and all transitions VERY well. what i liked less, the voices are quite meddled with and as last time, the pitch gets higher and higher so the baritones need more pressure on the voice to be heard (i salute taehyung, my mezzo would be breaking apart). it’s a miracle that rapline can handle these songs. they put a heavier bassline under yoongi’s and rm’s bars, and separated hoseok toward the end since his tone is higher so, i hear you, someone knows what they’re doing. as for the tenors, looking forward to the live rendition of the mixed register bits and the vocal runs. bts are stable like that and jk’s timbre carries the song effortlessly (as is everyone’s great english pronunciation, these guys work so hard) so they wouldn't need autotune, figure it's been added for artistic effect, the retro vibes. a bonus on the other hand, jin getting his lines, hell yes, the spotlight for him. and the arrangement of their parts in general is quite ingeniously done, that looks like the workings of namjoon’s giant brain.

visually: 9/10. the dancebreak being the highlight — this is the sexiest thing i've ever seen — we get to see some really fancy moves from everybody and the hairstyles are quite a feast. jimin and jk have been much-talked-about so i'll emphasize the extravagance of hobi's 2013 MAMA g-dragonesque neon yellow here. he’s the smooth like butter guy they’re talking about indeed, butter hair, butter attitude, butter on his plat! 😂it’s seriously good thinking to have one member embody the concept with a color so, pretty clever. making him stand out as the ending fairy and then blending in the butter logo is equally smart. they wanted to catch our eye, they achieved it. the couture: yep, fashion youtube will have a good time going through all the outfits. from tae's chanel earrings, jin’s skirt, to white suits to jackets over the shoulder. very stylish. someone put a lot of thought into it, and i'm a sucker for some gnc undertones so very cool stuff. the only (very trivial) minus i noticed, a lot of the tailoring does not exactl fit the boys’ bodies to a t, see jungkook’s or jin’s sleeves, though you can’t expect bts to have a tailor come in and fix so many outfits with so many comebacks at once. the dance, it's a compilation of many classic bts moves. i feel like it could be tiny bit more distinguished with a whopping new complex signature formation that bts is famous for in creating, then again the full dance practice isn't out and the head nodding part is quite a visual anchor. also: i noticed they put yoongi in front row a lot. someone’s shoulder is finally better again, we can prepare for some good stuff.

lyrically: 4/10. the song fulfills its function, it creates the mood, but i’m hard to please in that regard as mentioned before. why: time and again i realize that yoongi, rm, and pdogg spoil us with comforting or on-fire lyrics that hit home and are on brand. same idea as in dynamite here, we're hit with a lotta english catchphrases that we usually wouldn't hear from bangtan. it's party mode, it's the summer hit kinda writing, so yeah it does what it’s supposed to do anyway and anybody can sing along. it’s catchy and solid for sure. the 'smooth criminal/superstar/heartbreaker' idea is carried through as a red string so thematically, it's coherent at least. a lot of lines are downright hilarious with random analogies and i don't know if the writers are serious or not. they could go all the way to make it clearer that humor and braggadocio is the concept here, exaggerate it even more. you can’t always tell if it’s a parody of a ‘yeah i’m the man you all fall for me’ sentiment or if it’s 100% business. in some parts of the song it works, in others it makes less sense. where i’ve seen bts execute this well with their own writing is converse high, that’s the bar. it’s also a personal lesson for me since i write crack often, butter tells you where to put the punchlines and where to keep it neutral. a lot of it is all over the place. on the other hand, it fits right on the beat. and perfectly executed pop so i'm a bit torn. i like the ‘got that heat’ part they gave jimin. 'side step right left to my beat' is a good chorus entry as well. making light of it, every lyric works as a witty gif or tweet tagline and we'll be circulating these phrases to eternity. every line works as a good comeback in any situation of life. yoongi's verse legit made me giggle. TLDR: the lyrics are partially confusing but they blend with the music well. 

conceptually: 8/10. hit the bell for that black and white intro, that was a good idea, same with the latest teaser. and: range, darling. only in a bts video could a cotton candy jimin go from a mugshot to being the president to a basket ball court hero to going full saturday night fever to flexing his legs in less than three minutes. jokes aside: it all fits in the universe of boy with luv and dynamite so points for consistency. bts's directors have outlined a new style for sure. the worldbuilding could go even deeper, but lumpens did a good job giving us many different eye candy serves and an innovative theme that hasn’t been tackled before, k-pop and pancakes why not! there are less actual film sets (and the difference shows, e.g. in Fire or Daechwita it really gave it some oomph), but it's not really needed. butter has no requirement for an agust d-ish plotline with historical buildings and the members' looks are in the center of attention. then again, i like those details of hoseok sitting in a retro apartment at the end — cozy, i love — with a radio. once again, they could exaggerate the vintage even more, it wouldn’t take away from the idea and visuals. i wish they would’ve expanded even more on the melting butter aesthetic shots as well, although it’s neatly tied into the song so it makes sense. the lyrics really have been blended with the choreograpy theme (the side step as a central move) so i’m thinking the art direction and choreographer had quite an in-depth discussion how to create a bigger picture. as for my weakness: cuteness melts me like butter, extra points for jungkook and yoongi being adorable in their seats.

#bts #butter #butter review #bts meta #bts comeback #bangtan #butter era

[ambitionsource]

did you guys ever have voice casts for the characters? like people/singers you think the characters would sound like n all that? if so would you mind sharing them?

This is such an interesting question... admittedly, Es and I hadn’t really thought about it! We especially just think about the actual actors for those who already sing, but we can provide a couple other samples for each person if it intrigues you to know! Let’s see...

FARKLE | Corey actually does sing -- though not often in this version of reality -- but I do believe he has some professional training. We think of this song he’s recorded in particular, which I think is a really good example of how he sounds circa S1 in my head (this song is actually a bop. The YT version cuts out like 20 seconds too early but I found a version on Tumblr last year that was full so now I have it on my phone LMAO let’s go 2015 Corey). Anyway, it’s that pretty stereotypical power tenor vibe. A couple more comparisons I suggest are:

Jonathan Groff -- I think Jonathan Groff is the best comparison I can make. He’s theatrical, he has a pretty impressive range, but he rests pretty comfortably in the natural tenor range. Like he can do Kristoff one minute and King George from Hamilton the next, and I think that is equitable to Farkle’s range. The man key is that he’s a powerful vocalist. I think Farkle’s true center of his voice has a higher resting place than Groff, but it’s close enough. Example track: Bohemian Rhapsody. One of Glee’s best and an amazing display of Groff’s vocal range in one track. Farkle could match this beat for beat, flair for flair.

Chris Colfer -- I think that the flair Chris Colfer brings to a lot of his performances on Glee match well to Farkle’s vocal stylings as well (which is why he’s done a few performances with that version), but to be clear, I think Colfer’s voice is softer / higher than Farkle’s. It’s more about... emotion and inflection here than tone. Example track: Not the Boy Next Door. Farkle did this on the show, so you know we endorse it. This was also the track Esther brought up when I asked for her opinion.

Brendon Urie -- I think that Urie’s range is really akin to Farkle’s. I don’t think Farkle has at all the same kind of flair or inflection that Urie does (and Farkle is obviously more Broadway than radio), but on certain tracks I think it’s pretty cross applicable. Example track: Dying In LA

I’ll continue this under a read more to spare everyone who doesn’t want to read on because clearly this will be lengthy LOL.

RILEY | I have not heard Rowan sing since the thinly attached source material theme song days, so I honestly don’t think of her much as Riley’s voice (though I think she could do it if trained for it). Especially because of all the mains, Riley is one of the ones who is meant to be less trained and unimposing. For me, the most important quality to Riley’s voice is that it’s not overwhelming. It’s beautiful, and leaves an impact when you listen, but it’s never going to be Maya or Zay’s big, brassy vocals. And that’s fine. That’s what makes it unique in the landscape of the show (and why it appeals to Lucas rather than turns him away). A couple more comparisons I suggest are:

Amanda Seyfried -- I admittedly only know Seyfried’s work in the first Mamma Mia film, but she has the right delicate soprano that I envision Riley having. It’s like... a lilting, soft thing that’s enjoyable to listen to but can escalate into strong belting if needed and handle it effectively enough. Example track: Thank You For Music. Literally a perfect track for Riles.

Phillipa Soo -- Another great example of a powerful soprano player. Case in point enough that we’ve had Riley do a Eliza Hamilton song on the show already. Gentle and gorgeous, but sharp and intense when it needs to be. Example track: Burn.

mxmtoon -- First of all, let this be my plug that everyone should listen to mxmtoon. I love her. She has this lovely gentle voice and her instrumentation is so good. Her EP dusk is gorgeous and I cannot recommend it enough. But she is a great non-theater example of what I think Riley’s voice is like. She varies between ukulele and piano, and everything is just really understated and nice. Example track: show and tell.

MAYA | This is easy. I literally don’t have to say like anything. She just is Sab. That’s it. Like Sab is a phenomenal vocalist and she’s brassy and bold and has range and that’s all Maya is. Like literally that’s it LOL. If you need examples, hit her discography, but I’ll specifically highlight “Sue Me,” “Looking At Me,” and “Diamonds Are Forever” aka the Sab songs we’ve had her do on the show.

ZAY | Zay is an interesting one, because I don’t really think he fits any specific category in my head. He kind of defies definition. He definitely has a brassy swing to him that allows him to pull off showstopping numbers (like his Kossal audition with “Ain’t No Way”), but he can pull it back and reshape it to fit breathtaking musical theater renditions (like “Music and the Mirror”) or banging contemporary (think “Consideration” or “Self Control”) in a way that I don’t think Farkle or Maya can. He is the most vocally versatile of the bunch, and that makes his comparisons sort of wide-reaching as well. I’m not really familiar with Amir’s vocal ability outside of rap (so at least we know he can do that), but based purely on what I hear in my imagination, a few comparisons:

Leslie Odom Jr. -- A younger and less polished Odom, to be clear, but this is a big one for me. I think Odom’s vocal strength and range is so impressive, and what really strikes me is how... grounded and resonant his voice is. That’s a big thing for Zay for me -- you never doubt he’ll be able to support his vocals and that they’re strongly rooted. If he ever cracked or ran out of breath, it would be a shock. This is also really tied to Zay because of how much I would kill to see him perform “Wait For It” and how I feel like it’s such a Zay song. But anywho... Example track: Wait For It.

Frank Ocean -- Ocean has such a cool interesting range and does a lot of things with his performances vocally, so that’s why he’s on here in that he also defies definition. I think Zay also considers Ocean a musical inspiration, so it makes sense that he would adopt or emulate some of his style. I feel like he also translates emotion well, which is a key Zay trait too. Example track: Godspeed.

Amber Riley -- Now hear me out here. Obviously, Zay is a baritone and Amber is like a mezzo soprano / alto / what have you, but the reason I’m listing this Glee legend as a comp is because the quality of her performances is so sharp. It’s like, any time Amber performed on the show it was jawdropping. Her vocal runs are insane, the power behind her vocals is awe-inspiring. She captivates you from the first note, and that is why I always think of Zay. That’s how it is when he performs too, especially in moments where he’s trying to sell it (like his Kossal audition). I wouldn’t be giving my authentic comparisons if I didn’t mention this. So there. Example track: And I Am Telling You I’m Not Going (I would sell my soul to see Zay perform this. Please. PLEASE. Maybe I’ll crowdsource with Charlie and we’ll both sell our kidneys).

CHARLIE | Speaking of Charlie, he’s an interesting one, too. I honestly didn’t really... have a concept of how he sounded in my head, but then when I learned that Tanner sings, it was not at all whatever was deep in my head. But I love his voice, so I think I kind of ended up reconfiguring my perception of what Charlie sounds like around that revelation and now I’m still kind of trying to figure out exactly what that sounds like in the context of the show. The thing is, though, I think Charlie also doesn’t really know what his style is (LMAO), so it’s okay that we’re experimenting a little bit. Like in S1, the few times he sang, it was all over the place but mainly radio. Then in S2, he did predominantly musical theater duets. And now in S3, we’ve really just gone all over the map (from punk-rock opera with “Superstar” to bubblegum pop with “Party For One”) and there’s a lot of fun in that. Where Charlie will land, I don’t know yet, but I will share with you all Tanner’s only recorded song at this point and you all can start to orient yourselves from there. But a few other ideas to get the ball rolling:

Norbert Leo Butz -- Now here’s the thing... Charlie doesn’t sound like this LOL. The reason I’m including Butz is because I started writing about Jeremy Jordan and his rendition of “If I Didn’t Believe In You” and Jordan’s rendition is truly just so inferior that I realized no, I really don’t think Charlie sounds like Jeremy Jordan. So then I ended up here, and you know what, here’s the thing. I think an older Charlie would sound like Norbert Leo Butz. Like, give him 10 or so years, and this is where he’ll settle. To a degree at least -- I don’t think he’ll ever go quite as brassy or bold as Butz can lean sometimes, but the way he like... emotes through his vocals feels extremely Charlie, and the range is about right in terms of voice part. Anyway, give him 10 years, and then get to the point with this amazing example track that is one of my favorite musical theater tracks ever even though I hate the character who sings it. Example track: If I Didn’t Believe In You.

Oshima Brothers -- The shape of the O bros vocals don’t quite match how I hear Charlie in my head (they’re a bit too flat), but the essence of their performances resonate with him very strongly. It’s that gentle, soft-spoken acoustic vibe that I think is so core to Charlie’s performing delivery, which is part of why he’s so consistently overlooked even when he proves time and time again that he can bring compelling vocals (i.e. Haverford’s semi-finals setlist). Example track: Cadence.

Harry Styles -- It’s funny to think that if Charlie saw I was comparing him to Harry Styles he would lose his shit, but I want to be very specific about why and under what conditions I’m including him as a comparison (as he’ll show up on another person’s list too). I think Styles specifically works as a comp for Charlie in regards to the general tone and quality of his voice, in particular when it is on a softer acoustic (like “Cherry” or “Sweet Creature”) and when it’s more upbeat (like “Lights Up”). Like I’m not out here being like Charlie is as good as Harry Styles LOL, but I think the core qualities of their voices are similar. Especially when cross-compared with the other examples above along with Tanner’s actual voice. Example track: Sweet Creature.

ISADORA | Isadora is an anomaly of sorts, since she’s that character archetype where they never expected to be a singer but then ended up being talented anyway (Asher is in the same box). I tend to imagine her with a defined alto register, and a slightly huskier, gravelly tone as compared to Maya’s polished, trained vocals and Riley’s gentle, chime-like resonance. So it’s like... gritty, in a way? I have never heard Ceci sing, though I’ve been told she has once upon a time, but I am working basically from scratch in regards to how I imagine her. So without further ado, some comparisons I suggest:

Jorja Smith -- I think Jorja is the most Isa-like track we’ve had her do on the show thus far, to my brain at least. She has this charming edge to her vocals even when they’re on the softer side which is exactly what I envision for her, and I think there’s such a strong definition to when she jumps into her lower register. Whereas with Isa, I think it would be the same, but reaching into her upper notes would be even more of an audible stretch. Example track: Don’t Watch Me Cry.

Dua Lipa -- Another strong alto here, which automatically tracks Isadora for me. Dua especially has that husky quality I was describing. I would recommend all of her Live Acoustic EP to get a sense of what I’m highlighting most as a comparable, but it’s just that like... slight grit, gonna-kick-your-ass alto excellence. It’s so hard to articulate so I hope you get what I’m saying LOL. Example track: Tears Dry On Their Own Acoustic.

Madison Reyes -- I don’t know how many of y’all have watched Julie and the Phantoms yet, but it’s fun. And Madison has a great voice, which made her another good comp for Isadora. Same thing of like that unpolished but compelling belter, slightly gravelly quality. Example track: Wake Up.

LUCAS | Obviously, Lucas doesn’t sing all that often. And when we do give him songs, or roles in songs, most of the time it’s of a variation where he can more talk-sing the words than actually Sing. But he’s not totally exempt, so he deserves a comparison. For me, it’s like... the way Lucas would tell it it’s like he’s the worst singer ever in the history of the universe and you should never hear him, but honestly he’s like. Fine. He’s not great and he would never have gotten into the school for singing, but he’s not terrible. He’s passable. When he tries, it’s charming. I think the biggest key that makes him different from everyone else is he doesn’t have much of a range -- when I pick songs for him, I always try to go for ones that kind of stay within the same octave or register for the entirety so it’s almost like monotone singing, because that’s about what he can handle decently (his performance in 211 being an exception, of course, because it had to be). So, comparing accordingly:

Harry Styles -- I warned you he’d be back again, but this criteria is even more hyper-specific than Charlie. I think Styles is a great comp for Lucas in the very limited tracks where he is not showing off in any capacity and is really just keeping it stripped down and to the point (think “To Be So Lonely”). His cover of “Girl Crush” is another good example of what I mean. It’s basically like the same 4 or 5 notes and very little movement or flash, and his voice kind of takes on a grittier, flatter quality which is what I’m aiming for. Example track: From the Dining Table

That’s really it honestly. He doesn’t perform enough to warrant much else. You get the idea lmao.

ASHER | Although we didn’t expect it back in the days of S1, Asher has certainly jumped up to take spotlight in terms of performing in the last couple of seasons! Ricky (along with Liam) are actual singers and were together in a band for several years, so there’s no doubt they can sing and I think of their voices most often (in particular, I recommend the “Compass” music video, because it’s a good song and allows you to actively see which boy is singing what). But admittedly, Ricky’s handful of solo tracks since FIYM went on hiatus are average at best (and his lyricism... king you need Liam to write your lyrics LMAO), so I don’t usually jump to his music as examples of what I think he -- or Asher -- is actually capable of. So with Ricky’s good vocals as a base, here are some additional comparisons:

Ruel -- Cannot stress this one enough. There’s a reason Asher’s true initial debut was Ruel’s best track (”Younger”). He just has that perfect like... strong tenor with soft edges that feels very teenage twink and very Asher. It’s not quite Diva!Asher flair, but at Asher’s most base vocal style, I think Ruel is the perfect match. Example track: Down For You

Troye Sivan -- Same kind of traits here in terms of like smooth tenor, and in this case it actually is a certified twink singing so the crossover is even more apt. I don’t think Asher is as... electronic as Troye’s production often is, but the general range of his voice is close enough to be considered a match. Example track: 10/10

DYLAN | So same FIYM video shared in Asher’s applies here as well, but I think what works so well about Liam’s voice in regards to Dylan is that I think the key trait to Dylan is that he’s not flashy. When I think about Liam’s voice (and I love his voice, he’s my favorite FIYM member), I often think about when Sue on Glee called Quinn’s voice a “soft, forgettable alto,” but only it’s a tenor and I mean it in a nice way. The most endeared way. Dylan is less about being impressive and more about just like... character. His voice is not the best in the bunch but you can feel how him all of his performances are through his inflections and his energy. That’s what Dylan vocally feels like to me. So aside from his soft, forgettable tenor on the second verse of “Compass,” here’s a couple other niche comparisons for Dyl Pickle:

Princeton in Avenue Q -- Whenever “Purpose” comes on shuffle, I think about Dylan because of how distinct and energetic the delivery of the song is. There’s just so many little quirks and inflections and moments of fun within the vocals, and that reminds me so much of how Dylan performs. Little laughs, free-wheeling runs, stuff like that. Example track: Purpose.

Graham Verchere -- This dude like isn’t even actually a singer and he isn’t that big an actor, but I love love love his rendition of “Thirteen” with Grace VanderWaal and every time I listen to it I think about Dylan and Asher. It captures the other end of Dylan’s range for me (the soft, forgettable tenor thing) in the sense of like... imagining Dylan plucking out songs for fun on his guitar while hanging out with Asher and then playfully serenading him and the two of them doing a carefree, easy duet like this. I just love it. So I’ll include it. Example track: Thirteen.

#Anonymous #ask and you shall receive #i just did the f9 here but if you want to know about anyone else specifically feel free to ask! #i probably included way more info than you needed which is funny since i hadnt thot abt this until a day ago LOL #but i hope this is what you wanted to know <3 #front nine #aaa supplementaries #answered

[dustedmagazine]

Ian Mathers’ 2020: We’re stuck inside our own machines

I’ve had a song I loved in high school and haven’t thought much about since stuck in my head. The song “Apparitions” by the Matthew Good Band is a fine example of the alt rock of the late 90s; if you grew up then but somewhere down in the states (or elsewhere) instead of my southern Ontario you may well have your regional equivalents, and like this one they may not resonate terribly strongly outside of their time and place. It popped back into my head after a long time recently and of course 2020 has changed it a little. A song that as a teen I felt keenly as about loneliness (albeit also about how technology can feed into that) of course now plays on my nerves as another small piece of art about the way that most of us (those scared and/or responsible anyway) have only that relatively narrow, technologically mediated connection to the people we love. All of us, artists and listeners alike, are trying to fit our feelings and art and selves down these little connections, with some success.

On a personal level, 2020 wound up being stressful in ways we couldn’t have predicted even after the pandemic hit. In circumstances that could have seen governments on this continent support those unable to work (and those who shouldn’t have to), support those workers who are truly essential, support workers and renters and even landlords and small businesses, instead we got a near-total abeyance of those governments using the resources we provide them with to save any of us. On a personal level my wife and I were lucky enough to be able to work from home (not that it didn’t come with its own forms of stress, and now that I’m off until January I have several work/stress-related illnesses to recover from) but still saw friends and loved ones lose good, used-to-be-sustainable livings overnight, saw family businesses succumb to a near-total absence of effective government support after months of trying to keep above water, etc.

It is probably no surprise that this is not a situation conducive to listening to music, let alone writing about it; I have deliberately and happily kept busy on behind the scenes stuff at Dusted that I could still manage but looking, at the end of the year, at the amount I managed to actually create is demoralizing if not at all shocking. I’m not sure I think next year will be ‘better’ in many important ways, although at our job there is a growing feeling among coworkers that next year has to have some work/life balance because 2020 was, maybe more than anything else, unsustainable.

That’s not to say I didn’t spend a lot of time and emotion on music this year, and if nothing else constant sleep deprivation, stress, and panic meant I was probably open to being deeply moved by all sorts of art even more than normally (it’s gotten to the point where I can’t even read a sad or moving twitter thread out loud to my wife without getting teary, which is kind of… nice?). Funnily enough the band that did the most to keep me sane didn’t really put out anything in 2020. Personal favorite, Low, instead started, in early April, getting on Instagram with something they called on whim “It’s Friday I’m in Low.” With one brief break they have now done by my count at least 35 shows (catalogued here, by the way), every Friday at about 4 my time.

Admittedly it’s easier for Low to pull this off than some bands, since the 2/3 of the trio that sing are a married couple (they’ve had a couple of socially-distanced backyard shows with bassist Steve Garrington, but he’s mostly been isolating elsewhere). These shows have seen the band’s Alan Sparhawk take a mid-set break to do follow-up phone interviews with the acts featured in the COVID-curtailed touring bands series Vansplainingthat they started on YouTube, or just to give a tour round their vegetable garden and talk tips. It’s seen Alan and Mimi Parker draw on their impressive, 25+ year body of work (averaging 4-5 songs a set, I don’t think they’ve repeated themselves yet) and talk a bit between songs about pandemics, politics, song choices, and whether Alan should grab his bike helmet this time.

They’re not the only musicians out there speaking love and sanity (and playing music) into the strange digital interzone filled with hate and disinformation where we’ve all been forced to gather while locked down, but they were and the most consistent and steady signal being emitted each week. No matter how tired I was from work or what new symptoms I’d developed or what horrific thing I read into the news, even if I had to take an emergency nap while it was actually airing, every Friday the show was there. Once things do return to something more like normal, it’s one of the few things I’ll unambiguously miss about this weird-ass year.

So if that makes an argument for Low as my band of the year (admittedly again… it’s not like Double Negative has aged poorly, either), that does a disservice to those 2020 records I did connect with; even if there are still literally dozens I have to go through, many of which I expect to love, my top picks this year (if as unrankable by me as always) hit me as hard as any top pick in recent years did. So here I present a quick and informal top 5, which the rest of my top 20 following in alphabetical order. Here’s hoping for more time and space in 2021 for music, and even more than that, for more support for those who need it from those who could have been providing it all this time. (The Matthew Good Band, incidentally, always did best with their ballads. “Strange Days” is another I’ve had in my head these days; the image of moving “backwards, into a wall of fire” has stuck with me since the 90s and it’s never felt more grimly appropriate.)

Greet Death — New Hell

New Hell by Greet Death

This one is, in some sense, cheating; it came out November 2019. But that just means it’s the latest winner of my personal Torres Prize for Ian Being Late to the Party (so named because becoming slightly obsessed with Torres’ Sprinter just after I sent in my 2015 list was the first time I noticed that one of my favorite records of each year tends to get picked up by me just after I call it quits on the year, no matter how long I try to wait). This very doom and gloom slowcore/metal/(whatever, just know it’s heavy) trio at first felt very much like my beloved Cloakroom (whose Time Well has also won a Torres Prize) but sure enough nuances revealed themselves. Back in February it felt almost a little too negative, but then the rest of 2020 happened. And the extended burns of “You’re Gonna Hate What You’ve Done” and the title track remain searing.

Holy Fuck — Deleter

Probably the record I’ve been trying to write about the longest in 2020, and the one I’m most disappointed in myself that I just couldn’t get the requisite paragraphs together. It’s a wonderful effort from the consistently great Toronto resolutely human-created (and —mediated) dance music quartet, one that both feels like a summation of everything they do well, and with the addition of some outside voices (including strong turns from the singers of both Hot Chip and Liars) a step forward at the same time.

Spanish Love Songs — Brave Faces Everyone

Brave Faces Everyone by Spanish Love Songs

As the year got worse, this roar of defiance only got more crucial for me to hear every so often; I was a big enough fan of it, even after writing it up for Dusted, that when they solicited fan footage for a subsequent music video you may just be able to get a glimpse of me in it. (I’m the one in a “No Tories” t-shirt.) My punk rock-loving twin brother was the one who introduced me to Spanish Love Songs and we were supposed to spend an evening in June screaming along to them live in a packed, sweaty room. I need that in my life again.

Julianna Barwick — Healing Is a Miracle

Healing Is A Miracle by Julianna Barwick

It’s a sign of what 2020 has been like here that even just this album title leaves bruises, and while I privately worried Barwick would have a hard time following up 2016’s sublime Will (probably my favorite record that year), it seems that continuing to take whatever downtime she needs to keep focusing and refining her particular muse has once again yielded amazing results. Anyone who thinks they know what a Barwick track sounds like should really check out, say, “Flowers”, but much of this record absolutely sounds like Barwick, just even better than before. She also boasted my wife and I's favorite streaming concert of 2020, an absolutely gorgeous rendition of this album with Mary Lattimore showing up.

Phoebe Bridgers — Punisher

Punisher by Phoebe Bridgers

I joked on Twitter recently that I have far too nice a dad (and far too good a relationship with him) to be as obsessed as I am with Phoebe Bridgers’ “Kyoto”, but here we are. Like most of her generation, Bridgers’ social media presence ranges from shit-posting to inscrutable, but even though things are often just as hard to figure out in her beautiful songs (as they often are in life), there’s an emotional clarity to them that can just grab you deep down. Couple that with seriously impressive songcraft and the progress from her already astounding debut Stranger in the Alps and more than anyone else in 2020 I’m excited to see just where the hell Phoebe Bridgers is going to go, because it feels like she’s talented and hardworking enough to go just about anywhere and drag a lot of our hearts with her.

Other Favorites

Aidan Baker & Gareth Davis — Invisible Cities II

Anastasia Minster — Father

Deftones — Ohms

Hum — Inlet

Kelly Lee Owens — Inner Song

Mesarthim — The Degenerate Era

Perfume Genius — Set My Heart On Fire Immediately

Protomartyr — Ultimate Success Today

Rachel Kiel — Dream Logic

The Ridiculous Trio — The Ridiculous Trio Plays the Stooges

Sam Amidon — Sam Amidon

Shabason, Krgovich & Harris — Philadelphia

Stars Like Fleas — DWARS Session: Live on Radio VPRO

Well Yells — We Mirror the Dead

Yves Tumour — Heaven to a Tortured Mind

Five Reissues/Compilations/etc.

Aix Em Klemm — Aix Em Klemm

Bardo Pond — Adrop/Circuit VIII

Charles Curtis — Performances & Recordings 1998-2018

Coil — Musick to Play in the Dark

Hot Chip — LateNightTales

Ian Mathers

#yearend 2020 #dusted magazine #ian mathers #greet death #holy fuck #spanish love songs #julianna barwick #phoebe bridgers #aidan baker #gareth davis #Anastasia Minster #Deftones #hum #Kelly Lee Owens #mesarthim #perfume genius #protomartyr #rachel kiel #the ridiculous trio #sam amidon #Shabason Krgovich & Harris #Stars Like Fleas #well yells #yves tumour #aix em klemm #bardo pond #charles curtis #coil #hot chip

[r3b3lgrrrrrrrl]

A LunaTic and her Gunn (Part 100 Xs2) "Day 26: Seattle and Old Side Chicks

@creatureofthen1ght-v3 @crystalbaby12 @5sosfam1dlover @backoftheroomandnotbelonging @rosefilledhearts-blog

They're playing The Show Box tonight.

"SEATTLE!!!!" Colson shouts as Sex Drive fades out. "How you doin' tonight?" He asks to their roars. "We got a special show lined up just for you... You ready to FUCKING DO THIS!?!" He screams.

The nightclub rattles in excitement around him. Leading off with Habits, they flow into Breaking News 2. Slim and Colson rocking across the stage together as lights and smoke flash and flow around them. El Diablo follows with LOCO, GTS and Wild Boy. Colson jumping into the crowd twice already.

Luna joins him OnStage for an overly sexual performance of Bad Things. Unable to keep their hands off each other. Throwing their matching tattooed arms up into the air as they dance and bop around, singing to one another. Colson drives the crowd wild when he grabs Luna as she heads OffStage. Spinning her around to dip and kiss her passionately before allowing her to go as he shouts her name to the crowd.

"Oooh... This Motherfucker..." Luna thinks. Pussy dripping for Colson as she walks SideStage.

Meeting up with Sam, Dom and The Ash's, Sam hands her joint as Ashleigh passes her their usual bottle of Jameson. The five friends laugh and sing together as The Boys run through Trap Paris, Candy, The Break Up and See My Tears. Dom dipping off at some point to prepare.

Strumming the opening chords to I Think I'm Okay, Colson shouts "I WANT THE ROOF BLOWN OFF THIS MOTHERFUCKER TONIGHT!!!!"

🎼Watch me//Take a good thing//And fuck it all up//In one night//Catch me//I'm the one//On the run//Away from//The headlights//No sleep//Up all week// Wasting time//With people//I don't like

I THINK//SOMETHING'S//FUCKING//WRONG WITH ME🎶

The audience sings with him so loudly they almost drown him out like alcohol. The energy is INSANE. 

🎶I HURT MYSELF//SOMETIMES//IS THAT TO SCARY//FOR YOU🎶

Chanting the lyrics with Colson as if they are their own personal mantra. The line still kills Luna's insides for Colson. Hearing it shouted along with a few thousand people is intense. Her eyes well up as her heart hurts for every disenfranchised individual in her presence who personally relates to it. Self harm is a serious and scary thing.

The building EXPLODES when Dom comes running onto the stage. Surprised and ecstatic over his appearance. He slams through the chorus with Colson before stepping up solo.

🎶Roll me up//And smoke me love//We could fly//Into the night🎶

You can barely hear Dom over the sea of voices singing with him. It's incredible to watch. The sound of unity so powerful it could give anyone goosebumps.

Both Boys are off. Surfing on top of the thousands of people willing to hold them up. Not needing to sing because the room is doing it for them.

Making their way back to the stage, they round out the song together. Singing GoodNight at different times at different ranges.

Luna has to have Ashleigh check her make up as she wipes the tears from her cheeks. She needs to get her shit together to go back on by the time The Boys finish. The reaction to Colson and Dom's song being so raw, Luna couldn't help but find herself to be emotional. For as hardcore as Colson is, Luna knows he is truly the sweetest, most lonely boy ever. Sometimes it makes her so sad for him, wanting nothing more than to protect him from himself. How do you do that though?

"SEEEATOOOLLL!!!!!" Dom shouts "WE LOFE YOOOU!!!"

"FUCK YEAH, WE DO!!" Colson shouts with him as they stand side by side.

The Girls are moving around behind them. Setting up OnStage. They've decided to twist the fuck outta Seattle. Rook is still sat behind his kit as Baze hands Sam a bass guitar. Luna picking up the electric she had rehearsed with earlier as Tech places microphones and stands down for both her and Ashley.

"So, much that we cooked up this little rendition just for YOU!! KICK IT!!" Colson calls as him and Dom step aside.

Everyone within ear shot loses their fucking minds the minute Luna hits those first famous chords to Smells Like Teen Spirit. Rook and Sam knocking in hard behind her. Luna's warm voice snakes around the opening lyrics. She stays on beat but her voice is smoother and more trained than Cobain's while still holding his same haunting drawl.

🎼Loooad up on guns//Briiing your friends//It's fun to lose//And toooo pretend//She's over bored//And seeelf assured//Oooh no//I know//A dirty word🎶

Flipping the script, The Girls are covering Nirvana. Ashley stepping in as her and Luna croon together. Harmonizing like an intriguing mix of handcuffs and silk.

🎶Hello//Hello//Hello//Hoooow low//Hello//Hello//Hello//Hoooow low//Hello//Hello//Hello//Hoooow low//Hello//Hello//Hello🎶

Rook, Sam and Luna ripping into their instruments as Ashley let's her voice fly loose. Raw. Not caring to be perfect as she belts the lyrics fiercely.

🎶With the liiiights out//It's less dangerousss//Here we arrre nooow//Entertain uuuus//I feel stuuuupid//And contagiouuusss//Here we aaaare now//Entertain usss//A mulattooo//An albinooo//A mosquitooo//My libidooo//YEAH🎶

Luna slams into her guitar as her vocals slip in again. Matching up with Ashley as they use a flat tone.

🎶HEY//YAY🎶

Colson, Dom and Baze are setting themselves up SideStage. They're gonna follow them with a Bikini Kill song before The Girls fully finish.

The stage is shaking from the mosh pit happening just yards away from The Girl's feet. Luna and Ashley grin at each other. Regardless of personal feelings, it's a great fucking song. Luna hitting those significant chords on her guitar again as her voice wraps itself throughout the lyrics.

🎶I'm worse//Aaat what//I dooo best//And fooor this gift//I feeeeel blessed//Our littlllle group//Has alllways beeeeen//And alwaaaays wiiiill//Until the ennnnd🎶

Luna and Ashley hum through the Hellos and How Lows before Ashley comes in to wail through the chorus again. Her voice the perfect balance of clarity and rasp. Instruments floating around her impeccably.

🎶With the liiiights out//It's less dangerousss//Here we are nooow//Entertain uuuus//I feel stuuuupid//And contagiouuusss//Here we aaaare now//Entertain usss//A mulattooo//An albinooo//A mosquitooo//My libidooo//YEAH🎶

Rook, Sam and Luna pound through the slight jam session flawlessly. You can hear Luna's guitar whine out Hello continuously before Rook rumbles them down. Luna taking her place back at the microphone.

🎶And I fooorget//Just whyyyy I taste//Oh yeeeah//I guess//It maaakes me smile//I found it haaaard//It's hard to find//Oh well//Whaaateeverr//Neeverrrmiiiind🎶

Ashley and Luna harmonizing as they repeat Hellos and How Lows again before Ashley slays the chorus once more. Sending the audience into another physical frenzy along with Rook's drums. You can't hear neither Ashley nor Luna over the crowd as they scream over and over about A Denial with them.

Instead of fading out, Rook picks up his pace to a faster punk beat. It's kinda funny as Baze switches out with Sam. Dom with Ashley and Colson with Luna.

Colson snatching a quick kiss off of Luna before his deep voice alters the punk girl anthem. It's sound is harder and less poppy than the one The Girl's covered.

🎼That girl//Thinks she's the queeeeen//Of the neighborhood//She's gooot//The hottest trike//In toowwwn//That girl//She holds her head//Up sooo high//I think I wanna//Be her//Booyfriend//Yeah🎶

During rehearsal, Luna had shown Dom and Colson where to change up certain lyrics to fit the swap.... And also because she's a fucking cunt.

Dom hits the mic, nailing the chorus. Being in Seattle, most of the crowd is singing along with him.

🎶Rebel girrrrl//Rebel girrrrl//Rebel girrrrl//You are the queeeeen//Of my worrrld//Rebel girrrl//Rebel girrrl//I know I wanna//Take you home//I wanna take off//Your clothes//UNH🎶

---------------------------------------------------

Bikini Kill is one of Seattle's few surviving bands. Tobi Vale being the first girl Kurt Cobain was ever mesmerized by, crushing on her hard. As one of The Original Riot Grls, she had no time for the quiet blue eyed boy. The band's lead singer Kathleen Hanna making fun of him one night, writing Kurt Loves Teen Spirit on his bedroom wall in Olympia. It was a direct reference to Tobi's deodorant. His most famous hit being inspired by a girl who couldn't be bothered by him. How ironic. Courtney Love HATES Tobi Vale. Courtney Love HATES Smells Like Teen Spirit. Luna HATES Courtney Love. Being more of a Pixies fan, Luna never cared much for Nirvana. Even before his daughter became one of her bestfriends. Luna's lack of interest in her family being a great source of comfort to Frances. Her hatred for Courtney being born and growing naturally. Watching first hand how The Mother's selfish and self destructive behavior had affected Frannie through the long years of their friendship. Pissing Luna off more and more with every missteps. Playing the 90s theme song with Colson covering Rebel Girl beside it, IN Seattle, is the ultimate FUCK YOU to Courtney Love from Luna. It's also probably the ONLY time she's ever secretly hoped her performance will pop up on YouTube.

---------------------------------------------------

Making the song his along with Dom as Rook, Baze and AJ slaughter the quick paced, bass driven, punk tune with them. Colson's deep voice penetrates the next set of lyrics as he slams into his guitar.

🎶When she taaalks//I hear the revolution//In her hiiiips//There's revolution//When she waaaalks//The revolution's coming//In her kiiiiss//I taste the revolutiooonnnn🎶

Colson screams before Dom hits the chorus again. Each with their own Rebel Girl in mind throughout the song.

🎶Rebel girrrrl//Rebel girrrrl//Rebel girrrrl//You are the queeeeen//Of my worrrld//Rebel girrrl//Rebel girrrl//I know I wanna//Take you home//I wanna take off//Your clothes//UNH🎶

The Boys flow into the gnarly jam session. Rook's drums throbbing as AJ shreds relentlessly. If there's one thing Luna's learned tonight, it is that, THIS motherfucker can RIP.

Colson comes in again, leathery voice shouting out the strong, female positive lyrics. Luna did this on purpose. Switching up the two bands, she wanted the gender flip. Just like Nightmare. It's an important symbolism of feminism and equality. Being smart and lucky enough to fall in love with a man who has a daughter and shares her views.

Never a quiet man. Colson is known for not holding back from stepping up or speaking out for what he believes in. Standing solidly beside Luna, pushing for A Change, they WHOLE heartily believe it can happen. Or will die continuing to fight for Casie and her generation's sake.

🎶That girl//Thinks she's//The queeeen//Of the neighborhoooood//I got newwsss//For you//SHE IISSS//They say//She's a dyke//But I know//She iiissss//MY GIRLFRIEND//YEAH🎶

Colson and Dom come in together. As Colson slashes his guitar, he looks over at his friend. On instinct Dom turns to catch his eye. Grinning, they shout the chorus together. Both of their Rebel Girls standing behind them ready to take over.

🎶Rebel girrrrl//Rebel girrrrl//Rebel girrrrl//You are the queeeeen//Of my worrrld//Rebel girrrl//Rebel girrrl//I know I wanna//Take you home//I wanna take off//Your clothes//UNH🎶

Shifting slightly to the side, each boy steps from the mic. Releasing it to their partner. Colson's guitar tearing it's way up and down Luna's spine from behind. Without missing a beat Luna and Ashley take the last hook together. Female Empowerment being their overall Life Goal.

🎶Love you//Like a sister//Always//Soul sister//Rebel girl//Come and be//My best friend//Will you Rebel girl//I really like you//I really wanna be//Your bestfriend//Be my reeeeebel grrrrrrrllll🎶

As Rook and Baze fade them out, the room is uncontrollable. Seattle LOVES it's hometown hero's. Courtney Love does not fit into that category.

"That was killer..." Colson says lowly in Luna's ear as he kisses the back of her neck.

With her body flush, it's her duty to take the mic right now. Nuzzling her head back into him, she drops a low I Love You before hitting it.

"SEATTLE!!!!!" She shouts as she tries to calm her insides. "HOW ARE YOU?" She asks to their cheers. "We've got one more cover.... How many of you know of Andrew Wood and Mother Love Bone?" She asks.

Only half the nightclub answers her. She expected this.

"A little lesson in music history..." She smiles.

The crowd hoots out for knowledge. Loving the interaction as Luna strolls around the stage. Talking with her hands as she tells the story.

"Andrew Wood and Mother Love Bone were the pioneers of the Seattle scene." This is heard by a louder cheer and a grin on her face. "We lost him unfortunately... In '89. The remaining band took up Eddie Vedder and became Pearl Jam."

A mixed reaction fills the atmosphere. Some knowing the story. Some caught off guard.

"Hold on... Hold on... Hold on...it goes deeper." Luna shushes them.

She squats down on the middle of the stage. Continuing her story as Tech sets up behind her.

"Andrew Wood was Chris Cornell's bestfriend and roommate at the time of his death." This draws a sadness from the crowd. "I know, friends.... I know..." She sadly comforts them. "That's why were gonna play this next diddy. It is in honor of Andrew. Originally sang by Chris and Eddie....  I KNOW you'll know it when you hear it.... So when you do... You FUCKING SING!!!" Luna shouts to their erupting agreements.

Standing up, Luna grabs the electric she's been using. She begins to slowly pick the soft opening chords with Rook, Sam and Baze behind her.

By their reaction this time, Colson is pretty sure they've lost the roof. Watching his sea of family, he loves the way his woman speaks with them.

In Luna's opinion, Chris Cornell had the greatest voice of his generation. In her mind, there's more pressure to nail this upcoming song more than the prior. It's personal and the social relevance meaning more to her than the Top 40 Hit.

Luna starts them off, making everyone around them ooze with sentiment. Her strong, layered voice a smart match to represent Cornell.

🎼Well//I don't mind//Steealing bread//From the moooouths//Of decadeeeence//Hmmmmm//But I can't feeeeed//On the powerless//When my cup's//Already overfiiiiilled//Yeeeah//Mhhhm🎶

Luna's vocal range is both bold and delicate enough to hold it's own against the already emotional song. Allowing a tinge of pain to slip through her as she sings. The crowd joining her.

🎶But//It's on the taaable//The fiiire's cooookin'//And they're farmin' babies//The slaves are all woooorkinnn'//Blood is on the taaable//The moooouths//Are all chooookinnn'//But I'm goin' hungryyyyy//Yeeeeah🎶

Rook, Baze, Sam and Luna flip through the chords of the slightly dark melody. Colson's deep voice perfect as he steps up to the mic and takes on Eddie's verse. His family helping him as they sing along still.

🎶I don't mind//Stealing bread//From the mouths//Of decaaaaadence//But I can't feed//On the powerless//When my cup's alreadyyy//Overfiiiilllledd//Oh ohhhh//But//It's on the table//The fire is cookinnnnn'//And they're farmin' babies//The slaves are all wooorrrkin'//Annnnd//It's on the table//Their mouths//Are all choookinnnn'//But I'm going hungry🎶

Dom backs Colson. Wailing. AJ matches Sam with a second rhythm guitar as Rook bangs into his kit. Baze nailing the bass as Luna's fingers fly over the lead.

🎶I'm goin' hungrrryyy🎶

Ashley pops in with the next verse as Luna backs her. The crowd flowing with Luna and Ashley at different times.

🎶I'm goin' hungrryy🎶

🎶Oooohhh//I'm huuuungrrryyy AYYY🎶

Colson and Dom coming back in together at different times. All four voices stacking themselves on top of each other's along with The Band. As the crowd continues to sing along with them, it's anything short of amazing.

🎶I'm goin' hungrryy🎶

🎶I'm goin' hungrraaayyy🎶

🎶I'm goin' hugrrriiyyy🎶

🎶I'm goin' huuuungrAyAyAyyyy🎶

Dom and Ashley shift their voices together to continue singing about Goin' Hungry. Their vocals following together beautifully as the instruments rage behind them along with the voices of the audience.

Luna stepping in to take over Cornell's major part. Voice lacing around the lyrics of Not Minding Stealing Bread as she belts them. Ashley and Dom still behind her repeating separately how they're Goin' Hungry.

Colson's deep voice slides in to add another chapter of theft to the story as he sings beside Luna. Picking up the rhythm, Dom and Ashley drop out. Leaving Colson and Luna to play off each other's voices as they sing about Goin' Hungry.

🎶Oooohh//I'M GOIN HUNGRAAAAY AY YEEE🎶

Luna bellows alone one last time as Rook and her guitar lead them out. The Show Box BURSTS with hoots, claps and cheers as they end.

Grinning, Colson grabs Luna. As her guitar hits his chest hard, he doesn't care. With all the electricity flowing through him, he can't feel it. Only her lips. Breaking away from her, he turns to address the crowd.

"YO!!! GIVE IT UP AGAIN FOR MY GIRL, THAT BROOKLYN BITCH AND MY HOMIES YOUNGBLUD AND HALSEY!!!" Colson shouts to the volcanic club.

As Ashley and Dom head OffStage, Luna grabs her mic again. Always pushing.

"WE NEED CHAAAANGE!!!" She screams to the unshakable crowds agreement.

"She's so fucking cool...." Colson can't help the smile on his face as he watches Luna.

Grabbing one more kiss, Luna bounces OffStage. Meeting up with Ashley, Dom, Sam and Ashleigh, the three are still zipping with energy. Sam promptly passing Luna a joint as Ashleigh shouts that They Were Fucking INCREDIBLE. Luna can't help but beam as she holds the joint between her lips and grabs for a five people hug. Friendship really is a BEAUTIFUL thing.

The show's not even halfway through. Hollywood Whore kicking in next before Rap Devil and Until I Die. Switching spots with Rook as they cover Shout At The Devil.

It's honestly Luna's favorite cover of The Band's. Not even because of the song. As much as she loves Colson, she adores Rook and loves to see him shine the way he does when he takes the mic. His performance is so on point, you just KNOW he was raised with music in his blood. Even if you're unaware of where he hails from.

Still running, Colson grabs his guitar for his cover of Ocean Eyes. Catching Luna's as he sings. Both of their hearts swelling for the other over the reason he covered it.

Next comes a slew of more songs. Slim making his way back UpStage. Their friends watching SideStage as they get fucked up and sing along to Golden God, ALPHA OMEGA, Lately, Bad Motherfucker, Wake&Bake, Rehab and 27.

The lights drop to The Family's calls for an ENCORE. Loving them the way they do, The Boys oblige. Heading back out to encore Sail.

"THANK YOU, SEATTLE!!!!" Colson shouts before finally heading OffStage for the night.

-------------------------------------------------

Carrying Luna over his shoulder down the venue hallway, Colson sees the artwork of one of The Boys. Laughing, he turns Luna to see also.

"I bet it was Rook...." She guesses with a chuckle.

"Nah... Too short." He continues to laugh. "Grab my phone and post it to my Insta, please." Colson asks Luna.

Slipping her hand along his perky ass into his back pocket, she pulls out his phone. Snapping the picture at his request.

"Here.... You know I don't Instagram..." Luna deadpans as she hands the device to him from around the side of his lean body.

Laughing again, he shakes his head at her refusal to even interact with the app at all. Continuing to carry her to his dressing room as he posts it.

××××××××××××××××××××××××××××××××××××

"Always follow the signs.

😈👅💦🐈🍆💥"

#seattle #hoteldiablo"

×××××××××××××××××××××××××××××××

"Holy SHIIIIT, Loons...." Colson groans out.

Laying his head back in delight as her tight pussy slowly slides up and down him. Teasing and pleasing his cock as she takes her time riding him. Colson takes her face into his large hands. Kissing her softly.

"Unnhh, I missed you...." He says as another grunt escapes him.

"Mmmm. Me tooo." She purrs.

Moving his mouth from her lips to her neck, Luna leans back, hands on his thighs as he seeks out her plump breasts. Sucking and nibbling on her piercings, Colson makes Luna shift against him faster. Rocking him deeper inside of her. She grabs the top of his hair. Pulling on it to keep her pace steady, he grabs and shakes her ass as it bounces.

"Mmmm... Gimme that dick." Luna moans.

Her demands excites Colson even more. Grabbing one hip firmly and snatching for her hair, he takes control. Sucking on her neck as he slams her up and down his cock. Moving her body like a willing doll. Making her walls clench and body quiver.

"My dirty girl likes that's... Hmm?" He says into her neck.

Luna can only utter sounds of pleasure as he fills her body. Feeling herself close, she starts to thrust into his rhythm. Colson pushes back, grabbing both of Luna's tits as they begin bucking against each other. Bitting the side of his neck, she makes him cum with her.

"Oooh, FUCK...." He shouts as they explode together.

Feeling his body go limp, Luna nuzzles into his naked chest. Kissing her forehead, they sit. The sound of the blood pumping through his heart synching up with her own.

Lifting her head, she asks him To Roll A Joint to his nod. Climbing off of him, Luna chops up her third set of rails today. Colson's fourth.

"What the fuck? I told you off your ass..." He teases as Luna looks at him perplexed. "You didn't get my voicemail?" He asks with a hint of disappointment as he lights the joint.

Luna shakes her head No as they bend down to do their lines together. Lifting up, she adjusts herself. Checking her nose and make-up.

Calling her voicemail as they pass the bone back and forth, Colson is definitely on there. Talking about porn and doing drugs off of her ass.

"And you say I'M WILD!!" Luna laughs as they head towards the door, looking over her shoulder coyly taunts. "There's always later."

Her words making Colson's member stand at full salute for her. Again.

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Word Limit (2 of 3)

To be continued.....

❇Writer's Note: Feel free to share with whomever 😘

#colson baker smut #colson baker imagines #colsonbaker #colson baker x reader #colson baker #machine gun kelly smut #machine gun kelly x reader #machine gun kelly #mgkconcert #mgk imagines #mgk imagine #mgk fanfic #mgk #mgk smut #est 19xx #est4life #est19xx #est #lunatic #not safe for minors #not safe for tumblr #fanfic #fandom #fantasy #fangirl #original #drunknights #drugs #long post #longstory

[tisthenightofthewitch]

Ghost’s Tobias Forge talks about being sued by Nameless Ghouls, spurned by the Vatican and immortalized in plastic effigy

When it comes to Swedish bands, Americans tend to think of pop icons like ABBA, black metal acts like Bathory, or the odd alt-rock band like The Cardigans, after which we stop thinking about them at all.But that was before the band Ghost began its slow yet inevitable ascent. Hailing from Linköping, a city in Sweden known for its ornate cathedrals, the bandmembers concealed their secret identities beneath elaborate costumery, a time-tested tradition fostered by bands like Kiss and The Residents. 

Occupying centerstage was Papa Emeritus, a skull-faced character fond of ghoulish corpse paint, a high-pointed hat and ornate papal vestments decorated with upside-down crosses. Standing stock-still at the microphone, his face frozen in a miserable scowl, the singer appeared, for all intents and purposes, to be hovering at death’s door or just beyond it. His bandmates, unceremoniously referred to as “Nameless Ghouls,” wore hooded robes and black masks, a look that soon began showing up at European cosplay conventions.

While this combination of corpse-paint, national origin and grinding guitar riffs led some critics to liken their sound to Swedish death metal, the keyboard-heavy liturgical vibe of Ghost’s early music arguably owed more to classic Pink Floyd.

That’s especially true of “Secular Haze,” the breakthrough single from their 2013 sophomore album Infestissumam. Following its release, the band put out the Dave Grohl-produced If You Have Ghost, a five-song covers EP that includes the Roky Erickson song of the same name, as well as renditions of Depeche Mode’s “Waiting for the Night” and, appropriately enough, ABBA’s “Like a Marionette.”

But 2013 also had its share of disappointments, including the ascension of Pope Francis, who was elected on the fifth ballot, thwarting Papa’s hard-fought and highly publicized campaign for the position.

The rest is history, of a sort. Following a series of European dates with Metallica, Ghost are now embarking on an arena tour of their own that will include an Oct. 1 concert headlining the Broadmoor World Arena. Their single “Cirice” won the 2016 Grammy Award for Best Metal Performance, while their most recent album Prequelle and its single “Rats” were respectively nominated in this year’s Best Rock Album and Best Rock Song categories.

Along the way, the band has gone through a succession of Pope characters —  Papa Emeritus I, Papa Emeritus II, and Papa Emeritus III — who have since been replaced by the far more kinetic Cardinal Copia, who has more of a mafioso image and hyperactive stage presence. All four frontman roles have been played by Tobias Forge, whose identity was outed two years ago when four former Nameless Ghouls filed a since-dismissed lawsuit alleging unpaid wages.

Ghost have also undertaken a series of musical transitions that became especially obvious with last year’s Prequelle, a concept album that employs the 14th-century black plague as an allegory for our current troubles. While Forge hasn’t fully abandoned his band’s past sound, tracks like “Rats” veer toward the ’70s arena-rock sound of Def Leppard, Foreigner, and even Journey, with whom the band toured last year.

In the following interview, Forge holds forth on a wide array of subjects, including litigious ex-Ghouls, the Swedish anti-vaccine movement and his alter-ego’s forthcoming immortalization — alongside legendary artists like Prince and Jean-Michel Basquiat — as a Funko Pop! figurine.

Indy: Let’s begin by talking about the concept behind your most recent album. It opens with that really creepy version of “Ring Around the Rosie, ” which is always a good way to start an album about the bubonic plague. Was there any specific reason why you chose that theme at this particular point in history?

Tobias Forge: Well, I think there are important lessons to be learned from all chapters of history. The plague was an epidemic that wiped out half of Europe, and, we can assume, traumatized the Asian population as well. And back then, people in general were uneducated, they were superstitious, they were religious, they believed in hocus-pocus. So it must have literally felt like the end of the world was just going to happen tomorrow. And that is always an interesting concept. Because we know now that it was not the end of the world. You know, mankind persevered. So while I believe in environmental issues, and that there are a lot of things that can be done in order to make the world a better place, I also think there’s not as much doom and gloom as it may appear.

So what would you say are the lessons we can learn from that period?

I guess the most simple and most obvious one is that we can debate forever — all day and night — about what happens after we’re dead. But I can promise you that we do not know. We can hope for there to be an afterlife, or 72 virgins, or whatever else is on your wishlist. But there’s no way of knowing. And anyone who tells you that they know, they are lying because they want something from you, or they want you to believe in something. And so I think your time and your energy will be better spent trying to embrace life instead of being wary of death. Because life is fragile, and you don’t know if you’ll have another one.

And then there’s this myriad of human instincts that comes into play when apocalypse is near, and one of them is who’s to blame for this, that, and the other. Back in the plague days, as I said, there was this predominance of religious people who believed in hocus-pocus and were pretty uneducated and pretty fucking dumb. They believed that female sexuality was to blame for essentially God abandoning mankind. So while you had people dying off in droves, you also had these people killing women because they were good-looking or, in one way or another, enticed some sort of sexual arousal. And that was obviously the work of the devil, and while they were alive, they would interfere with the survival of mankind. But unfortunately, those kind of very uneducated and outright stupid people are still well-represented in the world, and it’s very important that we address that.

Since you’ve researched and written about all this, I’m curious what you think about your country’s decision, back in March, to ban mandatory vaccinations.

Oh, that’s a good question, but I don’t really have a good answer. But I do think that there is a dichotomy between what the population might need, and what a pharmaceutical company needs for its own benefit. I’m trying not to sound like a conspiracy theorist, but about 10 years ago, there was an outbreak of a flu, and companies would have entire offices vaccinated. And, on first glance, it’s like, “That’s great how society and all these bosses and corporations came together.” And I’m aware that the number of people that actually came down with it was not that many. So was that because of this shot, or was it because maybe the threat wasn’t as great as they were saying it was? Because, more often than not, there’s an economic incentive somewhere for someone. But not being a biologist nor a chemist, I don’t know anything about stuff like that. So, as I said, I don’t have a straight answer.

On a happier note, Funko’s Papa Emeritus II doll came out last month…

Yes, speaking of monetaries. [Laughs.]

That’s right. And I have to say, I’m really impressed by how realistic it is, especially in the way it just stands there and doesn’t do anything. How does it feel to be immortalized in that way?

I don’t really see it as that. I mean, when I sort of regard anything that we have done, even a photo, I don’t necessarily think of it as me being in that photo. I’m just sort of detached from the character on the visual side, which is to my benefit, actually. I’m way too vain, so I would have had a problem if it was my face that we were working with. So having the sort of official visuals of Ghost is actually quite liberating.

I understand that you started out playing in punk and death metal bands. Was Ghost the first time that you got to indulge your pre-The Wall Pink Floyd side?

No, I have played non-death metal in other bands before. But when Ghost started taking shape, I think I just found a way to write songs that sort of tick both boxes — one box being melodic pop-rock, or whatever it is, and the other being sort of metal. It felt playful, and it felt intuitive and progressive, for lack of a more fitting word. Whereas in the past, it’s like the metal bands were metal, and the rock bands were rock, and they didn’t combine the two. So I definitely found it more effective, and way more fun, to do something in between. Your stage presence is way more kinetic these days, although pretty much anything is more kinetic than standing in front of a microphone and scaring people. But you’re reaching the point now where the choreography in a video like “Rats” is borderline Michael Jackson. Is that the result of having more personal confidence these days?

Yeah, I would definitely say that. There are critics of the band who feel that the less animated version in the beginning was better and more ominous, and that we should still be embracing that. But a lot of the cryptic nature of Papa I was due to being constrained by the costume and the size of the stage.

And now we’re playing bigger places, where there’s way more ground to cover and there isn’t a single cord onstage that you can trip on, so of course you have to move around, right? I mean, if we were onstage now for two hours with that sort of unanimated version we were doing back in 2011, people would be demanding their money back. It’s just part of growing. You can see the same thing if you look at a clip of the Rolling Stones from 1964. Mick Jagger is Mick Jagger, but he’s definitely not the Mick Jagger that you see in 1969 or 1972. It takes time to build that confidence and find your own way of moving around.

I know you campaigned really hard for the pope’s job back in 2013. And I think a lot of your fans were really disappointed when the smoke came up the chimney and it turned out you didn’t get it. Do you think that your losing out to Pope Francis was the result of Vatican corruption?

Sure, most things going on there are because of corruption anyway. So I’m sure that was one of them. Or it might also have been my lack of faith — or my lack monetary means at the time — that prohibited my exaltation within the ranks of the Vatican.

And finally, I have a question about that lawsuit. Do you think that if you’d given names to your Nameless Ghouls, they would have been less vindictive?

You mean, if I’d given them names instead of making them completely anonymous? Probably, I guess. It’s hard to say. Because with most people that are drawn to the performance stage, you do so with a certain inclination to be seen and appreciated. So maybe if our positions were reversed, I would have felt the same way. Until seven or eight years ago, I really wanted to be famous, so my idea of being in a band was definitely different from what it turned out to be.

I’ve been in charge and working on this full-time, nonstop, for 10 years. Other people in Ghost would work a few hours every day, and then, during the four months between tours when I was making a record, they weren’t really doing anything that had to do with Ghost. And since I was representing the band at all of the meetings, I was getting pats on the back and feeling like what I was doing was good. Whereas, if you had nothing to do with the day-to-day stuff, you maybe didn’t get the pat on the back that you needed in order to feel fulfilled in life. So, you know, maybe if they had gotten their name on there, and could at least be recognized in the street, maybe that would have changed things. But on the other hand, I’ve played with others who didn’t give a shit about that happening.

COLORADO SPRINGS INDEPENDENT

#Tobias Forge #Tobias Interview #The Band Ghost #Ghost Band #Cardinal Copia

[jobrosupdates]

Nowstalgia: Jonas Brothers' Second Coming

Story by Jael Goldfine / Photography by Robin Harper / Styling by Britt McCamey

On a conference call, the morning after the Met Gala, Nick Jonas divides his and his brothers' career in two: before and after Disney Channel first aired the "Year 3000" music video in 2007. Before "things weren't working," afterwards "it all came together." In the infamous clip, a 15-year-old Nick, 18-year-old Joe and 20-year-old Kevin, dressed in Converse and graphic tees (Joe in camouflage, Nick and Kevin in Ed Hardy) fall into a portal in a suburban living room, shimmering with CGI sparkles like an Instagram filter. They emerge enthused to find that, among other developments, in the future they are rock stars wearing matching suits, with a pile of magazine covers and a new album that outsold Kelly Clarkson.

We are on the phone, along with Joe and Kevin, to talk about The Jonas Brothers' surprise reunion and their first album in six years, Happiness Begins. Much like the rest of the world, however, I am fascinated by their past.

Like The Jonas Brothers' second coming, "Year 3000" is an intoxicating orgy of nostalgia for anyone who lived through their genesis: malls were in their heyday, technology was magical, not terrifying, Instagram was a prototype on a jewel-colored Mac desktop in Silicon Valley, and Kelly Clarkson was the gold standard for album sales. The prophetic song feels self-congratulatory now, but at the time, it represented a fantasy. The Jonas Brothers didn't know that they'd spend much of their adolescence in matching suits, or that their next album would, indeed, crush Clarkson's corresponding My December in sales that year.

Without that video — a cover of British pop-punk band Busted, whose original lyrics envisioned a future full of triple-breasted women, instead of cute space girls with Star Wars buns — we might never have met The Jonas Brothers. Their debut album It's About Time had middled out on Columbia (it would later become a fan favorite), while they spent a couple years opening for their teen idol forbearers: Jesse McCartney, the Backstreet Boys, Jump5 and The Cheetah Girls. It was only after "Year 3000" went "viral" (in the way things did in 2007, conducted via hallway chatter and YouTube-binging sleepovers, alongside clips like "Salad Fingers," Shoes" and "Charlie Bit Me") that Disney realized Nick, Joe and Kevin, with their unthreatening good looks, nuclear New Jersey normalness, and formidable skills with guitars and microphones, were the perfect raw material for their cottage industry of boys and girls next door.

They released their breakout second album The Jonas Brothers on Disney's label, Hollywood Records later that year. Quickly, they saturated the Disney multiverse and the lives of early-to-mid 2000's suburban youth. They made a guest appearance on Hannah Montana that broke cable records. Their songs could be heard in Aquamarine, Zoey 101, on Cartoon Network's Friday program, and leaking out of iPod minis, mall speakers, high school gyms and 100,000-seat stadiums. The Camp Rock series, entanglements with other famous teenagers, various concert films and their sitcom, Jonas, followed.

Nostalgia is an inescapable fog hanging around Nick, Joe and Kevin, as the world watches them tease each other on TV hosts' couches and jump around in matching suits again, for the first time in six years. It's not just about them. That bedazzled, low-rise moment is on everyone's minds. An avalanche of blog posts about their reunion begin with some iteration of the pseudo-incredulous question: "Avril Lavigne, JoJo and Ashley Tisdale are dropping albums, Amanda Bynes is back, Lindsay Lohan is making TV and The Jonas Brothers are getting back together. Is it 2019 or 2009?" PAPER recently debuted a column, called "This Week In 2009," to feed our appetite for photos of Rihanna with a momager haircut, andSpencer Pratt and Heidi Montag making out in surgical masks during the swine flu panic. The Jonas Brothers have already made it into several installments. The guys confirm they did not engineer their reunion to sync up with our cultural nostalgia cycle, but due to it, talking about the good old days will be an extra compulsory aspect of their press tour. At 26, 29 and 31, The Jonas Brothers aren't unwilling, but a bit ambivalent about rehashing their adolescence.

"We're not really defined by those years," Nick claims, when I ask the trio about how they look back on the fever pitch of the JoBro craze. But when I nudge, he admits the period was undeniably influential. "We had a lot of fun... you know, it was sort of a rocket ship to the moon during that time. When Disney played our video for 'Year 3000,' everything changed. It all started to happen when Disney got on board. Our years doing Camp Rock and TV shows were really formative."

It's not that The Jonas Brothers are at odds with their origin story. They'll soon release a glossy Amazon documentary reliving it, and this past weekend, gave a euphoric rendition of their 2008 hit "Burnin' Up" at their first SNL performance in a decade. But they've previously indicated otherwise. "I don't feel as frustrated now as I did then," Joe says of a candid as-told-to essay he gave New York Magazine in 2013, a few months after the band's break-up. He wrote then, "Being a part of the Disney thing for so long will make you not want to be this perfect little puppet forever." He detailed an authoritarian, image-obsessed company culture (recalling that High School Musical's Vanessa Hudgens was put on lockdown in the Disney offices after her nude photos were leaked), and how the band became stifled under Disney's tutelage, forced to maintain an increasingly awkward and false teen marketability as they grew eager to sing about more complex topics than crushes and homework. Joe and Kevin were required to shave every day, and allusions to anything sexier than a kiss or darker than a minor bummer were "sugar-coated." The essay is emotional, but not scornful, simply trying to make people understand the many factors that led up to 2013, when The Jonas Brothers cancelled their tour, scrapped their fifth album, and stopped being a band.   

Joe doesn't walk back anything he wrote. But with the anxiety he faced back then as a newly unemployed solo act now largely evaporated, he speaks to the same topics with adult, big picture complexity. "We were having to censor ourselves, I think any artist could relate. That's not fun. We were at a standstill with our TV show and the movies. We were young adults, having to pretend like we're young teenagers," he reiterates, but explains that to be frustrated with the company was "such a weird mindset to get into, because we have Disney to thank for so much, they got us started in our career."

Nick bristles at the cartoonish idea that he and his brothers were victims of Big Bad Disney, or anything besides mutual investors in their image and success. "Before this becomes an indictment of Disney and Disney culture, I think it's important to say that, though we felt limited at times, bottom line, Disney was really good for us; really good training wheels for anybody that wants to become a musician or entertainer, as far as work ethic and all the rest. There was a balance to it all, and we could have had it a lot worse." They seem acutely aware there was no cost to their relationship with Disney more valuable than what they gained: "[Those years] are a major part of our story and a big way that our fans connect with us and continue to today." If it were the case that the world couldn't move on from their childhood, Nick says, "It might be tougher to accept... But we have to continue to make new statements and push ourselves to create who we are, every day."

"We were young adults, having to pretend like we're young teenagers." — Joe Jonas

Why would they be inclined to dwell on the past? Since their break-up — when Nick was 21, Joe was 24 and Kevin was 26 — each Jonas has transitioned into an entirely new life. Following his Married To Jonasreality TV show, Kevin retreated into his family and pursued real estate development, satisfied to spend his days as a non-famous. Joe and Nick each rebelled, a little. Joe, "the bad boy," experimented with the archetype he'd been cast in as a teen by dating famous models and growing a beard. Seeming to find the role ill-fitting, he then opted to become the frontman of fun dance-pop band DNCE, of "Cake By The Ocean" fame. Baby Nick tripled in girth, made a vulnerable, sexy R&B record, landed a few underwear billboards, and emerged as a Hollywood heartthrob following his effective performance in blockbuster Jumanji. As you might have heard, the latter two have also recently gotten married, attaching themselves to famous and successful women who, aside from appearing to make them genuinely very happy, also brought them back into the fold of A-list celebrity even before the reunion was announced.

Instead of reminiscing about the highs and lows of their days sketching Mickey Mouse's ears with a CGI wand or picking at scabbed-over angst at the behest of a pesky writer, The Jonas Brothers would rather talk about all the good things in their lives, now. For instance, how sublime it feels to be The Jonas Brothers, again.

"It's been incredible, being back together after the longest time apart and spending this amount of time together in the studio, not to mention actually announcing this stuff and the response to the music," gushes Kevin. "It's been so overwhelming and so exciting. It means so much to us to be able to do this again as brothers. It's just beyond..." The words "incredible," "exciting," "amazing," "overwhelming," as well as "crazy" and "surreal" are repeated over and over in our conversation, as they describe getting to know each other as brothers and musicians again. "It had been four or five years since we spent any time by ourselves, you know, just hanging out."

Today, The Jonas Brothers are poised to become a bigger force in music than they ever were in their Disney days. They've achieved this — despite re-entering a radically different pop landscape than the one they departed, now ruled by rappers making country, bearded scumbros making rap, and teen girls making ASMR — by doing exactly what first made them a sensation: clean, universal, good vibes pop songs.

"We take what we do seriously, but we don't take ourselves seriously." — Nick Jonas

Both of their new singles, "Cool" and "Sucker," radiate an unforced joy and playful confidence that seems to be the defining quality of The Jonas Brothers' second coming. "It's all about having fun," says Nick. "We take what we do seriously, but we don't take ourselves seriously."

The sound of The Jonas Brothers not taking themselves seriously is so pleasant that "Sucker" — a carbonated love song that sounds the way Pop Rocks fizzling on your tongue feel — has become their first ever No. 1 on the Billboard Hot 100. It doesn't sound like old Jonas Brothers, but it also doesn't sound like much else in pop right now. With the help of OneRepublic frontman, songwriter and producer Ryan Tedder (as well as popcraft overlords Max Martin, Greg Kurstin and Justin Tranter), The Jonas Brothers have shed their pop-punk-curious crunch and Disney sing-along sugar, while staying faithful to the drums-and-guitar roots and tactile storytelling that made a generation fall in love with them. The effect is a flavor of blissed out pure pop, that both sounds both refreshing next to today's deluge of morbid pop cyborgs and comfortingly familiar.

"We had a real sense that it was important for us to stay authentic to who we are," Nick explains when I ask how they resisted the urge to abandon their rockist roots for pop's current greener, genre-scrambled pastures. "When you go back and and listen to Jonas Brothers records, they're written and produced as rock and roll records." However, he says "that doesn't mean that we can't try out other sounds, or go on a journey to get there," and promises there's at least one trap beat and one yeehaw moment on Happiness Begins.

Despite the above, let's be honest: a No. 1 Jonas Brothers single in 2019 doesn't make complete sense (a glitch in the simulation, as they say). The Jonas Brothers belong in the past: in the childhoods of a generation now in their mid-twenties, and in a normcore, suburban fantasy that feels like it should have lost its appeal in our increasingly conscious times.

Plus, boy bands don't often get number ones. The last time one accomplished the feat was in 2003, when B2K's P. Diddy-assisted "Bump, Bump, Bump" hit number one (overtaking Christina Aguilera's "Beautiful" and Justin Timberlake's "Cry Me A River), according to Billboard. Even unfathomably famous ones: One Direction's highest entry on the Hot 100, 2013's "Best Song Ever," peaked at No. 2, lagging behind "Blurred Lines." Their own hits, 2008's "Burnin' Up," "Tonight" and "A Little Bit Longer," never made it past No. 5 during the reign of Katy Perry's "I Kissed A Girl" and Rihanna's "Disturbia." Their new trophy signals the JoBros have begun to transcend the silos of a traditional boy band audience, and thus, our general disdain for the culture young women tend to love.

So how did they do it?

There's a strong cinematic mythos to The Jonas Brothers' reunion story, which, indeed, will be soon available to stream. It went like this: Nick, the architect of the reunion, had started occasionally slipping JoBros songs into his solo sets and realized he was craving their brotherly magic. As they began spending time together on the set of their documentary, the seed in Nick's brain broke ground, and became an explicit conversation. Then, there was the spontaneous jam session of "Love Bug" in Cuba that reminded them of the magic of playing together. Then came the "intervention," when Kevin and Nick flew to Australia where Joe was hosting The Voice to address the baggage left over from their last run as a band, which they'd realized would be a prerequisite for a successful reunion. They did so with a series of conversations that Kevin describes as "the kind probably only brothers can have without wanting to throw a table at each other" ("they're in the doc, and they're heavy," he promises). During these talks, they decided that this time around, it would be all about having fun. Kevin adds: "The choice to do this wasn't out of need, it was more, 'This is something we really want to do together.'"

The Jonas Brothers' break-up went like this: the flame was Nick's solo ambitions. The gasoline was burn-out, the colliding egos of a band with two frontmen, diverging tastes (evident in the forked road of DNCE and Nick Jonas), and general paralysis. "We lost touch with what we wanted to say, because we were trying so hard to say something different from what we said in the past, musically and creatively," Nick explains. Plus, instead of becoming deluded by their preternatural fame, it had given them imposter syndrome and anxiety. "We understood that our level of success and fame had reached a point, where our musicianship and writing and performing abilities needed time to grow and catch up to it."

When I ask what kept them humble enough to realize this, Nick admits: "I think it was a combination of humility, and just being scared that it was all going to disappear." He references what he recalls as a Coldplay soundbite, that helped them through that choice: "I don't want to misquote, so you might want to fact check, but something about the fact that, they had become too big, you know, for their level of musicianship, so they worked harder than ever and went even deeper creatively. We really related to that." I'm unable to confirm the words belong to any member of Coldplay, but wherever The Jonas Brothers came across it, it must have been a comfort to know they were navigating charted rockstar waters.

Listening to the brothers reflect, it seems that the pyre underneath The Jonas Brothers' flame-out was simply the reality that Nick, Joe and Kevin are genuinely skilled, creative musicians, who were always going to clash with their cramped confines. Maybe the demises of commercial boy bands aren't a product of personal dysfunction at all, but rather, of their artistic health — evidence that they're composed of living, breathing human beings, rather than attractive androids positioned in the right spots on a music video set. If a group of kids in The Jonas Brothers' position forge ahead cheerfully into the complex chaos of their twenties without craving autonomy from each other or Disney's iron fist, someone should probably check under their curls for lobotomy scars.

"I think it was a combination of humility, and just being scared that it was all going to disappear." — Nick Jonas

"It really took the last six, seven years to figure out who we were as people and what kind of music we wanted to make." Nick says. He mentions tactfully that "a lot of young performers find this transition into adulthood really challenging," and implies pushing the bounds of their wholesome, juvenile aesthetic while still operating as The Jonas Brothers might not have been pretty: "If we had continued to try to push things forward the way we were operating, it might have been difficult. Perhaps we would have had to make bolder statements... shocked people into understanding who we are. I think the world is more accepting of us as adults than they would have been if we insisted, 'This is who we are now, accept us.'"

If they hadn't abandoned their spot at the top, and taken the time to grow up and chill out, avoiding many of the more excruciating personal and professional pitfalls of young pop stardom, The Jonas Brothers might have found themselves somewhat tragic figures in 2019, doomed to a career mired in nostalgia. Instead Nick, Kevin and Joe are having the time of their lives on their prodigal pop homecoming. I doubt they'd have this moment if they'd staged their return, however, by attempting to make the world see them as more than "just a boy band." With no ambitions beyond "trying to bottle happiness" and bringing "positive vibes to the world," as Nick explains of the album title inspiration, The Jonas Brothers, against the odds, have plucked themselves out of our "Week in 2009" column and earned a place in the living, breathing cultural fabric of 2019.

Maybe the key is simply prioritizing what's always been at the core of The Jonas Brothers: the fans — their palates and desires, giving them new lyrics to tattoo on their ankles, Easter eggs to mine for the details of their lives, and concerts to scream at with their friends.

"The reunion... felt like getting my best friend back after a long time," one fan, whose handle is @jonasbr0, says on Twitter. Another, whose display handle reads "Kat LOVES the Jonas Brothers," claims "I'm the most excited that anyone has ever been about anything," revealing "When I graduated high school I decorated my cap to say "I'd rather be at a Jonas Brothers concert." "Their music has brought some of my best friends into my life. We've all grown up together with the boys" says @taylaxo, whose pinned Tweet is a photo of herself in a sweatshirt printed with a Tweet from Joe announcing the reunion.

Nick muses, "The best part of this go around, is the fact that those fans have lived with our records for so many years that they're part of their lives, and they're really meaningful to them. We can feel that energy. All those years of fearing it was going to disappear are now kind of..." he trails off. 

Source: PAPER Magazine

#jonas brothers #joe jonas #nick jonas #kevin jonas #paper magazine #text #article #interview #2019

[chiseler]

McVouty!

I first heard Slim Gaillard in a cramped little new and used punk rock record store just off South Street in Philadelphia in the mid-‘80s. You wouldn’t normally be expecting the spiked and leathered clerk in a place like that to be playing ’postwar jazz, but Gaillard was a different kind of finger-popping jazzbo, as singular a groovy beatnik punk rock wildman as they come.

Bulee “Slim” Gaillard’s early life, as he describes it, was as storied, fantastical, even mythical as Salvador Dali’s or an early 20th century boy’s adventure novel. Given official records are sparse, it’s just better and somehow more fitting to simply take him at his word. It only makes sense, really, and helps explain as well as anything how he became what he did.

The motormouthed madcap hepcat bebop comedy genius behind 1938’s “Flat Foot Floogie (with a Floy Floy),” a performer whose unexpected slips into rapid-fire Spanish, Arabic and Yiddish can at first sound like skilled mimicry, a kind of scatting Sid Caesar, was born in Cuba in 1916 to an Afro-Cuban mother and a German Jewish father. His father was a steamship steward who sometimes brought the young Gaillard along on ocean voyages to show him a bit of the world. But after a stop in Crete in 1928, the ship somehow sailed on half an hour earlier than scheduled, leaving the 12-year-old Gaillard behind. Completely alone and speaking only Spanish at the time, out of simple necessity he picked up enough Greek to get by for the next couple years. He also occasionally hopped aboard passing ships to visit the Middle East, where he likewise learned some Arabic and became enamored with the people, the music and the culture. Then at 16, deciding it was about time he returned home to see his parents again, he booked passage on a ship he thought was headed for Havana.    

Only problem was, the boat skipped Havana, sailing north to New York. Gaillard didn’t disembark there, instead staying aboard as the ship made it’s way through the St. Lawrence before docking in Detroit. Considering he spoke no English, Detroit seemed much more amenable, he would note years later, mostly on account of it’s large immigrant population. With so many Greeks, Arabs and Hispanics vying for work in the auto plants, he was at least able to find people with whom he could communicate, and was taken in by an Armenian family. He picked up English as quickly as he picked up the others, though, and started working odd jobs. Among the odder, there in the midst of Prohibition, was a stint with the notorious Purple Gang, for whom he made deliveries in a hearse carrying a coffin filled with bootleg whiskey. After witnessing too much violence, the preternaturally gentle Gaillard realized it wasn’t the life for him, and took the advice of a tough local beat cop (who also happened to be black) who warned him to get away from the gangs, get out of the neighborhood, and do something with himself. For a black teenager in Detroit in the 1930s, his escape routes were limited. He could go into boxing, or go into music. He tried his hand at boxing for a bit, then decided maybe music was the preferable route.

Gaillard started taking night classes, and after some backstage encouragement from Duke Ellington himself, eventually learned to play guitar, sax, vibraphone, piano and drums. In the mid-30s he moved to New York, having decided he wanted to be a professional entertainer.

Since work as a professional musician was hard to come by, he became what he called a professional amateur, making the rounds of the amateur nights at the local clubs, changing his act as he did to avoid recognition. Sometimes he’d be a dancer, others a pianist, still others a sax player. Simple fact was he could get paid $15 a night on the amateur stages, which was better than a lot of professionals were getting paid. The trick, though, was he couldn’t be too good, If he was too good, they’d never let him play amateur night. So he always had to drop in a few intentional flat notes to cover himself.

Although he was an excellent musician who could play everything from boogie woogie to bebop to Big Band to Afro-Cuban to American standards to children’s songs and classical, Gaillard will never be remembered for his playing. Despite having so many languages at his disposal (the list had since come to include Armenian, German and Yiddish), Gaillard found there were still ideas and concepts beyond what any of them could express. To rectify this he began inventing his own vocabulary, centered around the adjectival verb “vout” (and it’s variations vouty, McVoutm McVouty, etc.) and the suffixes o-reenee, o-roonee, and o-rootee. They were fluid in both usage and meaning, and could be dropped in pretty much anywhere in conversation. By the time he teamed with bassist Slam Stewart and the pair began recording as the musical comedy team Slim and Slam in the late ‘30s, Gaillard had started writing his own songs in the new language he had christened, yes, Vout-O-Reenee. Beyong that, the pair was a master of the dueling jive comic scat, playing off each other and riffing on everything from La boheme and “Jingle Bells” to chicken clucks and food references. Gotta say, Gaillard wrote an unusual number of songs about food—avocados, chili, fried chicken, ice cream, matzoh balls, bagels, peanuts, and whatever else came to mind when he was hungry. He also wrote songs about motorcycles, cement mixers, and mass communication.

Slim and Slam first came to the public’s attention when Benny Goodman performed their song “Flat Foot Floogie (with a Floy Floy) on the radio in late 1937. The song was an overnight sensation, and when Slim and Slam recorded their own bersion shortly thereafter, it reached number two on the Billboard charts. A copy of the song was even included in a time capsule buried at the 1939 New York World’s Fair. The capsule is scheduled to be reopened in the year 6939, and you have to wonder what whoever or whatever finds it will make of what kind of people we were.

Other outlandishly catchy novelty hits like “Cement Mixer (Put-Ti Put-Ti)” and “McVouty” soon followed. The pair’s between-song banter, marked by non-sequiturs, bad jokes, and Gaillard’s new language made them radio favorites. In 1941 they appeared as themselves in the appropriately wild and accidentally postmodern Hellzapoppin’, and performed in a handful of other films in the early ’40s.. Gaillard’s facility for languages, accents and crazy sound effects also earned him occasional voice work on animated Warner Brothers shorts from the era.

In 1943 Gaillard was drafted into the Army Air Corps, trained as a pilot, and flew a B-25 on bombing missions over Europe, which is something worth pausing to think about for a moment. After his plane was struck by anti-aircraft fire in 1944 and Gaillard was hospitalized for months with an arm full of shrapnel, he was discharged. He resumed his musical career, solo this time, recording jams with the likes of Dizzy Gillespie and Charlie Parker and releasing his majestic four-part “Groove Juice Symphony.”

Gaillard was  tall and rail thin with a pencil mustache, a groovy, mellow, and utterly unpredictable hepcat’s hepcat, and was deeply respected within the jazz community. While playing a stint at a little club in San Francisco in the late ‘40s, he met Jack Kerouac and Neal Cassady, whom he  says hun out at the club eight nights a week. They became good friends, Gaillard being impressed by their deep understanding and love of the music. Kerouac would later immortalize Gaillard by famously recounting the meeting in On the Road. (It’s also interesting to note that during a 1968 episode of William Buckley’s Firing Line, a very drunken Kerouac interrupted the discussion about the hippie movement with an impromptu rendition of “Flat Foot Floogie.”)

By the late 1950s, however, the music scene had started to change, rock’n’roll was coming to dominate the airwaves, the jazz clubs which had lined Manhattan’s 52nd Street were shutting down, and Gaillard was starting to feel like he no longer belonged. It’s unclear if the 1957 release of Little Richard’s “Tutti Frutti” had anything to do with this perception. The song was of course a massive hit and is today considered a fundamental, defining classic of early rock’n’roll. True to form, Little Richard refused to acknowledge the song (down to the “Tutti Frutti-o-roottee” chorus) was simply a bowdlerized version of Slim and Slam’s 1938 hit of the same name. Little Richard fans insist up and down they were two completely different and unrelated songs since the Slim and Slam version was about ice cream not girls, but when the singer himself notes his original title was “Tutti Frutti McVouty,” well, there you go.

Gaillard insisted he had nothing against the new music, but it simply wasn’t his scene, so by the end of the decade he stopped recording, stopped performing, dropped out and started looking for something else to do.

For an entertainer of his range, ability and goofy charisma, the choice seemed easy, and he picked up and moved to California. Although often cast as musicians who bore an uncanny resemblance to Slim Gaillard, over the next two decades he would appear opposite Bobby Darin and Stella Stevens in John Cassavetes 1961 feature Too Late Blues and in the 1958 Harlem Globetrotters movie Go, Man, Go! He had guest spots on Marcus Welby, M.D., Charlie’s Angels and Medical Center. He played Sam, the baseball expert in Roots: The Next Generation, and Raymond Burr’s butler in Love’s Savage Fury. Although he claims he was one of the gorillas in 1968’s Planet of the Apes, I honestly can find no verification of this, no matter how much I want to believe it.

After a dinner with Dizzy Gillespie around 1980, Gaillard decided to return to his one true calling. He  signed on for a number of jazz festivals throughout Europe, and started work on a couple new albums. Also at Dizzy’s recommendation, Gaillard picked up again in 1983 and moved to London, where the atmosphere was much more welcoming for American jazz greats than it was in the States.

As if to prove a point, shortly after his arrival, Gaillard was approached by the BBC, which produced a remarkable four-part, four-hour documentary about his life and career. Slim Gaillard Civilization allowed Gaillard to tell his own story, combining archive footage with clips from recent performances, conversations between Gaillard and old friends, candid shots of a family get-together in California (his daughter Jan was married to Marvin Gaye), a few impromptu songs, and even some dramatic recreations of scenes from his childhood. Gaillard’s slow, gentle and simple poetic narration leaves his tale sounding like a children’s bedtime story, which is the overall form the documentary takes.

He was a little slower, a little more, yes, mellow, and the manic energy of half-a decade earlier had ebbed a bit. A new recording of “How High the Moon?” seemed staid and over-rehearsed, even a little bored compared with the unpredictable and mad anarchic ad-libbing of his original 1947 recording, but remains uniquely his own. More than anything, there was a new and unexpected air of melancholy about the 68-year-old, much of it focused on a scene from his childhood. As he was leaving Cuba with his father for what would be the last time, Gaillard had been instructed not to look back, because he would see his mother standing there on the dock and want to go home. He did as he was told, never once thinking he would never see her again. After being abandoned in Crete, he never saw either of his parents again.

Gaillard died in 1991 at age 75, and is mostly remembered today as a novelty act, a kind of clown prince of jazz, but he’d led a singularly American life for someone who didn’t speak English until he was 16, and remains one of the most unique, eccentric, and insanely talented musical entertainers the country’s produced.

O-Roonee.

Jim Knipfel

[peace-coast-island]

Diary of a Junebug

Sing along with The Hammies!

We’ve got a musically packed concert tonight with the debut of The Hammies! The show was a mix of original songs and karaoke, which was a blast!

Just as The Hammies promised, we sang our hearts out all night!

The opening was the well known party hit back in the day known as The Dance Disco. Standing up to sing and dance along immediately set the mood for the rest of the night. Dancing to the beat of that song never gets old!

Next up was an original tune written by Apple titled Hold Me. It has a nice catchy beat that’s like a fusion of disco, jazz, and R&B, which is a combo I never expected to hear! Apple’s vocals also take the song to another level with her energetic performance. She’s the main songwriter of the group and she’s the kind of artist who takes pride in her creative works as seen by her performance.

Tag Team, by Apple and Hamlet, is a fun duet about friendship. Once again Apple blends some unlikely genres into something new - blues, punk, and folk. Hearing the song makes me think of my friends and the adventures we shared together. If I were to put together a playlist of songs that accurately describes my life, Tag Team would be one of them.

The next song was a rocking instrumental starring Hamlet on drums titled Hamster on Wheels. It was inspired by a movie of the same title, which is one of his and Apple’s favorite movies. The instrumental comes from the infamous and climactic chase scene, which I’m vaguely familiar with even though I haven’t seen the movie. Now I’m going to check it out because that was an awesome instrumental!

Act 2 was the karaoke session where we sang along to a bunch of our favorite songs. Alternating Alternate was the first song, a popular song at karaoke bars because of how hard it is to sing. The lyrics are basically like tongue twisters! I got lost halfway through the first verse, which always happens. What makes this song fun is that you can throw in any kind of words in and it’ll still make sense in an abstract way. So by the end it was a completely different song!

Game Night Anthem is another popular karaoke hit. And much easier to sing along with as well! It’s an oldie but goldie. I think by now the song’s almost thirty years old and yet it still sounds like something you’d hear on the radio today. It’s one of those songs that almost everyone is somewhat familiar with the chorus even if they don’t know the title.

To close the karaoke act, we clapped and stomped to the beat of Rock Out. Once again another popular choice for karaoke, specifically as the finale. I think about half the karaoke nights I’ve been to ended with this song, which makes sense because it’s so fitting!

Now it’s back to The Hammies, opening with a solo Apple composition called Donut Call. Who knew that you can fit so many puns in a two minute song? There’s probs at least fifty puns in there and I love that! I can’t imagine theat it was easy to write so props to Apple for being a creative lyrical genius!

Of course we gotta have a ballad or two to round things out so Hamlet sang a heartfelt performance of Behind the Scenes, which was co-written by Apple and Goldie. I never expected to hear Hamlet sing a sort of crooner-style ballad so that was surprising and really nice to listen to. Also the lyrics are simple but poetic and sort of remind me of my Lilac and the Cadillacs days.

The next ballad was sung by Apple and it’s called Summer Moon. It’s sad and wistful with twinges of longing and homesickness. Before being revised by Apple, the song was originally a poem by Muffy called Summer Night. Muffy said she wasn’t happy with it and turned to Apple for help. Apple saw the potential and turned it into a pop ballad with touches of country and soft rock while Muffy tweaked the lyrics.

Before we knew it, the show was coming to an end. The Hammies closed with a fantastic rendition of The World is Turning. It’s a classic hit that Apple and Hamlet grew up listening to on the radio so that song was the top choice for a cover. I’ve heard covers that don’t really do the song justice and after hearing The Hammies’s version, I’m finally convinced that it’s possible to be on the same level as the original.

Tha Hammies will be back again with a whole bunch of new Apple compositions in the future!

junebug|previous|ao3|next 

#animal crossing #animal crossing pocket camp #acpc #Diary of a Junebug #Daphne Primrose

[iimaginedragons]

album review

“pray for the wicked” -- panic! at the disco [2018]

the highly anticipated sequel to the commercially successful “death of a bachelor” album by emo pop punk gone alternative band panic! at the disco is here, and i decided that it would be the perfect start for my new album review segment. i’ll break this down track by track in a moment, but first, some background and overall impressions.

although i can’t call myself a longtime panic! fan as i only really discovered their entire discography less than a year ago, i definitely enjoy their music a lot. i’m kind of glad that i wasn’t there from the start, since i was able to really enjoy “death of a bachelor” when i first found it without having any attachment to their previous sound, since i hadn’t heard it before. if you saw my chaotic rant about p!atd a few days ago, i ranked my favourite albums of theirs, “a fever you can’t sweat out” taking the top spot with “death of a bachelor” in second. from what i’ve seen within the fandom, this seems to be an unpopular opinion since they’re so different. since i absolutely love these two very different eras of panic!, and i figured that this put me in a perfect place to await “pray for the wicked”; i felt ready for basically any sound and i also felt like brendon was really going to hit his prime as the sole remaining member of panic! especially after a “début” of sorts with “death of a bachelor.”

however, as a whole, i felt let down by this album, especially after such promising singles. although there were many positives in “pray for the wicked”, it was also riddled with problems all throughout. here’s my opinion on each track along with my analysis of what went right and what went wrong on this album.

#1 -- “(fuck a) silver lining”

when this song was first released a while ago along with “say amen (saturday night)” i really only thought it was “okay”. i think that compared to the big roaring chorus and instrumentation on the other track, this one fell sort of short. however, after more listens, i really came to appreciate the bass in the verses, the brass on the chorus, as well as the vocal hook on the chorus, which i initially didn’t like because the lyrics “fuck a” felt awkward to me -- now, however, i feel like i’ve absorbed the beat of it a little more and i actually really enjoy it. also, it took me several listens to hear brendon’s high notes in the ending chorus since i was initially so irked by and hung up on the “awkward” lyricism, but they’re absolutely incredible. say what you will about his music, but this man can sing. the whole idea of this song, of nothing ever being good enough or totally okay despite silvers linings also really grew on me. overall, i think this is one of the strongest tracks on the album and it’s definitely a song that i’ve been and will continue coming back to listen many times around.

#2 -- “say amen (saturday night)”

i was very glad this song came on right after “(fuck a) silver lining”, because this one impressed me right off the bat and still does to this day. the vocals are clean, the subtle guitar fits very well, and the brass in the chorus works within the heavy alternative beat in this amazing way that p!atd can do. the long high note is obviously impressive as hell, but i also feel like the bridge’s low notes deserve some praise too. this track feels like a strong evolution from the style in many “death of a bachelor” songs, such as “emperor’s new clothes” and “crazy=genius” which are among my favourite panic! songs of all time partially due to their thickly produced alternative choruses. i think this is truly the song that got me the most excited for the new album because it’s so grand and well-mixed. it was smart of brendon to release this one first, commercially speaking, as it got really positive reviews. sadly, i feel like it ultimately came to bite him in the ass as hardly any other songs on “pray for the wicked” were able to live up to this one. 

#3 -- “hey look ma, i made it”

here’s where we unfortunately start getting into some problems. the album was obviously going very well so far, but i was especially excited for the first song that i had yet to hear, and man, was i ever let down. i feel like since this is a positive anthem with a shoutout to his mom, fans will jump all over this song; not me, sorry. we have some lukewarm vocals over a synth riff that just doesn’t do it for me at all, and a simple mellow pop beat, which is really not typical of panic! who i’ve always found to have excellent percussion, or else enough of the other things to make up for weaker drums. i also find the lyrics weak and tacky, your usual motivational, shrug off the haters and follow your dreams song. the vocal melody, especially, in the verses, is beyond dull to me. i really don’t like the “boo-hoo” before the chorus -- that’s probably what i detest the most about this track. i know it’s meant to be funny and it’s obviously sarcastic, and who doesn’t love sarcasm, right? this, however, isn’t sarcasm done right; it’s sarcasm done lazily and stupidly. brendon could have come up with a clever line or something like we all know he can, but no, we’ve got “boo-hoo”. i don’t like the trap-inspired beat on the second pre-chorus and the final chorus either; it doesn’t fit the song. i can’t say that there are many panic! at the disco songs that i would skip when listening to an album, but this is certainly one of them, unfortunately.

#4 -- high hopes

i enjoyed this one a lot when it first came out, since i get major “death of a bachelor” vibes from it. although it encorporates many aspects of mainstream pop (which isn’t inherently a bad thing of course) such as the clicking percussion in the intro, it is done well because it is cohesive with the rest of the production, notably a far more varied vocal melody, a hook that’s actually catchy, and excellent brass, all of which the previous track on the album totally lacked. although this is another motivational anthem, the lyrics aren’t awkward to me and the rhymes flow far better; they feel natural rather than forced (a fairly common problem on many tracks of this album). i think for me the vocals really make this song, as well as again, that heavy chorus. i love that acapella bit near the end, then the entrance of another typical pop build up for the rest of that chorus before finally landing into the chorus’s final renditions. i’ll stress this again: the drums, horns, and vocal melody are crafted well enough to surround and embellish the mainstream pop aspects of this song, make it different, and increase its substance; that, to me, is what alternative music is all about. this is also among the strongest tracks on the album for me.

#5 -- roaring 20s

the start of this song really caught me off guard, but i immediately had a good impression about it. i’m really gonna discuss the lyrics on this one because i’m super conflicted on it. immediately i got a “don’t threaten me with a good time” vibe, especially with the phrase “this is the strangest of summers” and the previous lyrics. however, the following lyric, “maybe i’ll medicate, maybe inebriate” is super problematic for me; this is one of those instances where the rhyme feels forced and a bit basic. same with “maybe i’ll smile a bit, maybe the opposite” -- i mean the syllables are counted just right, the words are similar and simple... it just feels extremely weak to me, as if literally any novice songwriter could have written it. i find the pre-chorus very good, and the ensuing hook “this is my roaring 20s” is fine as well, but let’s talk about “roll me like a blunt ‘cause i wanna go home”; i hate it, i think it’s absolutely stupid and it could have been tweaked just a tad to make sense (i mean, it comes up later as “roll me a blunt ‘cause i wanna go home” which makes a hell of a lot more sense and could have a deeper meaning -- is he only at home when he is high? it would totally work as the regular chorus line for the whole song if the vocal melody was altered just a tad). it’s unfortunate because i was willing to overlook the simple rhymes earlier because sonically, i find this song very catchy and unique (love the 20s vibe), but man, those lyrics... i will say this, though: it has been bothering me far less with more listens -- the sound is gradually making up for the poor lyricism everywhere (it only gets worse with the second verse). time for a huge positive score though, probably the best thing that came out of a non-single song on this entire album for me: the slowed down, 20s take on the second last chorus. i find it so incredible, well-placed within the song, and perfectly executed. it sounds authentic enough but somehow also fitting in a modern alt pop album -- i don’t know how he does it. for me, it makes the entire song worth listening to; i soldier on through the shit verse lyrics just to hear what i find to be a huge sonic achievement for not just this song or album, but for panic! in general. as i mentioned earlier, there’s also that modified lyric in the chorus that sounds far better. i kind of wish that every chorus had been like that sonicallt, but i don’t know if it would have had the same incredibly exciting effect that it had on me the first time i heard it; thanks to that, this track is the only non-single one that i’ve really been listening a lot. also, a little sidenote i just thought of: this is really the “stay frosty royal milk tea” of this album for me; i really like it sonically but the lyric issues are cringey -- let’s hope i can eventually overlook them as i mostly have with the fall out boy track.

#6 -- dancing’s not a crime

this song kicks off with a really exciting vibe aside from the obnoxious chopped electronic sample -- i like the guitar and brass as well. i’m really not a fan of the chorus, i mean lyrically it’s weak, but as i’ve been stressing this entire time, if you have enough of everything else to embellish a weaker part of a song, it can work, especially with the amount of layers there are in alternative music thanks to heavy production; here though, it just doesn’t work for me, as the drumming and bass are pretty weak as well. i’m not a fan of brendon’s vocals on the chorus either, he sounds like he is straining too much (i have heard people give the same complaint about “high hopes” and a few other p!atd songs on other records as well, which i can understand, but i guess it’s really up to personal interpretation because i personally love the vocals on “high hopes”). i think my biggest problem with this entire song is that i find it very tacky. i understand that he was sort of going for a broadway vibe on certain parts of this album, which works in some places and not at all in others; this is one of those “others”. the issue isn’t really that the song’s about dancing which in and of itself has come to be seen as a tacky theme in music; it’s more so a lack of effort in trying to make it not tacky that saddens me. the brendon that we’ve seen over the years has written of pretty common themes in music such as sex, cheating in relationships, drugs, and partying in general, but has done so in such refreshing unique ways. i’ve personally always admired his ability to make a party song that’s always a bit “too deep” to be your typical party song -- a prime example of that, again, is “don’t threaten me with a good time”; sure, it’s goofy at times, but it’s clever and it also has this dark, almost sad undertone, as if conveying already the regrets of the following days. here, however, i hear only a surface level song that tries too hard to be a jam and not hard enough to be an actually well-rounded song.

#7 -- one of the drunks

what i just talked about in terms of party related lyrics applies very well again to this track. the verse is very basic and very un-panic!-ish -- to me it sounds like something maroon 5 would write (and i really don’t mean that as a compliment). the guitar and beat in the chorus are alright, they’re mellow but in a good way this time -- i honestly don’t really have any particular problems with the chorus, but it’s also nothing special either. another one of my issues with these verses though is the very short, choppy statements; i mean, he’s not even writing fucking sentences. if you’re into that, then it’s okay i guess, but personally i like full or half sentences rather than just individual or very small groups of words just being sort of tossed around, you know? i like a cohesive statement; doesn’t have to be a story with perfect flow, but i don’t mind some sense of time and direction rather than feeling as though i am floating around in this cloud of space where words are just being chucked at me left and right with what seems to be very little thought behind them. this style of lyricism also reminds me of lots of current trap and trending hip/hop, which i find to be very weak genres lyrically-speaking. i think this song also tried to convey that “hidden sadness/depth within the party song” that i mentioned earlier, and although i do kind of feel it in the chorus, i find the vocals and production don’t convey it as well as they could have. i don’t like the bridge, but it does make that last chorus pop a hell of a lot more. this one isn’t a song i’d purposely skip, but it wouldn’t really be my first choice to listen to at any point either.

#8 -- the overpass

again, another track with an extremely promising start. that brass, those bongos... and then our typical high energy p!atd breakdown, followed by some awesome vocals and bass -- i mean i was feeling very good about this song, probably better than any other non-single start that i’d heard on the album thus far. i like the sound of the chorus, but i wouldn’t call it grand either -- i’m also not a fan of the repetition right at the start: “meet me, meet me, at the overpass, at the overpass”. i know brendon is clever enough to fill that in with some variation; it feels lazy. the vocal run before the bridge is clean and beautiful, yet the strings (which i felt lacked both quality and quantity on this album in general) on the bridge reminds me a bit of a watered down “(fuck a) silver lining” and i dislike the way brendon articulates those lyrics. although it isn’t super impressive and got a pretty positive reaction out of me initially mostly because it’s preceded by two bummers and a problematic fave, this is honestly not a bad song. there isn’t too much that’s really “wrong” with it (as you saw, i was being pretty fucking nitpicky), though of course, “not a bad song” is not a great compliment in comparison to what we are used to saying about panic!’s work.

#9 -- king of the clouds

despite being the shortest track on “pray for the wicked”, this song undoubtedly makes up in quality what it lacks in length. i was initially annoyed at brendon for dropping a fourth single since we already knew that the album was only going to be eleven songs and it was coming out in like a week anyways, so i tried to boycott it so as not to spoil the album for myself -- two minutes later i was listening, and i fell so hard for this absolute jam that i couldn’t even be angry. the acapella intro with all those layers sounds heavenly, especially as i am lucky enough to own a solid pair of beats headphones through which to experience it. that electric guitar lick hooked me immediately and i was just immersed in this song from then on out. heavy alternative production dominates, reminiscent for me of "friction”, “gold”, “smoke and mirrors”, “i’m so sorry”, and a few others off of imagine dragons’s “smoke + mirrors” album, a deliberately overproduced alternative record that just so happens to be my personal favourite of all time. the roaring chorus just demands to played at full blast. the lyrics are decent; not as existential as brendon intended them to be, but catchy nonetheless. the “below the sun” rhyme sounds, again, a bit forced, but within such a powerful track i can forgive it. the strings are really awesome here (probably their best spot in the entire album), and the outro vocals are great as well. this all sort of brings on an interesting idea for me; if you’ve been keeping up with panic! lately, you may have heard brendon discuss the making of “king of the clouds” and the fact that it was created very quickly and added to the album only an hour before their due date. for some reason, it just bothers me that my favourite and one of strongest songs on the album was created in so little time, whereas tracks like “hey look ma, i made it” were done way before and are far inferior in quality to me. it begs the question of what the fuck was he doing the entire time before the creation of “king of the clouds”? i mean “say amen (saturday night)” and other previously mentioned songs are strong and i can see time being dedicated to writing and producing them, obviously, but if it took brendon the rest of that time (aka any time way longer than it took him to make “king of the clouds” and the other strong songs) to craft something like “dancing’s not a crime”, i'd say that’s honestly kind of sad. i don’t mean to insult brendon’s work ethic; i just find that for the creativity that we know he still has to this day thanks to the “death of a bachelor” album as well as songs like “king of the clouds”, it’s disheartening to see final products like the mediocre at best songs i’ve described above. anyway, this is my personal favourite song off the entire album, i think it’s very well done.

#10 -- old fashioned

after what i just wrote on brendon, i feel kind of guilty because i love and respect him so much, so i really wish i had something nice to say right now about this next song... yet we open on this low horn type sound that i’m really not a fan of. thankfully it fades into the background, making place for a verse with a guitar style that sounds like it was sampled directly from the second verse of “say amen (saturday night)” -- the lyrics are okay in the beginning, yet the chorus is weak and the strings don’t fit the rest of the song at all. the “dead and gone so long, seventeen so gone” hook sounds like everything that is wrong with current mainstream pop. then for the bridge, we mix this broadway-like sound with nice brass, which works, but then we’ve also got the “say amen (saturday night)” type guitar and our current basic beat, getting this strange combination that really doesn’t work sonically for me. also, “get boozy”? like... really? i’m sorry, but to me that’s a pretty pathetic bridge. overall, this song is just not very exciting, and i don’t understand the thought behind so many of the sonic transitions, especially that final chorus. this is among the worst on the album for me.

#11 -- dying in la

my immediate thought with this one was “good on panic! for ending on a ballad again” as it really worked on their last album. this track begins relatively well with some nice piano (a little too broadway for my taste, but i can understand the appeal) and good vocals. however, it quickly goes downhill from there for me. maybe it’s because i was expecting another “impossible year” which is an incredibly difficult feat to top, and maybe it’s because i prefer mournful themes to dreaming, hopeful ones. either way, this song really fell short for me. i was good with it despite the cheesiness until the “dying in la” line where brendon hikes up his vocals -- i find it to be completely unnecessary and a huge turn off for the song. yes, he had been channelling his inner broadway on the album but it was subtle; this time all i could think of was some cheesy dreamer’s musical, with this song being the main character’s turnaround point where they then get shot into the wonderful life of stardom thanks to all their hard work and the fact that they believe! ...awful. i just can’t do it. i know this song is meant to be sad by talking about all these washed up people who came to this big city with their larger-than-life ambitions and simply turned into partiers, drug addicts, or whatever. it’s really a great idea for a theme and i would love a song about that, but broadway musical style is not the way to do it. the entrance of the strings really just kind of ended it right then and there for me; it felt like it was trying so hard to be dramatic, while i was sitting here just rolling my eyes. obviously brendon’s vocals are good, but i just can’t deal with the childishness of this song. this level of cheesiness is (and to me, has always been) beyond brendon; he’s always just been so above that, better than this. “impossible year” is somewhat cheesy, yet it’s way more raw and real than this staged shit. i don’t know, i feel like the fans are going to fall for this one as well because it’s meant to be sad and it’s the only ballad on there. for me, all it did was make me feel this aching melancholy for the better p!atd slow songs, such as “the end of all things” or “far too young to die”.

overall, the strong points in “pray for the wicked” for me truly laid in the singles and a couple of other songs. general layered production was decent though a bit muddy at times, the use of brass, horns, etc. within a variety of beats was admirable and refreshing despite it not paying off each time, and the overall cohesiveness of the album is the only thing it has on “death of a bachelor” which is a bit all over the place in terms of musical style. i think that it is really thanks to the consistent utilisation of those trumpets, saxophones, etc. that “pray for the wicked” feels more like an album.

however, the negative points in “pray for the wicked” aren’t few or small enough to simply overlook quickly. yes the album is cohesive, but as a whole it is relatively forgettable, with very few standout songs. there is an unfortunate immaturity and simplicity in terms of lyricism and some sonic aspects of the album that i’ve never really seen from brendon, which is really disappointing for me. certain songs also blatantly outshined others, which would be fine if those “others” weren’t as weak as they are; it’s as if all efforts were thrown into a select few songs and the rest were just tossed in there for length. although i praised the use of brass throughout the album for its uniqueness and its ability to make the whole thing sound far more collected than their previous album, i also think that it might have been overused, as it was dragged into settings (notably beats and some strings and synth arrangements) that really did not require it or sound good with it at all. 

i could see this album growing on me as i listen to it some more, since i find myself to become a bit of a “lazy listener” if that makes sense; to a certain extent, i’ll absorb the awkward lyrics, weird sounds, etc. and sort of set them aside and just listen, if there’s enough of a song to salvage despite all those mistakes. “roaring 20s” for example is so catchy that i’ve already been listening to it a lot and really liking it, whereas i don’t know if i could ever genuinely enjoy “hey look ma, i made it” or “old fashioned” at all since for me the blunders in those are just too prominent and/or numerous. only time will tell, i guess.

in terms of my ranking for this album in comparison to the rest of p!atd’s work, i’d rank “pray for wicked” last along with “pretty. odd.” (which i don’t even like to count in my book because it’s just not so my style at all that i feel guilty judging its quality).

essentially i had been hoping for further evolution from the great sound of “death of a bachelor” and the singles made “pray for the wicked” seem really promising; unfortunately the rest of the album fell extremely short for me.

i’ll probably get murdered by fans for this, but my final rating for this album is a 4.5/10.

i think i’ll keep doing some more of these in-depth track and album reviews like this with both new releases and old favourites. if there’s anything you’d like me to review (even if it’s not in my tags at all), feel free to just drop a song or album in my ask anytime and i’ll get it up there asap, obviously crediting you in the process.

---mel 

#album review #pray for the wicked #panic! at the disco #p!atd #panic! #brendon urie #emo #emo trinity #emo quartet #text #alternative rock #alternative pop #baroque pop #pop punk #pop rock #synthpop #nicole row #kenneth harris #dan pawlovich #king of the clouds #say amen (saturday night) #(fuck a) silver lining #high hopes #pftw #pftw era #pray for the wicked era #panic! at the brendon

[stillalicebyheart]

Random little headcanons I’ve thought of while writing for the Cotton Candy and Hunters AU/Personality Swap AU (ft. pastel!con, emo!ev, nerd!zoe, hipster!jared, and cheerleader!alana); some might not fit but I wanna share them anyways! ( @softmushie is the OG creator for this au )

Connor and Zoe host karaoke nights for their friends featuring Connor on piano, a makeshift ice cream bar, and self serve cotton candy

They always sing a very dramatic rendition of Me and The Sky from Come From Away

Connor sings The Games I Play from Falsettos (Evan is v blushy listening to it)

Alana forces Zoe to sing some top 40 love duet (Zoe really doesn’t fight it)

Jared sings Teenage Dirtbag and some song he insists none of them know but they actually do because he’s played it so much for them

Evan sits in a corner watching and eating his ice cream, insisting he doesn’t sing until Connor starts playing Seasons of Love and suddenly he’s glued to Connor’s side at the piano singing along and watching Con play.

The Murphy’s?? Yeah they’re complete hippies. Cynthia is very laid back and both kids are very open with her, but she knows when to stand up for what she knows is right and often goes to protests; she drives Connor and Zoe (and eventually their friends) to the Pride Parades within a 3 1/2 hour radius from them. Larry is still an attorney, but he’s a rights attorney and fights for gay rights, racial issues, all the big ones other people are hesitant to involve themselves in. He loves his kids and while he and Connor still butt heads every once in a while, he knows its only because they’re all changing.

Heidi is kind of a hard ass? She fought with Evan when he first came home with his first piercing, and she pushes him to be the best he can be, but it’s all out of love. She and Cynthia meet up for Sunday brunch every week (although Cyn is kind of forced into it; she swore she’d never be a ‘brunch’ person, but she and Heidi have been friends ever since Connor and Evan started hanging out) 

Jared!! Wears!! A!! Beanie!! and ripped jeans and a flannel. He’s one of those ‘I’m not a hipster’ hipster. He and Evan met because Evan needed a ride to a concert and Jared was the only other person in the entire city that was going; their first time hanging out was in Jared’s car on the way there and Jared called him out on his ‘fake’ punk look. They’ve been inseparable since (and actually are true friends and don’t belittle each other, save for the occasional joking back and forth) and meet up at least once a week to listen to music/read random books.

One of Evan’s lip rings is real, all the others are fake. He’s afraid they’ll get infected, and only did that one because he wanted to rebel.

Connor carries candy for all his friends; Evan has sour gummies, Zoe likes pop rocks, Alana has bubble gum, and Jared has gummy bears. For himself he has lollypops and other various hard candies.

Evan bites his lip rings when he’s feeling anxious, and Connor uses it as a tell to either change the subject or check in with Evan and, if need be, get him out of the situation. Connor’s tell is he’ll mess with his bracelets or earrings, and Evan will do the same thing. Once they grow closer (or start dating) they’ll hold hands and check in with squeezes. 

Zoe paints Connor and Evan’s nails while they study, and gives them answers to questions they have. She’s taken so many AP classes (as a junior) she’s even tutoring Alana. She also drags Connor to the football games to watch Alana perform. Once Zoe starts talking to Alana down by the field, Connor goes off to find Evan up at the top of the bleachers, watching traffic drive by, and they give each other shitty play-by-plays. Evan convinces Connor that the numbers on their jerseys are their ‘power level’.

Alana wears contacts because she can’t perform in her glasses, and only wears her glasses outside of school/school functions; the first time she and Zoe hang out outside of school to study, Connor gets a load of texts telling him that Zoe is ‘going to spontaneously combust’ and to ‘find a new sister bc zoe.exe has quit working.’

Alana finds Zoe’s knowledge so fucking cute and the whole squad gives her pointers on getting the girl. Even though Zoe isn’t a popular girl, they all think it’s adorable af and tease Alana mercilessly. One time, per their advice, she leaves her cheer jacket (think cheerios jackets from glee ig??) at the cafe they’re at and Zoe wears it to school the next day.

Alana and Connor are actually really close and love going shopping together

One time Jared helped Connor touch up the colors in his hair and ended up with a pastel green streak in his hair; when asked about it, he’d say he was trying something new.

Zoe makes so many jokes that go over everyone’s head because they’re fact-based jokes and sometimes they don’t get it, but she loves them anyways.

Connor gave Zoe a necklace with a charm that is the formula for the chemical responsible for love; she wears it all the time.

Their group chat is called “Stereotype Central” bc they all know they’re such stereotypes and own it.

#deh #deh au #softmushie #im fuckin in love with this au ok #IM GOING BACK TO WRITING NOW #butterfly bandages* #(that's the title btw im saving this for ref) #i also have some major tree bros ones but ill save those for another post

[secretradiobrooklyn]

New York State Tax Edition | 3.20 & 3.27.21

Secret Radio | 3.20 & 3.27.21 | Hear it here.

Liner notes by Evan (except * for Paige), Art by Paige

1. Antoine Dougbé - “Towe Nin” 

There was a while during which I tried to listen to every single T.P. Orchestre song that could be heard via discogs.com. They’ve released dozens of albums, probably close to a hundred if you count all of the albums attributed to various members, so that was a very daunting task… though really what it highlighted was the sheer volume of songs that just are not available to be heard in digital form. Those songs take on a sort of mythic quality as we listen to the huge variety of styles and periods that this band passed through in their prolific and very obscure career. But the ones that loom in the imagination the largest, for Paige and me, are the songs attributed to Antoine Dougbé. He writes for the band but doesn’t record with them, and in most cases Melomé Clement arranges the songs — and these are some of Melomé’s finest arrangements, in my opinion. “Towe Nin” isn’t a propulsive powerhouse like the Dougbé tracks on “Legends of Benin,” but it does have tons of style, and the band sounds extremely confident. My favorite detail of many — like, listen to the shaker solo in the middle! — on this track is the final passage, where three voices suddenly meld into an extremely Western, Beatle-y harmonic finale (with an unresolved final chord). Where did that come from?! It blows my mind to think about how these guys were hearing music and writing music in Benin in the ’70s…

2. Hürel - “Ve Ölüm” - “Tip Top” soundtrack

The other night we watched a DVD that was part of our Non-Classic French Cinema Program that Paige has been drafting for us, featuring movies she figures French people would know but that didn’t get exposed to American audiences. This one was… baffling — the problems were French cultural ones that we really didn’t grok at all. Which was kind of cool. An odd detail was that this song featured prominently throughout the trailer and the film, though we couldn’t figure out, like, why. But we knew immediately that it was awesome.

And… this track sent us down the rabbit hole of Anatolian rock, which turns out to be Turkish psych music from the ’60s & ’70s. We’ve played Erkin Koray’s “Cemalim” and thought that was cool, but had no idea it was a burgeoning scene with tons of creative writers and amazing songs. We’ve spent a lot of time checking out Anatolian music since, and I can tell we’re just getting started. So: thank you to a giant French crowdpleaser movie for the Anatolian clue-in!

3. They Might Be Giants - “Nothing’s Gonna Change My Clothes” 

I was not expecting to experience a They Might Be Giants renaissance at this point in my life, but this is just further proof that time has a lot of tricks up its sleeve. This song tells me a lot about what I like now by re-presenting what I liked then, showing off completely new facets I hadn’t yet appreciated. This song is lousy with insights… including that super Slanted Malkmus-y scream at the very end!)

4. Jacqueline Taïeb - “La fac de lettres”

Jacqueline Taïeb is probably my single favorite French pop artist, even though her body of work is way smaller than most of the runners-up. (I would say the closest contender is Jacque Dutronc.) She’s so full of irrepressible character, it just bubbles up out of the vocal performances. Her biggest hit was “7 heures du matin,” in the character of a bored, rock-obsessed teenager trying to figure out what to wear to school that morning, and “La fac du lettres” kind of picks up the thread: now she’s in the auditorium at school, learning about British history — the invasion of Normandy, the Hundred Years’ War — and pining to get back to the recording studio. 

5. La Card - “Jedno zbogom za tebe”

I didn’t know what circumstance would call for Yugoslavian synth pop warped by endless cassette plays, but it turns out that driving a thousand miles west in one fell swoop requires a certain amount of ’80s vibes. Turns out Yugoslavia had a pretty rich punk/new wave scene in the ’80s, and even though the songs were often critical of the Communist government, they were not only allowed to be played but, to a certain extent, supported by the government, and there were also several magazines covering punk, new wave, ska (!), and rock music in Yugoslavia.

6. Suicide - “Shadazz” 

Maybe it’s the band name, but I was never able to find a place for myself in the music of Suicide, despite how many bands I dig who cite them. But Paige pulled this track, and now I’m starting to get it. I also really like how the kick drum fits against the cymbal-ish sound loop that leads the percussion. 

7. Girma Beyene - “Ene Negn Bay Manesh”

Man, Ethiopia was swingin so hard in the ’60s and ’70s! This track combines the organ-driven band dynamic with a smooth Western vocal croon that I’ve never quite heard before. 

8. Os Mutantes - “Trem Fantasma” 

I still can’t believe that I haven’t been listening to this album my whole life — it’s so freaking amazing from beginning to end. Every song feels like its own complete cinematic experience, with narrative twists and turns, a high-drama dynamic, and each voice taking on a host of characters, independently and together. “Trem Fantasma” is an entire album contained in a single song — and that’s what it’s like with every song on their debut album. PLUS it’s got the coolest possible cover. Truly, I’m still in awe at this album. It makes me wonder: what did the Beatles think of this record?! 

9. The Beatles - “Think for Yourself” 

This is one of those songs that I feel like established whole new harmony relationships in Western pop… and this likely isn’t even one of their top 50 songs for most Beatles fans. Apparently, they had the main tracks recorded already — this is one of George’s first songs, it’s just 1965 — and they threw the harmonies on in “a light-hearted session” between two other things they were in the middle of, because they were under pressure to get this album finished. That’s amazing! Also, this song is the first one to use a fuzzbox on a bass: Paul played one (excellent) part on clean bass, and another one one all fuzzed out, which became the lead guitar — in fact, John had a guitar part but scrapped it to play an organ instead. What a righteous song to kick off the concept of lead bass guitar! That was Harvey Danger’s big compositional secret: Aaron wrote and played most of the lead guitar parts on bass, and had a fantastic sense of what he could do with the tone of his instrument. 

10. Erkin Koray - “Öksürük” 

Anatolian rock! It has its own note scale, that gives it this Eastern tonality while working in Western rock shapes and with what feels like a very relatably wry sense of humor. Erkin Koray is right up there in the firmament for us — the whole genre is full of welcome discoveries, but Koray is a really unique guitarist and composer beyond any particular genre. This track plays up his lead guitar passages while maintaining a pretty undeniable disco downbeat, and his vocal delivery strikes me as more French than anything. And yet the whole thing is so deeply and fully Turkish.

11. Vaudou Game - “Pas Contente”

We’ve been so head-over-heels for Beninese funk and rock from the ’60s and ’70s that our fantasies about that music are completely separated from any music happening today. But Vaudou Game is led by Peter Solo, a Togolese musician who grew up on the sound of T.P. Orchestre and decided to work with it himself. His band is handpicked and mostly I think French — the sound is I think a really impressive take on classic Beninese style but with very modern feel. This track is from 2014. I’m looking forward to digging in some more, because it’s a thrill to find a live wire in this music style. 

12. Cut Off Your Hands - “Higher Lows and Lower Highs”

This is one of my favorite tracks from the last 5 years. I get so absorbed in the way the bass part relates to all of the other pieces. The bass is absolutely the reason this song works — just tune into it and check out how the whole world of the song bends to accommodate it.

The Gang of Roesli - “Don’t Talk about Freedom”

Years ago, when I took over Eleven magazine, there was a giant stack of mailed-in CDs in the editor’s office. I didn’t hang onto many of them, but there was a set from Now-Again Records that just looked like something we should spend more time with. Turns out that one of them was “Those Shocking Shaking Days,” a collection of trippy, heavy Indonesian rock. I didn’t get it at the time, but lately I’ve certainly been picking up what they were laying down. The baroque keys, the vocal la’s, the hitched-up bass and guitar, that little bass lick, the harmonica… I would love to have been around for the session this came from. 

13. Warm Gun - “Broken Windows” - “PAINK”

More paink from France, in the mode of Richard Hell, short sweet and rowdy.

14. Duo Kribo - “Uang” - “Those Shocking Shaking Days”

This is another amazing Indonesian track — amazing for a completely different reason than The Gang of Roesli. Such a note-perfect rendition of chart-topping American (and German — what’s up, Scorps?) rock, but their own song nonetheless! This song attracts me, repels me, attracts me, repels me, on and on in equal measure. To me the kicker is the outro section, which sounds like something Eko Roosevelt came up with… thousands of miles and many genres away from Duo Kribo.

15. The Real Kids - “All Kindsa Girls”

Even as the theoretical pleasures of Facebook overall continue to recede, I find myself glad of a FB group somebody let me in on: Now Playing. The only stipulation about posts is that you have to include a photo of the actual record that you are actually playing — beyond that, it could be any genre, any period, whatever. People post interesting albums all the time, and will often write up their thoughts or memories about the band when they do. Boston’s The Real Kids just sounded like something I should know about, so I hunted it down and man, they were not wrong. Not everything on the album was for us, but right from the African-sounding guitar intro, “All Kindsa Girls” certainly was. Lead guitar/vocal guy John Felice was an early member of the Modern Lovers and a fellow VU devotee with his neighbor Jonathan Richman — he also spent time as a Ramones roadie. I’m tickled by how much the penultimate guitar riff sounds like something off the first Vampire Weekend album, and the final riff was destined to become a punk classic.

16. De Frank Professionals - “Afe Ato Yen Bio” 

We broadcast the first part of this episode from the cockpit of the van rocketing between New York and Illinois. Not long after we got here to the woods, a package showed up from Analog Africa with our new “Afro-Beat Airways” reissue, as well as their first indispensable T.P. Orchestre collection, “The Skeletal Essences of Afro-Funk 1969-1980.” We’re celebrating that record with this absolutely killer song by De Frank Professionals, a band about whom very little is known. I am in love with every part of this song, from the sixth-beat hi-hat accent to those tandem vocal parts and that beautiful guitar tone. This track has quickly risen to being one of our all-time faves. Bless Samy Ben Redjeb and everyone at AA for doing the work to find these amazing recordings, track down the musicians, pay them for rights to release, and making these miraculous finds available!

17. Ros Serey Sothea - “Shave Your Beard” 

Concurrent to our African fascination has been the gorgeous and thoroughly tragic revelation of Cambodia’s richly talented and expressive rock scene that was utterly destroyed by the Khmer Rouge. There were so many amazing musicians in the scene, but certainly the most flat-out amazing voice was Ros Serey Sothea’s, as this track makes clear. I also love just how sophsticated and innovative these Cambodian song arrangements are — they really take Western ’60s pop into a new world, with intricate guitar parts and really solidly satisfying instrumental structures.

18. King Gizzard and the Lizard Wizard - “O.N.E.”

This is a hard band to keep up with, for a variety of reasons — they can be so intense, and their guitar-rock prog virtuosity can get a bit off-putting if you’re not ready for it. This track, though, reminds me of a host of favorite reference points from the last twenty years of rock. This recording makes me wish that they could have played with Bailiff in Chicago in 2012 — I think everyone would have gained a lot from that connection.

Also, the video is so beautiful!

https://www.youtube.com/watch?v=lkZd2lBQb2c

19. Ettika - “Ettika” - “Chebran: French Boogie Vol. 2”

French culture is shot through with African references. Ettika was an early ’80s hit with musicians besotted by synths and American rap styles. This band was produced by a noted French composer who was married to a Cameroonian and very much into African groove. This “French Boogie” collection is full of African-style gems heavily refracted through the decade’s new technology.

20. Spice Girls - “Wannabe”

I yield the floor.

*As I mention in the “broadcast” it just felt right. That confident opening line. What are guilty pleasures? How do you feel listening to this song? And y’all already have our phone numbers, so that’s no surprise!

- The Gang of Roesli - “Don’t Talk about Freedom”

21. Steely Dan - “Reelin’ in the Years”

Gut reaction: do you actually love this song? Do you actually hate this song? Do you find that your reaction changes moment by moment within the experience of listening to the song, where your personal experience clashes with your cultural memory associations? Me too.

22. Zia - “Kofriom” - “Helel Yos”

I don’t remember how I got to this track, but holy smokes am I glad we did! It’s pretty freakin hard to find out anything about Zia. The cover of this album portrays an older man with dyed hair and a white blazer over a black collar… but I did actually find a video of Zia performing this song on Iranian public television, and he looks considerably younger and less flash than that. In fact, he’s sporting a tan three-piece suit with a wide tie, all alone on a heavily mirrored stage, and he kind of looks like he might be running for a senate seat in his spare time. It’s a very weird effect. But meanwhile: this whole album is super cool, very expressive of an emotional state I definitely don’t understand. The handclaps are absolutely top notch in the rhythm — they remind me of Ayalew Mesfin’s awesome “Gedawo.”

23. Jo LeMaire & Flouze - “Je Suis Venue te Dire Que je M’en Vais”

Doesn’t this sound like something you could have had intense adolescent feelings to? 

*I first heard this song in the trailer for Boy Meets Girl  and then later in the film. (Not my personal favorite Carax but definitely great, and the music and sound design is top notch.) Then my French teacher suggested I check out a song, and it was this song. So that’s neat!

24. Rung Petchburi - “Pai Joi” - “Thai? Dai!: The Heavier Side of the Lukthung Underground”

We’re still just getting to know Lukthung music, but for the last couple weeks we’ve been getting deeper and deeper into Thai rock, psych, surf and funk. It’s a rich vein, and it shares some really interesting characteristics with seemingly unrelated regions, like Turkey and Ethiopia.

Black Brothers - “Saman Doye”

I’m telling you, “Those Shocking Shaking Days” will improve your life immediately.

25. Nahid Akhtar - “Dil de Guitar” - from “Good Listener Vol 1,” 

This collection just came out this month, which was a surprise because we just stumbled across this track by reading about Nahid Akhtar elsewhere. What an AMAZING track! This was recorded and released in Pakistan in 1977, and I can’t even imagine how they wrote it, much less recorded it. The drum loops seem like they hadn’t been invented yet… but there they are, cranked up to their highest speed. It’s a collage of ideas and hooks, all just crammed together into a single song. the main hook reminds me a bit of “Jogi Jogi,” our favorite Pakistani song on WBFF thus far. I feel like I could listen to this song a hundred times and hear something new each time. Akhtar’s voice is so expressive and confident in those long held notes — and who is that ogre doing call and response with her? So weird. So cool.

[s-o-n-de-r]

From indie rock to mega pop: sonder editor Andrew’s top albums of 2017

I spent a lot of time paying closer attention to a wider range of music in 2017 than I have in past years, so a lot of records made their way onto the sonder desk. Keeping up with all the new music in any given year is a monumental task, but certain records stick with you, and while everyone has their own picks, these are mine.

SAINTE – smile, and wave

SAINTE, the new project of We Are the In Crowd members Tay Jardine, Cameron Hurley, and Mike Ferri, took a while to get their debut record out, but this seven-song EP is a sleeper hit.

When SAINTE was first revealed, it was pitched as songs written as We Are the In Crowd but didn’t really fit the mold of the pop-punk band. What we got with SAINTE was an awakening, a refresh. Smile, and wave is poppy rock baked in neon-y ‘80s influences – it’s catchy and bright, but it’s not shtick. Whereas the last album We Are the In Crowd put out (Weird Kids) hopped around different song styles, this new band goes full steam ahead in one direction. It’s honest – not just musically, but lyrically, and this hits you hardest when you realize that Jardine spent a good portion of the previous year under the thumb of depression and anxiety. As such, this music is cathartic, especially the freeing and poppy “With Or Without Me,” the optimistic “If You Ever Feel Alone,” and the cruising anthem “White Lies.” And the first track, “Eyes Are Open,” debuts the whole project: “Starting right now, our eyes are open.” This record is a reason for you to keep yours open, too.

Jule Vera – Waiting On The Sun

When Jule Vera dropped their sophomore album Waiting On The Sun, it was a radical departure from their previous EP, in a great way. Waiting On The Sun mixes and matches all these influences that you would never expect to pair well together. But they do. It’s modern, but it’s folksy, too and has influences from a wide selection of genres, not to mention a palpable sense of southern rock. Each song’s separate identity keeps you going through the album because you’re not exactly what the band will throw out next. Fittingly, the album closer, “Can’t Help,” is the most enigmatic song on the album and leaves you thirsting to go back the beginning and try to process the range of music you heard.

Neaux – Fell Off the Deep End

This one was actually released in 2016, but it got a re-master and re-release in 2017, so we’re counting it for 2017. Neaux’s music, a violet-tinged mashup of shoegaze, grunge, emo, and punk, is captivating even if you’re completely uninterested in the genre. This is especially true of Fell Off the Deep End, which bleeds deliberate lo-fi meandering. It’s possibly the most un-pretentious album of the year. These eight sludgy songs are industrial addictions, conjuring up images of leather jacket smokers in dark alleys on cold nights. This is an album that is difficult to listen to only one song off of. Sierra Kay’s blunt honesty makes her an open book, and it makes this album great to just zone out to.

Neaux also released their follow up, Chain Up The Sun, this year, but we felt it didn’t have quite the magic to it that makes Fell Off the Deep End so good.

Lorde – Melodrama

In the realm of mega-pop, so much of what a musician does can often instantly induce cringe – this is the case with Taylor Swift’s catastrophe Reputation or the disappointingly theatric After Laughter (by Paramore). It almost comes with the territory. Big pop names, in an effort to re-invent themselves every record cycle, often go way over the top. But Lorde, the New Zealand pop singer/songwriter behind the radio hit “Royals,” did the opposite and blessed the world with one of the best pop albums in recent times. Melodrama is a hit because it does what daring pop does: It exists within the confines of a genre that encourages homogeneity by rejecting said homogeneity. Lorde’s glittering vocals glide next to grandiose piano and dreamy electronic arrangements that crash into deep and powerful drum-and-bass segments that echo of some of the grooviest pop of the last decade. All this considered, the album’s best song is “Liability” because it’s just Lorde alone with a piano riff and a heart-wrenchingly honest confessional: “They say ‘you’re a little much for me / You’re a liability.’” Such melancholy coming from a “star” shows us the universality of sadness that can go straight to our core, but don’t over-analyze this song – it just makes you feel.

It’s actually astonishing how well put-together this album is – Jack Antonoff, who you’ll see later on in this list, had a major hand in this record, and it’s his trademark production and co-writing that brings out the depth of this record, although most credit of course goes to the songwriter herself. Lorde is unafraid of not only pushing boundaries, but totally destroying them, and it shows: Melodrama is critically acclaimed all around the music journalism world.

Lights – Skin & Earth

We went into depth on Lights’ latest release in our full-length feature, but as the year has progressed, Skin & Earth has stood strong. Our last three albums on this list all stand out because they have a remarkable sense of journey and adventure, a thread that gets carried throughout the entire album. This is especially true of Skin & Earth – “Intro” and “Skydiving” set the tone for the entire album: Fresh and exciting and a new version of Lights in a growing discography of different things. Skin & Earth is Lights’ take on the broader themes in pop in 2017, but of course in her own way. This album is practically bursting with songs you can’t skip.

The Maine – Lovely Little Lonely

The Maine are easily one of the most under-rated bands in the alternative/rock industry. They may have caught their initial break in the Vans Warped Tour scene, but they’ve long outgrown that. They’ve gone (and stayed) independent and have released phenomenal album after phenomenal album, coalescing with this year’s Lovely Little Lonely. Vocalist John O’Callaghan’s pensive and poetic lyrical voice is at its strongest on this album, and musically, the band sounds more refined than they have before. Lovely Little Lonely is a walk through all the emotions that make us human, and with the record’s wistful transition tracks (“Lovely,” “Little,” and “Lonely”), this album stops to breathe and let the listener absorb everything. O’Callaghan has always had a knack in bringing out meaning in life’s ups and downs, and songs such as “Taxi,” “I Only Wanna Talk To You,” and “Don’t Come Down” send you through such roller coasters. But Lovely Little Lonely is no one-man effort. The Maine may qualify as an alternative rock band, but the tag doesn’t even begin to do it justice. Lovely Little Lonely is genre-bending and utilizes just enough dreamy and baroque instrumentation (such as in the title tracks) to slot it truly within its own world, something of a rare white elk in the music world. It is no coincidence that a truly independent band with a respectable work ethic put out one of the best albums of 2017. Out of all the albums on this list, Lovely Little Lonely is the one with the broadest appeal. It’s a record for nearly anyone.

Bleachers – Gone Now

The margin between Lovely, Little, Lonely and our album of the year was so slim it was almost non-existent. What both albums do spectacularly is transmit their particular sense of emotion with almost 100 percent accuracy. Both of these albums make you feel, and they make you feel heavily. They’re both cohesive and filled with variety and great musicianship, but there can only be one number one, and that goes to Bleachers’ Gone Now.

Gone Now is so well-done it may not only be the album of 2017, but one of the best of the entire decade. If you’re not in the know, Bleachers is the brainchild of Fun. member and general music savant Jack Antonoff, who has had a hand in producing some of pop’s biggest recent hits (he worked on Taylor Swift’s 1989 and Reputation, as well as Melodrama, which I previously discussed, and with countless other big names).

That being said, Antonoff’s best work is with Bleachers, a format that finds him engaging himself at his quirkiest. Often, self-indulgence can be boring and pretentious, but Gone Now is a liquor shot of authenticity in the most Antonoff way possible. Nearly anything Antonoff touches reeks of his style, a unique watermark on a piece of music. Gone Now is this as well – it’s weird at times, infinitely self-referential, and often forgoes typical song structure (because it can), but all of this only enhances the struggle at the core of this album. Gone Now is a beautiful rendition of loss of youth and depression and self-care and working through internal strife. These things, give or take, are often at the core of music, but Antonoff has excelled at writing heart-tugging music since his days in Steel Train, and Gone Now just shows how much he’s honed it. These songs don’t just dump their messages on you all at once; they build up to sonic crescendos and get increasingly neurotic before dropping huge weights on you, resulting in some profound sing-along moments. The lead single, “Don’t Take The Money,” is a great example of this. That’s kind of an anomaly, as most lead singles are just there to catch ears, but each song on the album burns with its own intensity and takes your hand through to the next one. Consider how it starts out with “Dream of Mickey Mantle,” a song about an actual dream, before transitioning into the Ben Folds-esque “Goodmorning,” a song about waking up in the morning and feeling the crushing weights of life fall onto you.

Granted, it could be difficult to process the wild variation in tone and style that this album has, as songs go from ‘80s influenced pop to having experimental saxophone hooks to repeating lines distorted by bizarre vocoder effects, but once you realize that this is actually Antonoff at his most honest, it feels right. In fact, Gone Now works because of how experimental it is, not in spite of. Heck, the album ends with “Foreign Girls,” which starts off sounding like it’s going to be something out of a ‘70s sci-fi movie, but turns into a warm and endearing ditty. Unpredictability explodes from this album, but underneath all of it is genuinely cathartic and meaningful pop music, and that’s what makes it my album of the year.

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Article and photos by sonder editor Andrew Friedgen. Album art by the respective bands. Like this? Sonder is an independent music, travel and photography publication at sonderlife.com. Give us a follow here or at our Twitter, Instagram or Facebook if you like this!

Also check out:

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[dustedmagazine]

Dust Volume 6, Number 13

Trees

It’s four in the afternoon and already getting dark, a foot of snow on the way. One year is nearly over — and yes, we’ve got some essays on that coming up after the holiday break — and another one is taking shape in our inboxes, mail chutes and hard drives. But for right now, let’s take another look at 2020, doubling back on the records that caught our ears without exactly fitting our schedules, the ones that almost got away. Here are the usual free improvisations and long drones, hip hop upstarts and cowpunk also-rans, a harpist, a cellist, a tabletop guitarist and at least one stellar punk record that has us hoping for sweaty live music again in 2021. Contributors this time included Bill Meyer, Bryon Hayes, Andrew Forrell, Patrick Masterson, Jennifer Kelly, Jonathan Shaw, Arthur Krumins, Ian Mathers and Ray Garraty, heck let’s call it a quorum, and see you again in the New Year.

Mac Blackout — Love Profess (Trouble In Mind)

Love Profess by Mac Blackout

Mac Blackout owes his surname to his membership in the Functional Blackouts. That’s a garage combo that was once the subject of an article about how they’d been banned from various venues on account of the destructive chaos of their live performances. But you can’t do that forever, and nowadays Mac’s a painter and solo recording artist. His latest sounds are unlikely to make anyone want to put a chair into the mirror behind the bar, but they might send you flipping through your record collection, looking for the sounds that you and he have in common. Love Profess opens with a burst of piano-pounding, sax-overblowing free jazz, but that lasts for about nine seconds before it gets swallowed by some John Bender-worthy synth throb. Give “Wandering Spheres” a couple more minutes, and Mr. Blackout goes full La Dusseldorf on us. By turns spacy, spooky and seriously compelled to vent nocturnal loneliness, this half-hour long LP is both as familiar and as unknown as a well-shuffled deck of cards.

Bill Meyer

 Ross Birdwise — Perfect Failures (Never Anything)

Perfect Failures by Ross Birdwise

Vancouver-based electronic improviser Ross Birdwise rails against spatio-temporal norms. The concepts of tempo and rhythm are malleable in his universe. Architecturally, Birdwise is Antoni Gaudí, working in fluid lines to build incomprehensible structures. With Perfect Failures, he leaps even further away from the orthogonal grid of musical construction, dissolving beats into grains of sound. The warped rhythms found on Frame Drag are divested in favor of an approach that more resembles electroacoustic composition. As a matter of fact, the title track comes on like a digital recreation of a piece of classic musique concrète. Birdwise avoids venturing into purely ambient territory yet borrows some signifiers from the genre: keyboard melodies, elongated tones, washes of sound. He overlays these seemingly innocuous elements with crashes of noise, oblique jump cuts and hyperkinetic sequences, constantly forcing us to shift focus to make sense of his soundscapes. The febrile nature of the music is what intoxicates, but the discordant melodies are what enthrall.

Bryon Hayes

 C_G — C_G (edelfaul recordings)

C_G by C_G

Belgium-based French electronic artist Eduardo Ribuyo (C_C) and Israeli drummer Ilia Gorovitz (Stumpf) join forces on C_G, a one-take collaboration of molecular machine noise and improvised percussion. It opens as a slow creep, Gorovitz playing minimal rhythms that sound like someone walking through the pre-dawn streets of an awakening city. Ribuyo accretes whirrs, cracks and electrical pops to evoke the dread of a night not over. On “Normalising Cruelty,” for instance, the discomfort builds, the drums tumble in flight, the noise intensifies. The relative conventionality of the percussion tracks seems intentional and serves to focus attention on the granular details Ribuyo conjures from his machines. Think the experiments of similarly minded Mille Plateaux and Raster Norton artists. When played through headphones at volume, its full queasy Room 101 buzz and grind squirms most effectively into the brain. Easy listening this is not, but if and when home gatherings resume this would be an ideal way to clear the house.

Andrew Forell

  Che Noir — After 12 EP (TCF Music Group)

If you’ve been paying attention to hip-hop in the last few years, Buffalo’s Griselda camp has dominated the “old heads” conversation away from whatever the kids are vibing to on TikTok. But there’s life away from an Eminem partnership, and not just in the form of Benny the Butcher: Witness Che Noir, who has been on fire throughout 2020. After starting off the year with the 38 Spesh-produced Juno and following it up with the Apollo Brown-produced As God Intended, Che’s closing things out with this self-produced seven-song EP that covers a wide range of territory without dipping into tales of street hustling, just the age old struggle to get some respect. “Hunger Games” is an early highlight that shows her chemistry with Ransom and 38 Spesh, while she completely takes over in speaking to the times on “Moment in the Sun,” which is the clear emotional highlight of the EP. Amber Simone’s pleading chorus on closer “Grace” is another stylistic turn and closes things on a high note. The last words you hear are Simone’s as she sings, ���Imma go get it”; the lingering effect is that you know Che Noir is already showing you as much. Miss this one at your own risk.

Patrick Masterson 

 Cong Josie — “Leather Whip” b/w “Maxine” (It Records)

Leather Whip / Maxine (AA single) by Cong Josie

Frankie Teardrop rides again in this smoking synth punk single from Australia’s Cong Josie. “Leather Whip” is about as menacing and minimal as synthesizer music gets, braced by the hard slap of gate-reverbed drums and a claw-picked bass sound (maybe electronic?) and Cong Josie’s whispery insinuations. “Maxine” is just as stripped, with blotchy bass sound and swishing drum machine rhythms framing a haunted rockabilly love song. It’s very Suicide, but isn’t that a good thing?

Jennifer Kelly

   Divine Horsemen — Live 1985-1987 (Feeding Tube)

Divine Horsemen “Live”1985-1987 by Divine Horsemen

With Divine Horsemen, Chris D of the Flesh Eaters had a brief but memorable run in vivid, gothic, country-tinged punk. This disc commemorates two red-hot live outings from 1985 and 1987, the first at Safari Sam’s in Huntington Beach, California, the second at Boston’s The Rat. A sharply realized recording shows how this band’s sound fit into the cowpunk parameters set by X, with strident guitar clangor and hard knocking rock rhythms (the ax-heavy line-up featured in this recording included Wayne James, Marshall Rohner and Peter Andrus on guitars, the Flesh Eater’s Robyn Jameson on bass). The secret weapon, though, was the ongoing and volatile vocal duel between the front man and his then-wife Julie Christensen, a classically trained soprano with an unholy vibrato-laced belt. You can hear how she transformed his art by comparing the Flesh Eater’s version of “Poison Arrow” with the one here. It’s as aggressive as ever, musically, and Chris D. is in full florid, echoey, goth-punk mode. Christensen, however, is molten fire, letting loose cascades and flurries of wild vibrating song. There’s a scorching, stomping romp through the vamping “Hell’s Belle,” and a lurid rendering of mad, howling “Frankie Silver,” and, towards the end, a muscular take on the Stones’ “Gimme Shelter.” Christensen later made a mark as one of Leonard Cohen’s favorite backup singers, and Chris D is still knocking around with a reunited, all-star Flesh Eaters, though there’s some talk of getting this band back together as well. I’d go.

Jennifer Kelly

 Dezron Douglas & Brandee Younger — Force Majeure (International Anthem)

Force Majeure by Dezron Douglas & Brandee Younger

Harlem harpist Brandee Younger and bassist Dezron Douglas faced down New York’s early months of quarantine with a series of live broadcasts recorded in their apartment on a single microphone. This document of intimate resilience collects highlights of the Friday ritual. Younger and Douglas perform covers of spiritual Jazz, soul and pop songs as well as the delightfully titled original “Toilet Paper Romance.” The music is so close you feel the fingers on the strings and frets. Younger’s harp playing is a revelation, pianistic on John Coltrane’s “Equinox”, pointillist yet robust on his “Wise One” which they dedicate to Ahmaud Arbery. Douglas provides vigorous and sympathetic accompaniment and his solo rendition of Sting’s “Inshallah” is a tender tough exploration of his instrument. Along the way there are lovely versions of pieces by, amongst others, Alice Coltrane, Kate Bush and Clifton Davis. Douglas closes with the words “Black music cannot be recreated it can only be expressed” and Force Majeure demonstrates that the same goes for humanity and creativity.

Andrew Forell

Avalon Emerson — 040 12” (AD 93)

040 by Avalon Emerson

It’s been a big year for Avalon Emerson, who started 2020 prepping a move from Berlin to East Los Angeles and ends it back home stateside with an almost universally acclaimed DJ-Kicks entry to her credit. This three-song 12” for the label fka Whities is a nice way to close out a triumphant year, illustrating her penchant for bright melodies and percussive detail. “One Long Day Till I See You Again” is a welcoming slice of beatless percolation to close; “Winter and Water” leans heavily on rhythmic tricks in the middle. That makes A1 “Rotting Hills” the ideal lead as a balance between them. There may not be so obvious a gimmick as a Magnetic Fields cover, but that makes it no less valuable for showing what Emerson can do. Call it one more fluorescent rush.

Patrick Masterson

 End Forest — Proroctwo (Self-released)

Proroctwo (The Prophecy) by End Forest

For some of us, the fusion of folk music forms with crust and metal mostly issues in obscenities like Finntroll (yep, a Finnish band that makes folk metal songs about…trolls) or in politically toxic, Völkisch nationalist fantasias. But some bands get it right; see Botanist’s remarkable work, and see also End Forest, an act just emerging from Poland’s punk underground. Singer Paula Pieczonka employs a traditional Slavic vocal technique that roughly translates to “white singing” — but before you get creeped out by any potential fascist vibes, please know that the “whiteness” at stake in the phrase is purely an aesthetic value. And her voice is really great, open and soaring. “Proroctwo (The Prophecy)” has the sweep and drama of a lot of contemporary crust, and all of the genre’s interest in symbolic violence. The lyrics envision a future wrought and wracked by social conflict, a coming conflagration of torn bodies and of piles of dislodged teeth housed in some horrific archive of viciousness (that’s quite an image). It’s harrowing stuff, big guitar chords accented by sitar and flute. The track is available on Bandcamp, along with several inventive remixes by Polish musicians and DJs, like Tomek Jedynak and Dawid Chrapla. End Forest indicates that a full record is forthcoming sometime in spring. Looking forward to it, y’all.

Jonathan Shaw

 Lori Goldson — On a Moonlit Hill in Slovenia (Eiderdown Records)

On A Moonlit Hill In Slovenia by Lori Goldston

Goldson creates movement and tension in an arresting way with a rough-hewn approach to the cello. This could be a good entry point to her solo work, which is varied and bridges the gap between DIY attitude and elevated levels of musicianship and considered approach. The flow of her playing here evokes the almost brutal scrape of the strings, which gives a welcome texture to the melodic squiggles.

Arthur Krumins

Hot Chip — LateNightTales (LateNightTales)

The LateNightTales series of artist-curated mixes has seen a fair bit of variation over the years since Fila Brazilia first took up the torch in 2001, which makes a certain amount of sense; how we spend our late nights can differ wildly, of course. Hot Chip’s instalment in the series hits some of the expected notes (at least one cover, in this case a deeply moving one of the Velvet Underground’s “Candy Says” they’ve been playing since Alexis Taylor and Joe Goddard were in high school together; a closing story track, in this case Taylor’s father reading a bit from Finnegan’s Wake) and otherwise depicts the kind of late night Dusted readers might be more familiar with than most; one where a clearly voracious and eclectic listener is keeping their own private party going just for another hour or so, but always keeping things just quiet and subtle enough to not wake up anyone upstairs. The three other, non-cover new Hot Chip tracks all make for standouts here but there’s plenty of room for accolades, whether it’s for the smoothly groovy (Pale Blue, Mike Saita, Beatrice Dillon), the more avant garde (Christina Vantzou, About Group, Nils Frahm) to just plain off-kilter pop (Fever Ray, PlanningToRock, Hot Chip themselves). The result works as both a wonderful playlist and a survey of the band’s sonic world; and it does work best when everyone else is in bed.  

Ian Mathers

Annette Krebs Jean-Luc Guionnet — Pointe Sèche (Inexhaustible Editions)

pointe sèche by Jean-Luc Guionnet, Annette Krebs

Annette Krebs and Jean-Luc Guionnet recorded the three long, numbered tracks on Pointe Sèche (translation: Dry Point) over the course of three days at St. Peter’s Parish church in Bistrica ob Sotli, Slovenia. Location matters because this music couldn’t happen just anywhere; Guionnet plays church organ. Krebs was once part of the post-Keith Rowe generation of tabletop guitarists, but since 2014 she has abandoned strings and fretboards in favor of a series of hybrid instruments called konstruktions. Konstruktion #4, which appears on this record, includes suspended pieces of metal, a handful of toy animals, a wooden sounding board, vocal and contact microphones and a couple touch screens that manage computer programs. While both musicians have extensive backgrounds in improvisation, this recording sounds more like an audio transcription of a multi-media collage. Guionnet plays his large instrument quite softly, extracting machine-like hums, brief burps and dopplering tones that flicker around the periphery of Krebs’ fragments of speech, distant clangs and unidentifiable events. The resulting sounds resolutely defy decoding, which is its own reward in a time when so much music can be reduced to easily identifiable antecedents.

Bill Meyer

 KMRU — ftpim (The Substation)

ftpim by KMRU

If you happened to catch Peel, Joseph Kamaru’s wonderful release on Editions Mego in late July, but haven’t paid attention before or since, early December’s half-hour two-tracker ftpim done for (and mastered by) Room40 leader Lawrence English is a Janus-faced example of the Nairobi-based ambient artist’s power. As Ian Forsythe put it in his BOGO review of both Peel and Opaquer, “Something that can define an effective ambient record is an ability to disintegrate the perimeter of the record itself and the outside world,” a line I think about every time I listen to KMRU now. “Figures Emerge” feels more immediately accessible to me as a relatable environment where the gentle, pulsing drone is occasionally greeted by sounds outside the studio, while “From the People I Met” is more difficult terrain, a distorted fog of post-shoegaze harmonic decay — no less interesting, but perhaps more metaphorical in its take on the outside world. (Or not, given how 2020 has gone.)

Patrick Masterson

  Paul Lovens / Florian Stoffner—Tetratne (Ezz-thetics)

Enough years separate drummer Paul Lovens and guitarist Florian Stoffner that they could be father and son, and Lovens membership in the Schlippenbach Trio, and Lovens role as drummer in the legendarily long-running Schlippenbach Trio establishes him as an august elder of free improvisation. But the partnership they exhibit on this CD is one of equals committed to making music that is of one mind. Whether matching sparse string-tugging to purposefully collapsing batterie or burrowing sprung-spring wobbles to an immense cymbal wash, the duo plays without regard for showing us one guy or the other’s stuff. The point, it seems, is to how they imagine as one, and their combined craniums generate plenty of imagination. They operate in a realm close to that occupied by Derek Bailey and John Stevens, or Roger Smith and Louis Moholo-Moholo, but their patch of turf is entirely their own.

Bill Meyer

  Mr. Teenage — Automatic Love (Self-Release)

Automatic Love by Mr. Teenage

Melbourne, Australia’s fertile garage punk scene has squeeze out another good one in Mr. Teenage, a Buzzcockian foursome prone to short, sharp riffs and sing-along choruses. A four-song EP starts with the title track, whose arch talk-sung verse erupts into rabid, rip-sawing guitar, like Devo meeting the Wipers. “Waste of Time” piles palm muted urgency with explosive release, with a good bit of the Clash in the crashing, clangor. “KIDS” struts and swaggers in a rough-edged way that’s close to the violence of early Reigning Sound or Texas’ Bad Sports. “Oh, the kids these days,” to borrow a phrase, they’re pretty good.

Jennifer Kelly

 Nekra — Royal Disruptor (La Vida Es Un Mus)

Royal Disruptor by Nekra

Remember punk shows? Remember half-lit, dusty basements and fully lit, dirty kids? Remember your sneaker soles sticking to scuffed, gummy linoleum? Remember greasy denim battle jackets and hand-drawn Sharpie slogans? Remember warm beer (watery domestic suds in cans and cups) and cold stares (angsty bravado and bad attitude for its own sake)? Remember anarchists arguing with nihilists, and riot grrrls arguing with rocker boys? Remember people laughing and people smoking and people shouting and people spitting, all without masks? Remember the anticipation that crisps the air when the amps switch on? Feedback from the cheap-ass mic stabbing your ears? Beefy dudes elbowing through the press of flesh? That volatile, stomachy mix of happiness and truculence? Those warm-up thumps of the bass drum and the initial strums of crackling guitar? Remember all that? For the time being, in the United States of Dysfunction, here’s the closest thing you’ll get: an EP of feral, fast punk songs that sound like they’re happening live, right in front of your face. Thanks, Nekra — I really needed that.

Jonathan Shaw

 Neuringer / Dulberger / Masri — Dromedaries II (Relative Pitch)

Dromedaries II by Keir Neuringer, Shayna Dulberger, Julius Masri

Yes, Dromedaries II is a sequel. It follows by three years a debut cassette which was sold in the sort of microquantities that 21st century cassettes are sold. So, it’s more likely that you have heard another of the bands that the trio’s alto saxophonist, Keir Neuringer, plays in — Irreversible Entanglements. While the two combos don’t sound that similar, they share a commitment to improvising propulsive, cohesive music that will put a boot up your butt if you get in the way. While IE focuses on supplying music that frames and exemplifies the stern proclamations of vocalist Camae Ayewa, the trio plays instrumental free jazz that balances individual expression with collective support. Neuringer, double bassist Shayna Dulberger and drummer Julius Masri play like their eyes are on the horizon, but each musician’s ears are tuned into what the other two are doing. The result is music that seems to move in concerted fashion, but usually has someone doing something that pulls against the prevailing thrust in ways that heighten tension, but never force the music off track.

Bill Meyer

Kelly Lee Owens — Inner Song (Smalltown Supersound)

One of the distinctive things about Kelly Lee Owens’ marvellous debut LP a few years ago, as noted here, is that it felt so confident and distinct that it could have easily been the work of a much more seasoned producer. That impression, of a deftly skilled hand at the controls and a keen artistic sensibility and taste shaping it all, certainly doesn’t recede on Inner Song, whether it finds Owens homaging the grandmother who provided support and inspiration (“Jeanette”), gently but firmly rejecting unhealthy relationships (the utterly gorgeous “L.I.N.E.”) or teaming up with John Cale to make some bilingual, deep Welsh ambient dub (“Corner of My Sky”). And that’s one pretty randomly chosen three-song run! Owens continues to excel at both crafting gorgeous, lived-in productions and maybe especially with her handling of voices (her own and others), and she’s comfortable enough in her own skin that if she wants to open up the album with an instrumental Radiohead version (“Arpeggi”) she will, and she’ll make it feel natural, too.  

Ian Mathers

San Kazakgascar — Emotional Crevasse (Lather Records)

Emotional Crevasse by San Kazakgascar

You won’t find San Kazakgascar on any map, but give a listen and you’ll know where this combo is coming from. Geographically, they hail from Sacramento CA, where they share personnel with Swimming In Bengal. But sonically, they are the product of a journey through music libraries that likely started out in a Savage Republic and sweated in the shadow of Sun City Girls. They likely spent time in the teetering stacks of music collections compiled in a time when the problematic aspects of the term world music were outweighed by the lure of sounds you hadn’t heard before. More important than where they’ve been, though, is the impulse to go someplace other than where they’re currently standing. To accomplish this, twangy guitars, rhythms that straighten your spine whilst swiveling your hips, bottom-dredging saxophone and a cameo appearance by a throat singer who understands that part of a shaman’s job is to scare you each take their turn stepping up and pointing your mind elsewhere. Where it goes after that is up to you.

Bill Meyer

     John Sharkey III — “I Found Everyone This Way” (12XU)

Has Sharkey mellowed? This early peek at the upcoming solo album from the Clockcleaner legend and Dark Blue proprietor suggests a pensive mood, with liquid jangle and surprisingly subdued and lyrical delivery (albeit in the man’s inimitable hollowed out and wounded snarl). But give the artist a power ballad if that’s what he wants. The song has a graceful arc to it, a doomed romanticism and not an ounce of cloying sentiment.

Jennifer Kelly

 Sky Furrows — Sky Furrows (Tape Drift Records/Skell Records/Philthy Rex Records)

Sky Furrows by Sky Furrows

Sky Furrows don’t take long to match sound and message. As Karen Schoemer drops references to SST Records and Raymond Pettibone, bassist Eric Hardiman and drummer Philip Donnelly whip up a tense groove that could easily have been played by Mike Watt and George Hurley. Mike Griffin’s spidery, treble-rich guitar picking is a little less specifically referential, but does sound like it was fed through a signal chain of gear that would have been affordable back in the first Bush administration. The next track looks back a bit further; Schoemer’s voice aside, it sounds like Joy Division might have done if Tom Herman had turned up, pushed Martin Hannet out of the control room before he could ladle on the effects and instead laid down some space blues licks. Schoemer recites rather than sings in a cadence that recalls Lee Ranaldo’s; pre-internet underground rock is in this band’s DNA. The sounds themselves are persistently cool, but one drawback of having a poet instead of a singer up front is an apparent reluctance to vary the structure; it would not have hurt to break things up with some contrasting passages here or there.

Bill Meyer

  Soft on Crime — “You’ve Already Made Up Your Mind” b/w “Rubyanne” (EatsIt)

7'' by Soft on Crime

These Dublin fuzz-punks kick up a guitar-chiming clangor in A-Side, “You’ve Already Made Up Your Mind,” which might have you reaching for your old Sugar records. Sharp but sweet, the cut is an unruly gem buoyed by melody but bristling with attitude. “Rubyanne” is slower, softer and more ingratiating, embellished with baroque pop elements like flute, saxophone and choral counterpoints. “Little 8 Track” fills out this brief disc, with crunching, buzz-hopped bass and a bit of guitar jangle under whisper-y romantic vocals. It’s a bit hard to get a handle on the band, based on such disparate samples, but intriguing enough to make you want to settle the matter whenever more material becomes available.

Jennifer Kelly

Theoxinia — See the Lapith King Burn (Bandcamp)

See the Lapith King Burn by Theoxenia

Students of Greek mythology will grasp it right away, but in the internet age, it doesn’t take anyone long to figure out that when you name your record See the Lapith King Burn, you’re casting your lot for better or worse with the party animals. The Lapiths were one side of a lineage that also involved the considerably less sober-sided Centaurs, and the two sides of the family had a bloody showdown at a wedding that has been taken to symbolize the war between civilization and wildness. Theoxinia is Dave Shuford (No-Neck Blues Band, Rhyton, D. Charles Speer & the Helix) and his small circle of stringed instruments and low-cost repeating devices. If you were to dig through his past discography, it most closely resembles the LP Arghiledes (Thrill Jockey) in its explicitly Hellenic-psychedelic vibe. But, like so many folks in recent times, Shuford has decided to bypass the expanse and aggravation of physical publication in favor of marketing this LP-sized recording on Bandcamp. If that fact really bugs you, I guess you could start a label and make the man an offer. But if fuzz-tone bouzouki, sped-up loops and unerringly traced dance steps that will look most convincing when executed with a knife between your teeth and the sheriff’s wallet poking mockingly out of the top of your breast pocket sounds like your jam, See the Lapith King Burn awaits you in the realm of digital insubstantiality.

Bill Meyer

 Trees — 50th Anniversary Edition (Earth Recordings)

Trees (50th Anniversary Edition) by Trees

This boxed set presents the two original Trees albums from the early 1970s, The Garden of Jane Delawney and On the Shore, with the addition of demos and sundry recordings from the era. Here the band took the UK folk rock sound emergent at the time and drew it out into its jammy and somewhat arena rock guitar soloing conclusion. It’s good to have all of this in one place to document the myriad ways that Trees wrapped traditional material into new forms and with a bracing, druggy feel.

Arthur Krumins 

 Uncivilized — Garden (UNCIV MUSIC)

Garden by Uncivilized

Guitarist Tom Csatari presides over NYC-based large jazz ensemble known as Uncivilized, whose fusion-y discography stretches back a couple of years and prominently incorporates a cover of the Angelo Badalamenti theme from Twin Peaks. This 27-track album was recorded live at Brooklyn’s Pioneer Works space in 2018 with a nine-piece band, who navigate drones and dances and the multi-part Meltedy Candy STOMP, a sinuous exploration of space age keyboards and surging big band instruments. Jaimie Branch, who lives next door to Csatari and was invited on a whim at the last minute, joins in for the second half including a smoldering rendition of the Lynch theme. It’s damn fine (though not coffee). Later on, Stevie Wonder gets the Uncivilized treatment in a pensive cover of “Evil,” led by warm guitar, blowsy sax and a little bit of jazz flute.

Jennifer Kelly

 Unwed Sailor — Look Alive (Old Bear Records)

Look Alive by Unwed Sailor

Johnathon Ford, who plays bass for Pedro the Lion, has been at the center of Unwed Sailor for two decades, gathering a changing cohort of players to realize his lucid instrumental compositions. Here, as on last year’s Heavy Age, Eric Swatzell adds guitars and Matthew Putnam drums to Ford’s essential bass and keyboard sounds. Yet while Heavy Age brooded, Look Alive grooves with bright clarity, riding insistent basslines through highly colored landscapes of synths and drums. The title track bounds with optimism, with big swirls of synth sound enveloping a rigorous cadence of bass and drums. “Camino Reel” is more guitar-centric but just as uplifting, opening out into squalling shoe-gaze-y walls of amplified sound. Ford, who usually leans on post-punk influences like New Order and the Cure, indulges an affinity for dance, here, especially audible on the trance-y “Gone Jungle” remix by GJ.

Jennifer Kelly

 Your Old Droog — Dump YOD Krutoy Edition (Self-released)

Dump YOD: Krutoy Edition by YOD

American rapper Your Old Droog has been releasing solid music for years. He never had ups for the same reason he never had downs: he never left his comfort zone. Dump YOD Krutoy Edition (where “krutoy” stands for “rude boy” or “badass”) may be his breakthrough album. He always kept his Soviet origins in check, and here for the first time he draws his imagery from three different sources: New York urban present, Ukrainian folk and Soviet and post-Soviet past (even Boris Yeltsin makes an appearance). In this boiling pot, a new Your Old Droog is rising, among balalaikas and mean streets of NYC, matryoshkas and producers with boring beats, babushkas and graffiti writers.

Ray Garraty

#Dusted magazine #dust #mac blackout #bill meyer #ross birdwise #bryon hayes #c_g #andrew forell #che noir #patrick masterson #cong josie #jennifer kelly #divine horsemen #dezron douglas #brandee younger #avalon emerson #end forest #jonathan shaw #lori goldston #arthur krumins #annette krebs #jean-luc guionnet #paul lovens #florian stoffner #mr. teenage #nekra #keir neuringer #shayna dulberger #julius masri #San Kazakgascar

[themusicenthusiast]

Saturday, February 3rd, 2018 – Doll Skin Dominates a Spectacular Female-centric Lineup at The Curtain Club

Photos by Jordan Buford Photography There was something kind of special happening at The Curtain Club on this Saturday night. It revolved around the fact that the Phoenix, Arizona-based Doll Skin was returning to Dallas for a headline show, and being an all-female group, it only made sense to feature similar type bands on the bill. Presented and curated by IRock Entertainment, that was precisely the kind of show that had been put together. There was at least one woman in every band; and out of the five local support bands, two of them were also all-female groups. That’s something you don’t see all that often; the concert offering concertgoers a reminder of just how many talented female artists reside in the area, with a great up-and-coming national touring act to cap it off.

Things began with Plato’s Theory, a trio of siblings who made their (mostly) classical instruments fit in quite well in the hallowed hall of rock that is The Curtain Club. Maegan and Rose McKey played a cello and violin, respectively, while Mia rounded it out with a ukulele and provided the lead vocals. The only thing more surprising then the instruments they used was the vast array of songs they tackled. Originals were peppered in, though there were also a decent bit of covers, including what they came out of the gate with: Eminem’s “Lose Yourself”. I don’t imagine anyone had ever heard such a young girl sing that song before, and they owned it, their rendition being something totally different. Vocally they kept its hip-hop roots intact, though also gave it a slight spoken word feel. It was something different and certainly unexpected, the McKey sisters getting the night off to an excellent start, playing some fun and lovely music in the process.

This was THE night for trios. Most of the bands on the lineup were just three-piece outfits; Vannah Red being next up, and they kicked the show into high gear. Their brief set passed by quickly, which speaks to how engrossing they made the performance. They were teeming with energy, Harrison Stringer leaping into the air on occasion, at least when he could break away from the microphone. Bassist Sam Thornton and drummer Megan Garcia comprised the dominant rhythm section, that force guiding the songs as they delivered their brand of fiery rock.

Following them was Not Ur Girlfrenz, who, in their own right, were the most impressive band of the night. Barely teenagers (and in the case of one, slightly younger), the still fairly new group has been generating a lot of buzz lately. From winning a battle of the bands competition to already becoming regulars on the local club circuit, Not Ur Girlfrenz seem to be on the fast track to becoming local heavyweights. Those not aware were going to get a crash course as to why they have been so hyped; a throng of supporters out in full force this night. One of the most striking things about them was the level of showmanship they have already developed. The young girls already looked right at home on stage, radiating confidence as they ripped through their assortment of covers and originals. Singer and guitarist Liv Haynes did a great job at addressing the spectators and pumping them up; while much of what would have been dead air was filled by Maren Alford, the drummer laying down some light percussion, building to what was coming next.

They were at their best when performing though, their budding talent as musicians and the chemistry they struck up as a group being beyond impressive. Bassist Gigi Haynes even demonstrated that certain swagger that so many bass players seem to possess. Their covers were wide-ranging, from stuff with a slight pop flare to full on rock songs (which included a surprising and topnotch rendition of Ram Jam’s “Black Betty”). The handful of originals they performed were great as well, being well ahead of what one might expect from musicians their age. A prominent talent on the rise, it should be fun to watch how Not Ur Girlfrenz progress in the coming years. They’ll be releasing an original song on digital retailers soon, and will be back at The Curtain Club on February 22nd. Other shows they have coming up include one at Three Links in Dallas on March 18th as well as one in The Colony at Lava Cantina on April 18th supporting Bowling for Soup.

Xor had the job of finishing warming everyone up, bringing a little something different to the table. More alt-rock, they treated everyone to some cuts from 2017’s Defiance EP, the singer using a keyboard on some of the songs; and they even worked in a cover of a Paramore song for the sake of playing something most everyone would be familiar with.

Then it was time for what everyone had been waiting for, a strong gathering of Doll Skin fans turning out at The Curtain Club. It was 11:20 when they hit the stage, frontwoman Sydney Dolezal beginning by urging everyone to come in closer, as she had a “secret” that she wanted to share. Sitting on one of the monitors, she put the microphone down and in a hushed voice built some suspense regarding what she was going to say, laughing some and as she tried to keep a straight face. “We are Doll Skin…” she whispered, abruptly shifting to a shout as she proclaimed they were there to rip “your faces off!”

With that they were off, “Road Killa” setting their dynamic 44-minute long set in motion. It provided an exceptional start, the intensity instantly going through the roof; the rapid-fire assault on the drum kit that Meghan Herring unleashed along with the flurry of soaring riffs practically demanding everyone’s undivided attention. 2017’s Manic Pixie Dream Girl would be their main focus for the night, and they followed that opener up with a couple more of the most spirited songs on it. That included what Dolezal noted was their “jumpy song”, encouraging everyone to join in with them. Indeed, quite a few patrons did, bouncing around to the energetic “Shut Up (You Miss Me)”. The pronounced beats and pulsating bass lines courtesy of Nicole Rich made it conducive for such behavior; and it showcased just what a threat they are in the vocal department, Herring, Rich and guitarist Alex Snowden chiming in with the backing vocals on those vibrant choruses. What resulted sounded stupendous, “Shut Up (You Miss Me)” standing out as a favorite of their set.

The next original song they did found them digging back a bit, to their In Your Face (Again) EP. It was for a special occasion, as some parents had brought out their young daughter to see what was her first ever concert. Dolezal pointed all that out, and wanting to make the night as memorable as possible for her, stated they had every intention of playing her favorite song. That wound up being “Let's be Honest”; Dolezal kneeling at the edge of stage left at one point, singing right to their young fan. Moments later the frontwoman was seen leaning against Snowden as she began to shred on the sizzling solo the track boasts.

There had been no indication of it, but after wrapping up “Baby's Breath” Dolezal admitted to battling some sickness. Plagued by congestion, it came in handy on “Persephone”, as she remarked beforehand that the sinus issues made screaming easier. Their heaviest song of the night, the blistering number escalated their performance into something vicious and raw. Seething anger punctuated every second of it; Dolezal laying down on the floor in the final stretch and giving an impassioned performance. She seemed to have stronger reservations about how being sick might affect their Alanis Morissette cover, telling the audience she was about to “butcher” it. Herring left her kit for the beginning of “Uninvited”, briefly taking over the mic on stage left, providing a mix of backing and lead vocals before they really kicked the song in. If battling sickness did impact the song, it sure wasn’t noticeable, that cover being even more riveting live than it is on their latest album. It comes across as an atypical song choice for the quartet, yet also fits so well with their style as they keep it true to form while injecting it with their own flare. It’s gritty and in-your-face, just like Doll Skin.

Their abundant energy and enthusiasm only grew more powerful as they knocked out a couple more tracks from their EP, before arriving at their final song. One every fan had been waiting for. “It’s about a pest control problem we currently have…” Dolezal stated in advance of their most punk song they have in their arsenal: “Puncha Nazi”. From the message to the urgency, it’s rooted in true punk and provided a fun and exhilarating finish to what had been an incredible show. This event as a whole hadn’t just been shining a light on female musicians, but also young ladies in the industry who are cutting their teeth and/or starting to make a name for themselves. In the case of Doll Skin, most of the members are still in their late teens, or not much older. It was easy to forget that, though, the way they carried themselves and the caliber of performance that they delivered making them look more like seasoned veterans. A clear sign that their rigorous touring schedule has pushed them to be the best possible live band that they can be.

They owned the stage, emitting an authoritative aura that compelled everyone to give Doll Skin their complete attention. Fierce and aggressive, they gave everyone a no holds barred performance; Snowden constantly demonstrating a mastery of the guitar, while Herring hammered out the beats with unrelenting force. Rich was a livewire at times, yet also radiated that certain charisma that bassists have, while Dolezal worked to build a rapport with the crowd and make sure the patrons felt a connection with they were doing. Their chemistry as a unit was every bit as impressive as their individual talents. Dolezal frequently interacted with Snowden during the show; and Rich and Snowden often convened in front of the drum riser, and along with Herring demonstrated their sheer might.

As impressive a live act as they proved to be, their music is every bit as enthralling in its own right. Doll Skin has made themselves rather versatile, being a mix of anything from rock to punk or hard rock, with some pop sensibilities thrown in for good measure. They have a core style, though every song sounds different, which goes a long way in keeping the music fresh. All together that has it looking like Doll Skin is poised for much bigger things. Already having logged five years together, the dedication is certainly there, as is the passion, which should see plenty more successes come their way. They’ll be embarking on a European tour in March, with a hometown show in Phoenix, AZ planned for February 23rd at Crescent Ballroom. More info on their upcoming dates can be found HERE; and preview or purchase Manic Pixie Dream Girl in iTUNES or GOOGLE PLAY.

It was late, though the night wasn’t quite over yet. Holly West was closing out the show, making her return to the stage of The Curtain Club. “I haven’t played The Curtain Club in years,” she remarked during her set. “I haven’t, either,” Vinnie Parma added, both of them having been part of the band Honey a few years back. Since, West has been pursuing some solo stuff, and just this past fall released her debut EP, Mokita. They would play several of the cuts from it and then some as they delivered a show that was pure, no frills rock ‘n’ roll. Those who stuck around late enough seemed entranced by it, thoroughly enjoying what they were witnessing. Seeing her on her own was a first for me. Her material sounds great, especially in the live environment; West’s rich and powerful voice having a distinct quality that is unlike many other vocalists out there. They wrapped up the show in style, and what a night it had been. Every band that performed was different in their own way, yet the various styles meshed together exceptionally well. That made it all the more enjoyable, because nothing every felt repetitive. Best of all, it was awesome to see some of the fine female talent out there. Lineups like this just don’t happen often enough, and unless you pay a lot of attention to everything going on in the North Texas area, it can be easy to forget just how many female fronted bands or women singer/songwriters are out there. It’s a more substantial amount than some would think, so it was cool to see even a small selection of them on the same bill. From established veterans of the local scene to touring acts on the rise and the next crop of musicians looking to make their mark, it was an absolutely stellar night of music.

#Doll Skin #Doll Skin 2018 #Doll Skin Dallas #Doll Skin Review #Doll Skin Live Review #Doll Skin Concert Review #Doll Skin Show Review #Doll Skin The Music Enthusiast #Doll Skin Jordan Buford Photography #The Music Enthusiast #2018 #Dallas #Texas #DFW #Music #Review #Live Music #Deep Ellum #The Curtain Club #Curtain Club #Dallas Music Blog #Texas Music Blog #Jordan Buford Photography #Sydney Dolezal #Alex Snowden #Nicole Rich #Meghan Herring #Not Ur Girlfrenz #Vannah Red #Plato’s Theory

[sinceileftyoublog]

Pitchfork Music Festival 2019: 7/19-7/21

Stereolab

BY JORDAN MAINZER 

You’ve heard it by now: The weather was mostly shit. Triple-digit-feeling temperatures for a day and a half, a torrential downpour that had half of the security guards incorrectly telling people the fest was cancelled for the rest of the day when it was only Kurt Vile for the 50th time. Those who came back were rewarded with Stereolab, those who left hopefully came back for a beautiful day on Sunday that was also unexpectedly the best day for music. After all these years, Pitchfork is still full of surprises. Here are some of the sets that surprised us.

Great Black Music Ensemble

Part of the Association for the Advancement of Creative Musicians (AACM), the Great Black Music Ensemble were a bold choice for the festival to choose as the kick-off performance. In the past, equally far out acts like Sun Ra’s Arkestra and Irreversible Entanglements have at least played early on the third day of their respective years. But this year’s group started out undoubtedly captivating, starting chanting backstage before entering, continuing to chant while filling up the stage, their backs turned to the audience. When they turned to face us, saxophonist Ernest Dawkins, the animated maestro, led the band with finger-pointing and swooping direction through grooves and scatty jazz, backing off for percussion solos and swells of horn. As hot as it was, it was an invigorating set to start the day.

MIKE

Whether or not you were familiar with New York-based MC MIKE, it was easy to be swept up in his infectious energy and positive vibes. For one, before he rapped any words, he humbly shouted out the Great Black Music Ensemble that had just finished, along with future performers that day Standing on the Corner, Rico Nasty, Valee, and Earl Sweatshirt. Then, with family members in attendance, he delivered a lyrically dexterous, no-bullshit set that nonetheless left room for him to show his appreciation to the crowd. “Y’all ready for bars?” he asked before showing off his spit skills. “Make some noise for yourselves,” he repeatedly demanded of the crowd; when he spelled out the first three letters of his name and the crowd responded with a loud “E!!”, he laughed, “Y’all could have said anything...but you said ‘E!!’” The bouncy beats got the crowd in the mood to move and yell even as the weather continued to scorch.

Standing on the Corner

Like their jazz brethren Great Black Music Ensemble, Brooklyn-based experimental collective Standing on the Corner consisted of a bevy of musicians, orchestrated by a leader, Gio Escobar. Unlike the soulfulness of GBME, SOTC were noisy, their jazz venturing as much into surf punk and neo-classical music as it did hip hop. In the quieter moments, you could hear Rico Nasty booming across the park, but for the most part, the genre-bending crew held their own, never descending into chaos. Collaborator Earl Sweatshirt, standing on the side of the stage, looked impressed.

Valee

If you’re gonna wait this long to appear on stage and pump up the crowd for minutes, you better as hell bring it. About the only thing Valee brought on stage was his dyed red Chihuahua. Whether “I’ve Got Whatever”, “Juice & Gin”, “Extra”, or “Miami”, the local rapper’s set embodied the most disappointing of what rap sets can be: lazy and overdependent on the backing track disguised as some semblance of “chillness.” (See Earl Sweatshirt below for how to do that well.) By the time he played his beloved banger “Womp Womp”, you wished he had pulled an ILoveMakonnen and played it twice instead of something else.

Sky Ferreira

In a career filled with missteps, Sky Ferreira has managed to release just enough brilliance to not just stick around but become an anticipated artist. Friday’s set was that quintessential mix of misstep and perfection. Her follow-up to 2013′s Night Time, My Time has been in the works for the better part of the 2010′s but has only yielded one comeback track: “Downhill Lullaby”. She didn’t perform that song on Friday (it was sound-checked); in fact, she didn’t perform many songs at all. Teasing the crowd with audio of untouchable classics like Fleetwood Mac’s “Dreams”, Talking Heads’ “Naive Melody (This Must Be The Place)”, and David Bowie’s “Fame”, Ferreira walked out late. By that time, her band members had already been on stage taking pictures of the crowd and each other. With a deadpan “Hi”, she launched into “24 Hours”, “Boys”, “Ain’t Your Right”, and the powerhouse “I Blame Myself”. Unfortunately, that’s when the technical issues started. Backing tracks of her voice started prematurely playing, inadvertently revealing her cover of choice, an otherwise flawless rendition of Til Tuesday’s “Voices Carry”. “Everything that’s gone wrong has,” she told the crowd, unable to hear herself sing, the band trying to start the shoegazey new song “Descending” multiple times before she just decided to do “Everything Is Embarrassing”. She and her band were eventually abruptly cut off by an impatient Earl Sweatshirt, leaving her set in the same thematic category as The Avalanches: Legendary performances that never were.

Earl Sweatshirt

As I was saying: This is how you use the crippling heat to your advantage. The slow, cloudy, warbling production of all of Earl Sweatshirt’s songs is as perfect for barely swaying and slightly nodding as it is hands-up palm pumping. Starting off with the gentle surf-and-horn tones of Some Rap Songs’ “Riot!” and getting the one sexually aggressive remnant of his pre-I Don’t Like Shit days out of the way (Doris’ “Molasses”), Earl delivered standouts with no fanfare: “Grief”, “December 24″, non-album tracks like “Wind In My Sails”. And while he began the set with Some Rap Songs’ closer, he finished it with his latest masterpiece’s opener, the soulful “Shattered Dreams”, as if to emphasize that his music puts you in such a haze, that it becomes cyclical, never-ending, never-beginning. It just always was, and that’s not sun poisoning.

Pusha T

The excellence of Daytona aside, a Pusha T greatest hits set--solo standouts, features, Clipse--was always going to be the best festival move. He delivered, and then some. Barging onto the stage with full force, speedily spitting the entire first verse of “If You Know You Know” sans backing track, Pusha relentlessly burned through song after song of dragon fire. My Name Is My Name highlight “Nosetalgia” and banger “Numbers on the Boards” and King Push’s hard-nosed “F.I.F.A.” proved to be the show-ready hits we always knew they would be. It’s hard to believe that My Name is technically Pusha’s solo debut, since his rapping often dominated both features and Clipse, so when he dedicated a string of songs to those who had “been with him since the beginning,” I did sort of a double-take. What he meant was his verses on My Beautiful Dark Twisted Fantasy’s “So Appalled” and “Runaway” as well as--wait for it--Clipse’s immortal “Grindin’”. By the time he got to the original Drake diss track, you didn’t even care whether he would follow it up with “The Story Of Adidon”. You were already out of breath and in awe.

Mavis Staples

If you had told me that a singer’s new album contained the line, “All that we are is the living ghost of our youth,” Mavis Staples would have been my last guess as to who that singer was. Then again, the reflective, often somber nature of her latest great album We Get By makes sense: her sister Yvonne passed away last year, and she’s only six years removed from the death of her other sister, Cleotha. As such, she’s mourning again the absence of both of those women and her father, Pops. Combine that with the current political climate, one that Staples has spent her entire life fighting, and you start to become surprised that the album’s not straight-up dour. But Staples doesn’t do depressing: She finds beauty in the darkest moments, using them to raise up both herself and others. It was this spirit that pervaded her Friday evening set. “I’m a fighter, I’m a lover, there is no other way,” she admitted on “Anytime”, “Could be one or the other on any given day.” The ambiguity of the title track, meanwhile, paying tribute to the power of a relationship that could be a lover or a friend--really anyone--meant that the difference between the Ben Harper-featuring album version (he wrote and produced the album) and vocal presence of one of her singers was negligible. It was the emotion that counted.

But what made her set brilliant was that in the context of her new album, the songs chosen outside of the album fit its themes of political urgency and self-improvement. “I’m working on me,” Staple sang on “Take Us Back”, her voice as gravely and powerful as ever. The necessity of change detailed on “Build a Bridge” mirrored that on the first track of We Get By where she asks, “What good is freedom if we haven’t learned to be free?” To Staples, freedom means the constant improvement of society, a sentiment as far-reaching back as The Staples Singers’ “Touch a Hand, Make a Friend”. She could have performed more from We Get By--album closer “One More Change” is Staples’ promise to do everything she can to get us out of this current shitstorm--but a quick sign-off of “No Time For Crying” is just as effective. Staples’ set was the rare one that made her new album AND old albums even more affecting.

Album score: 8.5/10

Lala Lala

Mid-day heat was not enough to offset the whispery voice of Lala Lala’s Lillie West combined with the dreamy instrumentation of her band of Chicago all-stars, which included V.V. Lightbody’s Vivian McConnell, Nnamdi Ogbonnaya, and Sen Morimoto. West and company played largely from last year’s breakout album The Lamb, but the true standouts were “Siren 042″, her collaborative track with WHY?, the band’s sweeping, blistering cover of Perfume Genius’ “Slip Away”, and statement of identity “Lala Song”. “Do you guys like screaming?” West asked the crowd, sure of the answer. The propulsive, saxophone-filled dirge consisted of wordless harmonies and the increasingly loud repeated mantras of “I’m not even listening / You’re not even nothing,” an anthem if there ever was one. Oh, and unlimited props to the band for donating all merch proceeds that day to RAICES.

Ric Wilson

Like MIKE on Friday, Ric Wilson brought the type of set you could walk into with no prior knowledge and leave a huge fan, almost entirely due to his charisma. It’s not just that he knows how to make a crowd feel good. He knows how to make a crowd feel good about themselves without sacrificing what makes him unique. Sure, on the surface, leading off with a song called “We Love Us” could cause some curmudgeons to walk away for a beer. But Wilson came to play not for those people but to pay back to the crowd of the first music festival he ever attended, delivering a positive mix of hip hop and soul: “Black art, not bad art,” he proudly declares on “Banba”. As such, he brought out Kweku Collins and the Lane Tech Marching Band and led what his band claimed was the world record for the largest soul train, jumping in the crowd to dance during it. He channeled D’Angelo on the funk of new song “Yellowbrick”. Oh, and nothing to bring a crowd together like rapping about traffic on the Dan Ryan, right?

CHAI

The Japanese quartet CHAI believes you can be Kawaii while still subverting standard definitions of beauty and femininity. Or really, they argue that there’s no such thing as the “standard.” They exist somewhere between individualism--arguing that you’re a “Fashionista” as long as you’re dressing the way you dress--and collectivism, donning a band uniform of an orange top and pink pants with white stripes, tightly harmonizing and chanting with equal pitch. That dichotomy in and of itself is unique, especially in Japanese culture. They call it PUNK, their terrific second album. From freedom anthem “CHOOSE GO!” to the propulsive beats of “THIS IS CHAI”, the band’s instrumental variation (the funk of “FAMILY MEMBER”, banging dance of “Curly Adventure”) is always tied together by the four women and the spirit each of them brings to the performance combined with the sum of parts that the band CHAI represents. And their radicalism is present in songs like “GREAT JOB”, a reclamation of housework as therapeutic, but it’s never so strong as when they shout their simple proclamation: “We are CHAI!”

Album score: 8.1/10

Cate Le Bon

“It has got to be hot in that long purple dress,” I thought looking up at Cate Le Bon. A few songs later, she admitted it. Thankfully, many of her songs are low-energy, and a set comprised entirely of Reward and Crab Day material suited the weather. She started with the first few songs of Reward, showed off her immaculate guitar tones on “Love Is Not Love”, extended a jam on “Mother’s Mother’s Magainzes”, and ended with the krautrock of “What’s Not Mine”. Perhaps she would have been ideal at the shadier, notoriously more chill Blue Stage, but Le Bon made the most of her time and location.

Parquet Courts

Entering to The Skatt Brothers’ “Walk The Night” seemed appropriate for the new version of Parquet Courts that released the funky, Danger Mouse-produced Wide Awake! last year. Yet, the band played a (storm-shortened) set full of songs that reminded you why you fell in love with them in the first place: the classic one-two punch of “Master of My Craft” and “Borrowed Time”, “Donuts Only”, “Dust”, and “She’s Rolling”. The songs they did play from their latest record for the most part were ones that could have fit on past records: “Total Football”, “Almost Had To Start A Fight / In And Out of Patience”, and “Freebird II”. The standouts, then, were the ones whose style is unique to Wide Awake!, the political “Before the Water Gets Too High” and the dance-punk of the new album’s cowbell-laden title track, a perfect party before the park was evacuated due to oncoming storms.

Stereolab

"This is French Disko,” is never a sentence I thought I’d hear Laetitia Sadier say. Not because I didn’t expect to ever see Stereolab live; rather, the nonchalance with which she introduced one of the band’s most beloved songs was striking. I don’t blame her: Since the band’s 1st North American festival appearance in 10 years to be rain-shortened, she wanted to play as many songs as possible. It was everything I wanted it to be: Emperor Tomato Ketchup hits “Metronomic Underground” and “Percolator”, “Miss Modular”, “Lo Boob Oscillator”, fucking “Infinity Girl”!!! Besides occasional guitar issues preventing Tim Gaine from shredding into oblivion, the band sounded perfect. Spotted at the side of the stage enjoying it: the Savage brothers from Parquet Courts, Jay Som’s Melina Duterte, and a stoked Kurt Vile who didn’t seem to care at all that his set was cancelled.

Belle and Sebastian

For one of the trademark albums of 90′s indie rock, Belle and Sebastian’s If You’re Feeling Sinister is generally pretty quiet, which made their grand, orchestrated performance of it Saturday night even more impressive. From the start of “The Stars of Track and Field”, it was apparent that even non-fans or even detractors would appreciate the band’s live presence. The chaotic harmonica playing of usual set closer “Me and the Major”, bouncy pop of “Get Me Away From Here, I’m Dying”, and climactic “Judy and the Dream of Horses” offset the preciousness of songs like “The Fox in the Snow” and the title track. They played the record so fast that they actually had time for an encore: Girls in Peacetime Want to Dance’s “The Party Line”, which saw Stuart Murdoch enter and dance in the crowd, and Chicago-appropriate “The Blues Are Still Blue”.

The Isley Brothers

Are The Isley Brothers still good? Yes. Do they belong headlining a festival that prides itself on alternative music? I’m not convinced. Maybe Pitchfork isn’t that anymore, but seriously--you can see these guys play at casinos all across the country, and that’s exactly what the set felt like. Sure, it was immediately full of classics, many of which have gained second life as primary samples for famous hip hop songs, like “That Lady”, “Between the Sheets”, and “Footsteps in the Dark”. The Isley Brothers stay new actually by embracing that, having band members rap a verse or two from the contemporary songs, or Ronald Isley singing, “I love it when you call me Big Poppa.” Their choice of covers, including Bob Dylan’s “Lay Lady Lay”, “Twist and Shout”, Stephen Stills’ “Love the One You’re With”, and Todd Rundgren’s “Hello, It’s Me”, showed their versatility. But Ronald’s voice couldn’t hold its own compared to Ernie’s scratchy funk guitar riffing, and the dancers and backup singers changing outfits every other song was more distracting to the actual music than adding to it. I’d have loved to see The Isley Brothers as an earlier set, but as headliners, their bravado failed to make up for their lack of dynamism.

Black Midi

Another band who met at BRIT school who learned to play guitar from Franz Ferdinand? Yeah, but Black Midi transcend even the hype they deserve. The very fact that hours of jamming contributed to a few bars of songs on their instant classic debut album Schlagenheim is already legendary, and the band covers territory from noise punk to jazz to surf rock to Slint-esque post-rock to chaotically played and sung math rock and...I’m out of breath. “We won’t build to this code,” Geordie Greep sang on “Speedway”, a standout from Schlagenheim, the band’s statement of purpose denoting that they’re truly trying to do something new with all of the above. Album and set “953″ is as good of an offering as any of their palate, starting immediately with complex time signatures, morphing into straight-up grunge, giving way to circular riffs and rhythms as Greep sounds like a coked-up Daniel Rossen, ultimately ending with fast punk.

Out of context, a song like “Of Schlagenheim” might seem the only one on the album a product of men the age of the band members (19 and 20). In it, Greep acts like realizing the ideal woman doesn’t exist is depressing rather than a statement of righteous feminism. Its live performance was likewise the most masculine and primal. But in context of “bmbmbm”, you realize it’s an act. On that song, he impersonates an uncontrollable creep obsessed with a woman, and Black Midi are too smart to fall prey to the cognitive dissonance that would come with both songs being genuine statements.

The band didn’t play everything from Schlagenheim. The gorgeous, 8-minute “Western” wouldn’t have fit the energy of their set, though the blistering “Years Ago” would have. Still, since the album is perhaps the best debut of the year, Black Midi gave arguably the best set at Pitchfork. Yeah, better than Stereolab.

Album score: 9.0/10

JPEGMAFIA

The most energetic set at the festival? That belonged to Barrington DeVaughn Hendricks. Performing from his album Veteran, inspired by his stint in the military and growing up experiencing racism in the South, JPEGMAFIA didn’t rap so much as screamed to the point of coughing fits, especially notable over his off-kilter, slow beats. He’s also as much of a troll as Vince Staples, repeatedly referring to the fest as the Condé Nast Pitchfork Music Festival, and performing a song he purportedly had retired in the U.S.: “I Can’t Fucking Wait Until Morrissey Dies”. He jumped in the crowd so much that he rewarded himself at the end of the set: “I’m about to get high,” Hendricks declared in victory as he left the stage.

Amen Dunes

When we first saw Amen Dunes touring Love back in 2015, he probably wouldn’t have garnered a set at the Blue Stage so late in the day. This set was a victory lap for his most acclaimed album to date, Freedom, and apart from a cover of Tim Buckley’s “Song To The Siren” and Love standout “Splits Are Parted”, he stayed faithful to the album that got him here. The title track, “Blue Rose”, “Calling Paul the Suffering”, “Miki Dora”--they all sounded immaculate, Damon McMahon’s trademark sneer rising above his excellent band, which included Delicate Steve on guitar.

Neneh Cherry

“I’m an old bitch,” joked legendary singer-songwriter and rapper Neneh Cherry. It’s funny, but most of her set was her strong most recent album Broken Politics, “Shot Gun Shack”, “Deep Vein Thrombosis”, and “Synchronised Devotion”. The two best songs performed, though? The noisy Blank Project title track, and of course, her immortal first single, “Buffalo Stance”.

Charli XCX

Midway through her set, Charli XCX proclaimed herself to be one of the top 15 pop stars in the world. It seemed dubious; after all, this is someone whose biggest hits are merely songs she wrote or on which she was featured secondarily. Plus, what would that make headliner Robyn?!? Well, with a performance like the one she gave--alone onstage, save for two giant orange cubes, and one CupcakKe guest appearance--she made the case that she should have been the headliner. Opening with “Track 10″ from her best yet Pop 2, Charli delivered banger after banger, slowing down only for the undeniable “Boys”. “Gone”, from her upcoming Charli, held its own without Christine and the Queens’ Héloïse Letissier. Charli even made time for a little Spice Girls tribute. In a perfect world, she’d be as popular as they were.

Robyn

Perhaps the most anticipated set of the festival after Stereolab, Robyn finally answered the question everyone was thinking: What would Union Park look like filled with thousands dancing on their own? It was blissful, followed by “Missing U” and “Call Your Girlfriend”. But honestly? Before that, the set was...fine. Her vocals were turned far too down. The songs were good, the stage set and dancing artful, but it slowed down the festival experience, the party atmosphere everyone hoped the final headliner would finally deliver. The ending three, plus an encore of “With Every Heartbeat”, were worth it, but Robyn’s set capped yet another Pitchfork where the headliners were really not the main event.

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