#i can’t believe there’s 12 solo albums with 2 more about to be released and hs4 on the horizon

[tryhoney]

excepts it just one direction members solo work

#i can’t believe there’s 12 solo albums with 2 more about to be released and hs4 on the horizon #one direction #polls

[ladykailitha]

Star Child 16

And it’s done. Holy freaking shit, guys. I can’t believe it. It’s done. Thank you so much to everyone who commented, reblogged and liked this story. I’m so happy for the response it’s gotten and I will personally miss this little story.

Steve gets his happily ever after

Part 1 Part 2 Part 3 Part 4 Part 5 Part 6 Part 7 Part 8 Part 9 Part 10 Part 11 Part 12 Part 13 Part 14 Part 15

***

Steve and Luke were in the studio within days of their meeting and it took everything in Steve’s power not to giggle uncontrollably every time they agreed on something.

Soon they managed to hash out a really great song that Steve would feature on but it would be The Struts playing. Hell, even though it would be a non-album single Steve was still over the moon.

Suddenly Steve was in a room with all of the members of the band and he had to squeal into a pillow after they left. Because holy shit, this was his life now.

He was also grateful the distraction it supplied. He missed Eddie. Like a gaping wound, but this allowed him to concentrate on something other then the overwhelming loneliness he felt.

It took them three weeks to get the song recorded and they talked about when it should be released. Steve of course wanted to release it now, but cooler heads prevailed and it would be released in a couple of months toward the end of summer.

It would give the buzz around Steve’s coming out time to die down and give Steve more time to record his own songs and release one of the solo songs first. So that fans got a taste of Steve’s style without someone else.

It made sense. But Steve was still a little bummed that it wouldn’t come out for a while.

The final night of recording Steve went out with The Struts and had a good time. With invitations for Steve to hang out with them in London if he was ever in town.

*

Steve was practically vibrating out of his skin.

“Can you please breathe?” Robin asked as she applied eyeliner to her eyes. “What I’m doing over here is dangerous and I swear you’re going to start bouncing around the room.”

Steve ran his fingers through his hair again and sat down hard on the bed. He flopped backwards, arms out spread. “I get to see Eddie for the first time in five weeks and time is deliberately standing still.”

She tsked at him and finished her makeup. She went over to the bed and kicked his foot.

He sat up and looked her up and down. She was wearing a blue button up with the sleeves rolled up to her elbows with a plaid vest and matching tie. She wore baggy slacks over sexy heels and her hair and makeup were artfully messy.

Steve raised an eyebrow. “Looking good, Robs. Chrissy is going to faint.”

Robin giggled. “I hope not, I don’t think I would be able to catch her in these heels.”

Steve cocked his head and then nodded. “Fair enough.”

She reached over and played with a strand of his hair. “I still can’t believe Eddie gave you the go ahead to chop off it all off.”

He laughed. “I didn’t chop it all off. I just shaved the sides. It’s just as long as it’s always been on top. Add some fun blond highlights, and I think it looks great.”

Robin smiled. “And it does, honest. I just would have thought that Eddie would have put up more of a fight over it, considering how long his hair is.”

“Now that is a no go,” Steve said firmly. “He’s not allowed to have it shorter than his shoulders. He pulled his hair back once so that he could write with it wet and he looked like a completely different person, Robs. It was freaky.”

Robin laughed. “Whereas you look hot regardless of length?”

“Exactly!” he said with a big grin. “Now help me decide what to wear. I don’t want to go full metal, my fans might murder me.”

Robin winced. As referenced by the social media meltdown when he showed up in videos from the Salt Lake City concert. There was so much hate about him selling out (which, you know weird flex considering it’s usually selling out was in the opposite direction), and how he was clearly trying to get into Eddie’s pants. It was brutal.

In fact the Corroded Coffin fans seemed to be more welcoming and friendly. Telling him how awesome it was that he came out and that he could be himself. But then as Steve was slowly learning, metal fans tended to only looked mean.

So he decided to combine his former look with his boyfriend’s metal style. He wore a black t-shirt with the sleeves cut off with chunky bracelets on his wrists. But instead of tight black jeans and combat boots, Steve wore baggy white trousers and black sneakers. Combined with his new hair style and Eddie’s lucky guitar pick hanging from his neck, he felt confident in his look for the first time since he started performing.

Robin eyed him critically, circling him, like a shark scenting blood in the water.

“Good job!” she said with a thumbs up.

Steve laughed. “Did I pass the Robin test?”

“It looks good,” she said. “And if they give you hell, point them my direction.”

Steve nodded. He bounced up and down on his toes. Syking himself up. He waved his arms and wrists, trying to loosen up tense muscles. He began his breathing exercises and then his vocal warm ups.

“You ready for this?” Robin asked.

Steve nodded. “As ready as I’ll ever be.”

“Go get him, tiger!”

*

Eddie loved performing in front of massive crowds. He couldn’t get enough it. He loved the energy and high he got from the screaming mases. And there was only one thing he loved more than the fans, more than his own band even.

Steve Harrington.

“It’s our last concert and you know we like to go out big,” Eddie said into the microphone. “When we started this tour, we thought it was going to be like any other. Play to sellout crowds, whether that was bars or stadiums. Have fun with my best friends doing what we love.”

The crowd roared, cheering and stomping their feet.

“But as awesome as the highs were,” Eddie continued. “I feel we have to acknowledge the lows. That club with the horrible management and our getaway to the park so we could still play.”

The crowd booed.

“They sucked!” Gareth growled into his microphone.

The crowd cheered back.

“The rain in Seattle.”

The crowd stomped their feet.

“What’s a little soaking between friends, anyway?” Jeff asked.

The crowd roared.

“The fiasco in Austin and beyond!” Eddie said.

The crowd got angry as chant was taken up, “Fuck Creel!”

“That’s right!” Brian screamed. “Fuck Creel!”

“But we made it through,” Eddie finished, “because we have the best fans in the world!”

If the crowd had roared before, it was nothing to deafening thunder that came reply.

“So as thank you, we’ve got a little treat for you all,” Eddie said over the howl of the crowd. “Steve Harrington!”

Who from what Eddie could see was waiting in the wings, liking like sex itself.

The crowd went absolutely feral. There were screams and whistles as Eddie smiled.

“We’re going to do a little song that brought me the best six weeks of my life,” Eddie explained.

Steve came out and waved. “Hello, LA!”

“Hello, Stevie!” the crowd shouted back.

“Come on,” Steve said with a giggle. “You can do better than that!”

“Hello, Stevie!” they roared back.

“You guys are the best!” Steve said.

The music started and the crowd howled.

Then Steve growled out the first line and it was absolute pandemonium.

But instead of being on the opposite ends of the stage like they were in Indy, they started in the middle and were practically all over each other. And then when it was time for the guitar solo, Eddie handed his guitar over to Steve and he let it rip. Just shredded away.

It got so quiet that the only sound was Steve playing like he was born to rock.

So when the solo ended and Steve handed the guitar back to Eddie, Eddie growled. “Steve Harrington, everyone!”

They finished out the rest of the song and then kissed.

“Hi, beautiful,” Eddie said once they had broken off the kiss.

“Hey-ya, Eds,” Steve murmured back with a smile on his face.

“Tell all the wonderful people about what’s been going on with you,” Eddie prompted.

Steve blushed. “After winning a large settlement from my record label I have set up a charity for young LGBTQ+ artists that if they find themselves in a situation like I was, they have someone to turn to. It will have lawyers, counselors, and resources for getting out of abusive homes with living arrangements and a small stipend to help them pay bills as they get back on their feet.”

The crowd cheered.

“There won’t be an exclusion of genres either,” Steve continued. “There is as much queerphobia in country and rap as there is in pop and rock. We want to be able to reach as many people as we can. And while it is mainly for youths, no one of any age will be turned away.”  

Again the crowd cheered.

“I’ve also been in the studio writing and recording my new album,” Steve went on.

More cheering.

“And I’ve got a couple of surprises coming for you all,” he said. “Not the least of which is collaboration with these boys.”

The crowd ate it up, stomping and screaming.

“I said in Indy that my greatest dream was to perform with Corroded Coffin,” he continued. “And while crossing that off my bucket list was no small feat, the thought of making music with them, not just Eddie, who I absolutely am in love with, just blows my mind. But these are some of the best in the business and making friends with them and being able to write and perform as song with them? Beyond my wildest imagination.”

“Flattery absolutely works on us, man,” Jeff said in his microphone.

Steve blushed. “Oh, you guys have no idea. That was me dialing back on my enthusiasm. I’ve been your biggest fan for years.”

“Oh no,” Brian said into Jeff’s mic, “we know. And we’re happy to have gotten to know the real you over the last couple of months.”

“Really digging the new look, Stevie,” Jeff agreed.

The crowd whistled their agreement.

Steve grinned.

It had been one hell of a journey. But he’d made it. He was in love with the first boy he ever kissed. He was making the music he loved for the first time in his life. He was out as bisexual. His label and parents were facing criminal charges. And his best friend was going on a date with the girl of her dreams.

If someone had come up to Steve two months ago and told him he would be here with Eddie in front of an adoring crowd, his life changed for the better? He would have laughed himself sick. Good things didn’t happen to Steve Harrington. Not like that.

But it had. And things were only going to get better. He was so happy, he did the only thing he could think of.

He kissed Eddie senseless.

“So did I leave up to the hype, sunshine?” he asked, away from the mic.

Eddie smiled. “You blew my expectations out of the water, sweetheart.”

***

Here’s the meta I wrote for it when I started writing the story and the extra scene that showed what happened that night at Steve’s ten years before the story started.

Tag List: @eboyawstenn @moonshadows-13 @ohlook-afrog @bookbinderbitch @goodolefashionedloverboi @linkydinky06 @livelaughlexa @spectrum-spectre @cutepumpkin4 @whatthemeepever @gleek4twd @anything-thats-rock-and-roll @novelnovella @celtrose-ish @artiststarme @plasticcrotches  @anaibis @failedstarsandgoldenclouds  @nelotegreitic @steddieassheg0es  @yes-im-your-mom  @abstractnaturaldisaster @scheodingers-muppet @tiny-enthusiast @thegingerrapunzel @milf-harrington @raisedbylibrarians @reverseteehee @lillys-weird-world @deadlydodos @runyousillydetective  @fiore-della-valle   @justrandomfandomstm @piebook67 @clumsywriter @donttouchmycarrots  @idkareallyreallygoodname @ellietheasexylibrarian @localgaydisaster @idontgetpaidenoughforthisshit @imfinereallyy  @maya-custodios-dionach @child-of-cthulhu @estrellami-1 @lillithhellfire @nerdsconquerall @space-invading-pigeon @avacrebs @ravenpainter @gregre369

#My writing #stranger things #steddie #rockstar au #song fic #ladykailtiha writes

[paigeschapterbook]

LTWT 2022 inspired works: Day #1

So this is a little project I am attempting in the lead up to LTWT - one poem per day, inspired by each of the 18 solo songs of Louis’ we have heard. It will be in order of release date/performance date in the case of the non-album songs and then in order of the track list of the songs on Walls.

Day 1: Just Hold On

Day 2: Back To You

Day 3: Just Like You

Day 4: Miss You

Day 5: Kill My Mind

Day 6: Don’t Let It Break Your Heart

Day 7: Two of Us

Day 8: We Made It

Day 9: Too Young

Day 10: Walls

Day 11: Habit

Day 12: Always You

Day 13: Fearless

Day 14: Perfect Now

Day 15: Defenceless

Day 16: Only the Brave

Day 17: Copy of a Copy of a Copy

Day 18: Change

18 days to Louis Tomlinson’s first show for LTWT = 14/01/2022

Poems inspired by solo artist Louis Tomlinson’s 18 songs:

Day / Song #1:

Just Hold On (with Steve Aoki) - released 10 December 2016

keep going

believe in the future you might not

see

keep going

keep hope fluttering in your soul

take the breath take the break

keep going to hold on

it’s not a race there is no prize to get there first

there has to be something,

something to hold on to

not a medal for the sake of a winner

not an accolade

-

something deeper something in the soul

so turn

turn

to the sun spreading warmth

raise and breathe and breathe and rise

find it whatever it is

let it carry you through when it would be easier to just

give up

hold on, look to the stars,

remember who watches over you

hold on to the memory of that love,

it shines

lights the dark

you know the world turns,

time passes at a gallop

ends with you broken if you do not stop to

breathe

the bravery to try,

that is more than a win

it’s in the courage to stand,

to sing,

to be

when your world collapses around you

the story has to end, it’s true

but

think of what could be next, what comes beyond what you can see

hold on

the world is watching

but hold on,

you can let yourself breathe

Thank you for the response to my ask and the encouragement, @seasurfacefullofclouds1 👍😊

Here is my first attempt at a poem inspired by Louis’ solo career songs. This is really hard for me to do, it’s so scary and I am not at all confident in these poems, especially when considering who has inspired them, but I am doing it for Louis, to just put out there that he inspires people everyday. I want him to know that, to feel it somehow, that he is loved and cared about and that he brings so much happiness and hope to people’s lives.

I’m so excited for Louis and for Louies and even though I have to wait until July for my show, I will love to see the content from his other shows. I just can’t wait! I’m just so happy this is finally happening for Louis! 🥺😍

#louis tomlinson #tracksintheam #mindofwalls #w4ltwt2022 #solo artist louis tomlinson #ltwt 2022 #day 1

[putschki1969]

Wakana Spring Live ～magic moment～ 2021 Review

Note: I FINALLY got my package. Now that I watched the full live in HD, I thought I would share m thoughts and a little present below the cut ^_^ As always, I would like to encourage everyone to SUPPORT Wakana by BUYING her Blu-ray!!! Her sales numbers aren’t the greatest which is a huge shame since this is a solid release.

Overall thoughts: I got the Limited Edition of course since I couldn’t resist the pretty sleeve packaging, the bonus documentary (so insightful) and the photobook (scans coming up soon). It is quite pricey but totally worth the money, especially if you are among those fans who liked “Magic Moment” much more than Wakana’s debut album. The release comes with a gorgeous clearfile as tokuten so be sure to get it! Try going for the Regular Edition if you want to save money. As for the live itself, it was a pleasure to watch and I can see myself rewatching it a lot (skipping a few songs though :P). Wakana’s voice coaching lessons are definitely starting to pay off. She has so much stamina these days. Can you believe that this was her SECOND live performance of the day? Her vocals were solid, even during her high-demand power ballads. At rarely any point did she sound overly-screechy to my ears, there were certain sections that didn’t sound 100% smooth but those parts definitely didn’t take away from my  overall enjoyment. On a side note, this live was a feast for the eyes, Wakana looked absolutely beautiful in her white dress and I even liked her encore outfit even though it was a little “out there” XD During the more up-beat songs, her smile literally lit up the entire hall. Seeing her have so much fun on stage is healing. I feel like they may have gone a little overboard on the blurry filters from time to time but I guess that was on purpose. 

1.揺れる春: 6/10. This is obviously the perfect cute intro for a Spring Lives so I understand why Wakana put it here but I would have much preferred “breathing” as a grand entrance. Still so sad that this is the only song from the “magic moment” album that didn’t make it onto the setlist of this live. I know, we already got an official audio recording but I would have loved some video footage to accompany it :P Anyways, back to Yureru Haru. I haven’t really warmed up to the song yet. It’s not bad and I honestly love the verses since they are super precious and feel kinda nostalgic but the chorus doesn’t stand out imo. Also, her singing style during parts of the chorus isn’t my favourite and not overly flattering. 2.where: 4/10. Oh no!! I was hoping Wakana would be singing the “ohhhohhhs”. She could have easily done it during the start and middle part of the song since it wasn’t overlapping with her other vocals. This seems so rushed? Is it just me? I haven’t listened to the studio version in a while but I know that I quite enjoyed that and it definitely didn’t make me feel as fidgety as this. Don’t know what it is exactly but it keeps me from getting into the song. I guess this is the biggest disappointment for me because I wanted to like it. 3.君だけのステージ: 4/10. I will admit it, this is not my favourite song. It’s just way too long :P But it is a very good and energetic performance, really no complaints when it comes to Wakana. But experiencing it live at the venue would have made it so much better for me. Oh well, nothing that can be done about it. The scat part at the end was a pleasant surprise. Would have loved to hear more of that. 4.442: 100/10. Honestly a masterpiece. One of Wakana’s best solo songs up-to-date and so very perfect to show off her vocals. Hearing it live like this with a band arrangement is a revelation. I love the wailing in the beginning and all the strength she conveys throughout the rest of the song. 5.ひらり ひらり: 3/10. Another song I haven’t warmed up to yet. No real thoughts. It’s one of those songs that’s just very forgettable, not bad per se but there is just nothing at all that attracts me to it. :-( As you can tell, I wasn’t entirely happy with some of the setlist choices. Wakana obviously wanted to include all the album songs but some of them are just not my cup of tea T_T 6.夕焼け: 6/10. This is one of the pieces that gets better every time I listen to it. And the latter half of the song is generally much nicer. I am always surprised by how much I actually like it when it’s over :P 7.アキノサクラ Acoustic ver.: 7/10. I am distracted by that harmonica sound-alike thingy Satoshi Takebe is playing XD Still, I have come to really like this song last winter so it is always appreciated, especially the acoustic version. Wakana is struggling a bit during the ending but nothing too bad. 8.myself: 100/10. Utter perfection. So much better than the studio version. And I am not saying this because I disliked the studio version, quite the contrary actually, I LOVED it but these two versions are honestly miles apart. Wakana’s live performance feels so much more raw and emotional. And her vocals in this are pretty much flawless, I can’t even begin to describe how this song makes me feel. A perfect ballad for Wakana. 9.メロディー (Cover): 8/10. My first reaction was boring. But by the third listen I was totally smitten and now it’s among my faves from this live. Be sure to give it a few tries, it really grows on you. I can tell why Takebe would choose this for Wakana. 10.元気を出して (Cover): 8/10. Ahhhhh, so freaking cute and old-school. Nothing beats a nostalgic, fluffy pop song from the 80s. I am here for this content. The “lalalas” at the end are LOVE. 11.オレンジ: 6/10. I like the song but I have to be in the mood for it. And here we have that fake harmonica thingy again. I enjoy the sound of a harmonica about as much as the sound of an accordion (which means not at all :P) but it fits the vibe of the song so I am okay with it. The bridge is usually my favourite part but Wakana’s delivery wasn’t as smooth as I would have liked. It was nice to have this right after “Genki wo Dashite” because both are encouraging pick-me-ups. 12.恋はいつも: 10/10. One day I wanna hear her sing the “baby, baby” part!! Please! Another absolutely highlight, you all know that I ADORE  this song, I could listen to this FOREVER. It’s such a shame the corona guidelines do not allow the audience to sing along because the ending is so much more powerful if everyone is actually singing instead of just clapping. 13.Happy Hello Day: 8/10. Such a feel-good piece. Initially I didn’t like it much but seeing it performed with an audience during her Music Party and now here, has really made me fall in love with it. I have mentioned it before in my initial reaction to the YouTube leak but I wish she would have sung some lalalas at the end just as she did during her Music Party. 14.magic moment: 9/10. I KNEW I would love this song more once I got to hear it live. I still feel like the composition is a bit choppy and thus not as flowy as I would have liked from a power ballad like this but OMG, Wakana’s live performance is EVERYTHING. Blown away by her powerful vocals, she OWNS this song 15.時を越える夜に: 10/10. Two power ballads back to back. What more could I ask for? I know not many people liked Wakana’s solo debut but I personally always thought it was perfect for her. I consider this to be one of her best songs. Say what you will about Takebe but he certainly knows how to make Wakana shine, at least in my opinion. And the song has only gotten better with every live performance. Although I think I preferred the version from her Voice Tour. So very glad we got at least one track from Wakana’s first album. The original setlist actually included Kinmokusei and Kioku no Hito which are two of my faves (they were later exchanged with the two covers). 16.春を待つ (Kalafina Cover): 8/10. Despite this being one of Keiko’s favourite Kala-songs I never could bring myself to really appreciate it. It’s just an okay song for me. Don’t get me wrong, I enjoy it quite a bit but I don’t go out of my way to listen to it. However, I very much loved Wakana’s cover though, she does a good job singing everyone’s lines and since the original doesn’t have any harmonies her solo performance doesn’t feel too lacking. 17.あとひとつ: 10/10. Always a treat. Can’t believe this STILL hasn’t gotten an official release :P  But I understand Wakana’s reasoning, she wants to keep this song a unique live experience and it really is. I can’t help but tear up whenever she is singing this.

Documentary: I haven’t watched all of it yet but OMG, this is so cool. The first 20 minutes are dedicated to rehearsals. I love seeing Wakana like this, just being her cute dorky self. But poor baby, it was hard seeing her this exhausted after the big studio rehearsal (that’s what the gif is from - being her overdramatic self, she literally dropped dead to the floor). The second half of the documentary is Wakana talking about the production of the live and the different songs of the setlist. 

*✧･ﾟ: *✧･ﾟ:*✧･ﾟ: *✧･ﾟ:*✧･ﾟ: *✧･ﾟ:

Wakana Spring Live ～magic moment～ 2021 Google Drive (3,11 GB) 🎁

Documentary of Wakana Spring Live ～magic moment～ 2021 Google Drive (1 GB) 🎁

Wakana Spring Live ～magic moment～ 2021 MP3s Google Drive 🎁

FOR ❗PERSONAL❗ USE ONLY DO ❗NOT SHARE ON OTHER SITES WITHOUT PERMISSION❗  

#kalafina #wakana #review #video #Wakana Spring Live ～magic moment～ 2021 #it took forever to encode this T_T #audio #mp3 #mp3s

[success-and-corruption]

Macabre Album Review

DEG's second album! Oh yeah!

Track 1: Deity

This first track is definitely very interesting. It starts with a sleigh bell and then quickly turns into ominous chanting of some sort. Very spooky but also very different from their previous work which shows how versatile these five musicians are. The chanting eventually stops and we're met with heavy guitars and bass with Shinya playing a steady beat and Kyo vocalizing with a woman’s voice eerily making sounds. It sounds like he's gasping for breath (see what I did there)? That section ends and a clean guitar is played for a few seconds before the song goes back to the heavy riff after the chanting but this time Kyo sings in Russian to the tune of Johannes Brahms' "Fifth Hungarian Dance." This song definitely feels very religious to me which I suppose fits because the case for Macabre has prayer (?) beads in it.

I think Deity showcases DEG’s experimental side and sets the foundation for the rest of the album and it shows that DEG took a very different turn and became a bit darker.

Track 2: Myaku

Is this track in 3/4? 4/4? 5/4? 6/4?

Yes to all of the above. In the booklet it's indicated that this song was written by DIR EN GREY so no individual member wrote it specifically but the band definitely had some fun with time signatures in this one. Myaku was released as a single which is a bit different from the album version but I'm not reviewing the single. This song definitely departs from their late 90s VK sound which in my opinion is a good thing as it showed that DEG wanted to become more serious musicians. Plus, this track has one of my favorite basslines but I never got around to learning how to play it. Myaku is a chaotic song but it fits very well with Macabre.

Track 3: Wake/Riyuu

My boy Die does it again. This song is one of my favorites on the album and despite it being written by a guitarist, Toshiya’s bass really drives this track but we can’t forget the soaring guitars in the beginning and in the chorus. Kyo’s vocals are also great. Fantastic rhythm, instruments that all work very well together, and Kyo’s clean vocals? What’s not to like? This song really gets me moving for some reason. Not nearly as chaotic as Myaku, but Wake/Riyuu provides a nice structure and a consistent time signature (4/4) which is good contrast in my opinion. 

Track 4: Egnirys Cimredopyh +) An Injection

Everyone probably knows this by now by  Egnirys Cimredopyh = hypodermic syringe backwards. Despite that, this song isn’t about intravenous drug use. Kyo references a “white powder” a lot in this song and in one part of the song he sings “I started to speak to the wall with my lower half” (of course he sings that in Japanese) so I think this song is about abusing a drug called kakuseizai and... ejaculating onto a wall? To my knowledge cocaine isn’t very popular in Japan and kakuseizai (roughly translated to “stimulant” in English) is a type of methamphetamine that is used to improve pleasure during sex. Anyway as the lyrics progress it’s clear that the person in the song is battling between his good and bad side. They’re aware that their drug use is stripping them of their sanity but can’t stop and eventually gives in and “kills” the good side. In regards to the musicality of the song, again I really like the bassline (probably because I play bass) but the solos in the song, both bass and guitar, are seriously lacking in substance for me. However the rest of the song is fun to move around to i.e. it has a nice rhythm. 

Track 5: Hydra

“I wanna be an anarchist”

“Dead born”

“Sid Vicious, suspicious”

What are those lyrics??? This song is another experimental one with electronic sounds throughout. It’s also fast-paced and has another chant near the end of the song that breaks it up nicely. Lyrically there’s not much I have to say but this song is definitely one of DEG’s most interesting sounding. I’m sorry that I don’t have more to say. 

Track 6: Hotarubi

Hotarubi... what a beautiful song. It was very clearly written by Shinya. This track is, in my opinion, one of DEG’s best ballads but I think it goes on for too long but that’s just a very minor complaint. The strings complement the rest of the instruments and the part from 2:40-3:42 is stunning, with a surprising violin solo and a woman breathily vocalizing. Everything in this song works so well together except for the loud buzzing halfway through and Hotarubi never fails to evoke an emotional response within me. If it weren’t too long for my liking I would listen to it on repeat. At a certain point I just get bored. Also I think this song would be better suited towards the end of the album where the songs become more melodic.

Track 7: 【KR】cube

I’m not sure what【KR】cube means but what a fun song. Toshiya starts it out with that funky bass that we all know and love and then it transforms into a fast-paced song with a very nice rhythm on the guitars and Kyo’s clean vocals come in which is always nice to hear. I like the speed and rhythm of this song as it offers a pleasant difference from Hotarubi which is a very slow song. The chorus is very catchy as well 

Kururi, furari, fuwari, kurari

Kururi, furari, fuwari, kurakurari

and so on. The music video is fun for this one. We love Hitman Die. 

Track 8: Berry

This song is easy to figure out from the beginning dialogue of an English girl apologizing but then promising to blow her parents’ head off like raspberry jam (spoiler: she does at the end of the song). This one has more of a punk vibe and it’s kind of a fun song. What I can say is that I’ve never heard a song that features parents yelling at a child as part of a breakdown. It’s a good song but in my opinion it doesn’t really fit with the Macabre sound.

Track 9: Macabre -Sanagi no Yume wa Ageha no Hane-  

WOW what a song this is. I believe that this eleven minute prog rock masterpiece was the first song I learned on the bass (go big or go home). I love Shinya’s drums in the beginning and as soon as the other instruments come in you just know you’re in for a journey. This song has a great composition with all of the instruments and vocal layers but I suppose I should get into the specifics. The beginning (after the drums) starts with guitars that, in my opinion, portray a certain sadness while the bass drives the the song. Kyo’s voice is great in this one and also portrays that same sadness. After the first two verses clean guitars come in which is a nice contrast from the beginning but this song truly comes alive during the instrumental breakdown where there’s a guitar playing a repeating riff while insects buzz and a church organ plays in the background. It then switches to Kaoru and Die playing the same notes but alternating between electric and acoustic guitars. The breakdown ends with a very beautiful solo and Kyo singing in a higher register and making slurping sounds which makes sense if you follow the lyrics. There’s a bass solo which is always nice to hear. 

I think I’ve written too much about this song so I’m going to go on to...

Track 10: Audrey

What exactly were they trying to accomplish here? Country rock? It doesn’t fit with the album and it doesn’t even fit with DEG’s sound in general. I never listen to this song so I don’t have much to say about it. 

Track 11: Rasetsukoku

This song fits much better with Macabre, but only marginally. It’s definitely more speed metal which at this point in DEG’s music career hasn’t really done. It’s fun to listen to but the composition is quite simple and it tends to be sort of repetitive. I do like the bass in the beginning but the guitars in this song are kind of boring to me.  Maybe I should give it more credit. 

Track 12: Zakuro

I have mixed feelings about this song. It’s very emotional but maybe too emotional. It starts out kind of slow but I like Kaoru and Die’s parts in the beginning because they harmonize very well. I think this song has one of the most beautiful guitar solos they’ve ever written and it conveys the sadness that is the central focus of this song. My problem with it (and it’s a minor one) is that it’s definitely better live. 

Track 13: Taiyou no Ao

Another favorite on this album. Once again there’s a great bassline and while the song itself sounds sort of like a pop song the lyrics are rather sad. The prominent bass complements the guitars and if Shinya wanted a workout routine he could play this song a few times and he would get pretty buff. Can you imagine a buff Shinya? Neither can I. It just seems like his drums never stop for almost the entire song. It’s a nice way to close the album because it contrasts with the very dark-sounding Deity and it leaves me feeling good, albeit a bit sad because of the lyrics.

So that’s it. Can you tell I got a bit tired near the end? All in all I give this album 7/10. It’s a great album but there are some real duds in my opinion but it’s not my least favorite by any stretch. I’ll be reviewing all ten albums so you’ll find out which one I like the least...

As always feel free to comment your thoughts! I would like to connect with my followers a bit more.

#I have a very important licensing exam coming up #so my thoughts are more focused on academics #dir en grey #Macabre #album review #tw drugs

[romanceboys]

(interview) w korea september issue 2020 — reptile

1. i was surprised to learn that this is your 13th year since debut. within a company, the years almost reflect the experience of a vice department head. that’s right. though there are things i’m seeing for the first time at this point, i think there’s a lot that has remained the same. shall i tell you something funny? early in the year, i transformed into my debut appearance from when i was 16 with a bowl haircut and had my picture taken. i put it up on instagram and as i watched my fans briefly mistake it for an old picture, i thought to myself ‘well at least my face hasn’t aged much yet.’ haha. 2. today, i get to meet one of the personalities i’ve been very curious about personally. how should i put it, you seem like a person who possesses a perfect narrative. oh my, thank you. 3. maturing steadily after debuting with shinee in middle school, you broke away from your image as the group’s youngest and instead donned the clothes of a solo musician. all 5 of your solo albums have been recorded as hits. now you are a member of superm that has gone global. even a narrative within a coming-of-age novel could not be as sturdy as this.  when i look back on my life, i find it quite fascinating. i entered the company at the age of 13, and this year i turned 28. i’ve lived half of my life as a singer, i realise this when i think ‘i’ve run along the same path for a long time’. i think... i’ve been very greedy. it was through this greed that i was able to debut in a team called shinee, and consequently receive solo plans. once, producer lee sooman told me to bring him a recording of any pop song. wondering ‘what’s going on?’ i prepared for it and submitted, and soon after my solo album was released. thinking back, it must’ve been a test. i felt a sense of accomplishment in these things. that too very deeply, of course luck was on my side too. 4. a methodical company like sm couldn’t have proposed a solo career so lightly. there were a couple of tell-tale signs as far as i could tell. my singing parts were little during debut. after all taemin had the image of the one in charge of dancing. then my parts started to increase gradually, this could’ve been one of the signs. back in the day i used to stay back in the practice room till dawn. the employees working late would see me and the word probably went around. they must have felt sorry for me. a skinny boy practising by himself till dawn (laughs). 5. were you the type to stay back later than the rest in the practice room? i would go to the practice room as soon as we wrapped up our schedule. i’d practice till sunrise then return to the dorm and prepare for the next schedule immediately, i spent a long time doing this. 6. it was at the time of ‘sherlock’ in 2012 that your stage presence started to shine in shinee’s stages. thereafter, it seemed that you enjoyed your time on stage thoroughly. when did you begin to realise that only you were in command of your own stage? there were a couple of times... sherlock was one of them. sherlock was an album that came out when i was 20, right after becoming an adult, it was then my attitude towards performance changed. in those days i challenged myself to ‘not to do what was expected/fixed.’ usually our gestures at certain sections of the song are fixed beforehand, from sherlock onwards however i tried my hand at different things without reserve. it was my way of approaching the audience with sincerity, and my way of improving in the future. back then i would notice variations (in my performance) everyday when i monitored myself. 7. frankly, isn’t it difficult for someone to have made such a prominent leap? i think it might have been because of the long hiatus before sherlock. i was able to prepare well so my growth was likely more obvious when i stood on stage after a long time. how should i put it, my members were very stimulating for me. since the hyungs aren’t ordinary people (laughs). this is something i’m confident about, even if you say that most of the shinee members are main vocalists, none of us is inferior to the other, everyone is so talented. with these thoughts verbatim ‘i must survive in here,’ ‘i need to finish what i started,’ i practiced. i couldn’t not have made the leap with such stimulation and not to mention my greedy nature (laughs). spending time together with the members made me realise that we started to resemble each other in some aspects, thanks to them i was able to broaden my perspective and become aware of my undiscovered talents. 8. the prologue single ‘2 kids’ of your third album ‘never gonna dance again’ released in august. as i was listening to the song, i suddenly became curious about the lyricist and looked them up. my impression was that the language of the lyrics was raw and honest. the lyricist turned out to be you. my intention was to include everyday, colloquial speech. i’ve written poetic and abstract lyrics before, but while working on ‘2 kids’ i wanted the listeners to easily grasp the emotions at once. since i’ve released many songs like ‘danger’ with vivid concepts and sensual performances, i expected there to be some distance between me and the public. i found that i shouldn’t stray too far. in any case, i’m a pop singer. i thought to myself let’s meet the public halfway, and the result was the lyrics for ‘2 kids.’ it’s the brightest of all my title tracks (laughs). 9. i find two interesting points here. first, you are completely aware of your identity as a pop singer, second, to do that you work hard to keep close to the public. of course there are times when it doesn’t work out (laughs). for instance, when we’re deciding on the title track for a shinee album, my opinions always diverge from the members’. after listening to our fourth album title track ‘view,’ i said ‘no way, it can never be this!’ (laughs). what i’m after is, how shall i put it... there is a side to me that wants to experience things profoundly. for example, if i were to express love, instead of depicting it one-dimensionally, i’d prefer to do it maniacally. i like taking it one step further to appear twisted.  10. that’s amusing. it’s probably because i’ve seen your easy-going appearance on tv a lot, i would have never guessed for you to approach things ‘deeply’. profound people tend to be like that. ‘multi’ people are able to do several things at once, i can’t do that. i have to dig into things deeply at a time. that’s why when my members and i receive the same schedule notice, i’m the only one who always forgets it (laughs). 11. oho, this makes me curious about your taste in pop culture.  i really like the british drama <black mirror>. i get hooked on the unusual. like mind-boggling things? i used to watch movies that weren’t popular because such movies are less likely to repeat contents that have already been consumed. but then i slowly began to enjoy light films as well. these days i leave a movie running in the background while i do other things. back when i would look for an independent film or thriller of my liking, i’d get extremely exhausted after watching it. they require so much focus that they sap my energy. 12. we were talking about lyrics but somehow ended up here (laughs). if you were given the opportunity to write lyrics again, what kind of story do you want the lyrics to convey? i like philosophical lyrics. for instance, a song called ‘soldier’ from my solo album deals with religious content, it varies from time to time of course but well if i were to write again... i think about this a lot these days. i want to change myself, i want to shake off my image uptil now and be reborn again. 13. why is that? i want a colour that is more concentrated and unique. as if i'm debuting again, i want to show something completely new that i had not before. 14. but aren’t your comebacks always novel? a musician like you who does diverse and experimental concepts is rare. is that so? sure the concepts are always new but... these days i think about how i want to change myself as a person from the very inside. instead of putting a facade on display, i have a thirst for wanting to show a more humane, genuine appearance. all humans experience moments of weakness and dysfunction. i think these moments definitely hold some beauty in them. the moment a person breaks down. it’s the only way one can get up and overcome difficulties again, i believe showing these sides of me, all of me, unabashedly is a path i need to walk as an artist now. 15. honestly, i’m excited for your third album because i heard this album reflects your ideas the most. what aspects of the production were different this time? firstly, i personally cast and liaised with the music video director. i thought it was important to work with the director one-on-one by keeping mediators to a minimum. through several meetings we mulled over every single thing like concept, outfit, hair and makeup. i offered my opinions too: ‘because i’m thinking of leaving a connecting link in the prologue, since there are two albums that would release following ‘2 kids,’ i want to drop certain keywords in the music video.’ fans usually call this a ‘bait’ (laughs). 16. the choreography stood out the most in the ‘2 kids’ music video. you weren’t simply moving to the rhythm, rather weren’t you moving your body guided by emotions? actually there were barely any plans to include dancing scenes. but i thought you never know so i quickly prepared a choreography the day before i left for paris. initially, i had a ‘dramatised’ (borrowing elements from drama) choreography in mind, but the director was expecting something modern. in the end, we expressed it well with a choreography that the director and i came up with after finding the perfect common ground. 17. personally i think a dramatised choreography would have been quite alright because ‘2 kids’ is a universal love song. i told the director i wanted to look miserable and pathetic through and through, like falling into a bottomless pit, wrecked, to be found waking up in the middle of the street, that would do too. why did i want to be that wrecked? i don’t know. there’s just a lot that exists within me. and i might have wanted to express that.... 18. with your first solo mini album <ace> you proved your grit as a solo musician to the public, and i believe your second album <move> reified your colour. i think taemin is a musician who doesn’t need to prove himself anymore. having reached this status, you’re releasing your next album <never gonna dance again>. did you ever think that this album could be it? rather, i hope that this album can be my ‘turning point.’ just as how it was during sherlock, i hope this time it changes my identity completely, as an individual and as a performer. people might like this album or find it mediocre, but i try not to care about these things now. 19. were you the type to stress over feedback? yes. because there are many people who are uncomfortable with change. but then i realised we’d never be able to free ourselves from within if we continued to be tied down. so now i’m trying to notice these things less. 20. have you ever had this thought? that looking back, the experimental has always revolved around you. as i said before, i think there is a lot of something within me (laughs). people have recognized that, there’s a lot i want to do. there is a greed for wanting to be different from others. it’s not that i want to ‘appear’ different but truly be different. 21. do you think there is an aspect of you that others can’t follow? i can’t seem to figure it out. i’m looking for it. however, my satisfaction level with myself tends to be low. and it’s something that has been guiding me till now. 22. what helps you recharge the most? i like lower-body bathing so much (laughs). as soon as i get into the bath, i automatically end up going ‘euu’ ‘aah.’ i soak my body completely, light up a scented candle, then let my body warm up like this. 23. while watching your vlog-like youtube content taem-log, i wondered ‘does he have an affinity for household goods?’ since the camera often captured your surroundings, i noticed pretty glasses and a colourful coffee machine adorning your cupboard. not at all. my mother did all of that (laughs). she’d say ‘this would suit taemin~’ then set it up prettily for display on the shelves. sometimes i do think i’d like to furnish my house with antiques if i were to move in the future. this is a bit funny but i find the houses in old horror movies so pretty. 24. i saw a bottle of moët & chandon in your refrigerator, is champagne your regular choice of alcohol? i rarely drink. i usually receive gifted alcohol quite a lot, it all goes to my father (laughs). my mother brought the moët & chandon and left it in there. i asked her to leave a pretty bottle in there at least for decoration purposes, so she probably brought it just for that? (laughs). 25. what kind of a person is 28-year-old taemin? i sort of want to set things ablaze. i want to put up a spectacular finale of the opening act. 26. how do you want to be remembered as a musician? as a great person. i say this knowing it sounds a bit grandiose but it’s my mission.  27. i can see it. the bigger you become the larger the impact you can have on society. i will become that person. so that many people can hear the message i want to convey.

translated by romanceboys — take out with full credit (source)

#shinee #taemin #p:taemin #w korea magazine september issue 2020 #interview #translations #e:never gonna dance again #enjoy!

[daggerzine]

Kim Weldin of Shiny Times (and Tape Waves) opens the door.

I believe it was 2018 when I first heard Tape Waves, the South Carolina duo of Kim and Jarod Weldin and was immediately drawn to their instantly likeable brand of dreamy, fuzzy pop music. Fast forward to 2021 and the Emotional Response label released the band’s next full-length, Bright, which I liked even more. While discovering the band’s earlier stuff and waiting for new material someone on Twitter had posted a link saying that Kim had done a solo project under the name Shiny Times. I listened immediately and again, was captured by the heavenly sound of these songs (albeit, not too different from Tape Waves). From there I decided to shoot Kim a few questions and she was more than happen to answer. Read on dear readers and dive into worlds of  Shiny Times and Tape Waves!

 Do you remember the first record you ever bought?

My first CD was a classical music compilation when I was in the sixth grade. The first album I probably bought was Dookie by Green Day in the seventh grade. 

 When did you first become interested in independent/ alternative type music?

Around 12 or 13 years old

 What was the first instrument you picked up?

Piano 

 Was Tape Waves your first band?

No. My older sister and I formed bands with actual instruments around 13-14 years old but we were always writing songs and making up pretend bands since we were little. 

In high school we had a gigging punk band called Stink Ladies that you can listen to here: https://stinkladies.bandcamp.com/ 

 How/when did you decide to do some solo recordings as Shiny Times?

Probably about a year or so after Jarod and I started writing songs together as Tape Waves and I realized that every song I wrote wouldn't work for what we wanted to accomplish together. 

 How did the name Shiny Times come about? 

I wanted a name that would conjure images that matched the jangly, sparkly sounds I try to create. 

 Do you play out live as Shiny Times often (or did you before the pandemic)? 

I have probably only played  2 or 3 times live as Shiny Times. 

How did the recording of Let’s Get Shiny differ from your previous records (if they did at all)?

I like to think I've gotten better at recording over time. On Let's Get Shiny! I also spent more time deliberately thinking about making the sounds more uniform in tones and how the songs were mixed. 

 From the song titles it seems like the record deals with themes of isolation and sadness, would this be correct?

Yes. A lot of the songs were recorded during the pandemic so that probably played into the themes, I'm sure. 

 Any local South Carolina bands we should know about?

To be honest I am not familiar with any at the moment. I haven't been to a local show in years. Unfortunately I haven't seen any bands in at least 2 years because of the pandemic. 

 Who are some favorite current bands/musicians? 

Vivian Girls, Peel Dream Magazine, Cate Le Bon, Chris Cohen  

 What are your top 10 desert island discs?

1. Overgrown Path - Chris Cohen 

2. Fade - Yo La Tengo

3. Memory - Vivian Girls 

4. 50,000 Elvis Fans Can't Be Wrong - Caroline Says

5. Devotion - Beach House

6. Last Splash - The Breeders 

7. El Perro Del Mar - El Perro Del Mar 

8. Magical Mystery Tour - The Beatles 

9. Happy Birthday to Me - The Muffs 

10. Dookie - Green Day (obviously) 

 What’s one song you wish you’d written?

I really love the song Fourth of July by Hand Habits at the moment 

 What’s next for Shiny Times (or Tape Waves for that matter)?

We're both working on new music! 

 Any closing comments? Final thoughts? Words of wisdom?

Thanks to anyone reading or listening to Shiny Times or Tape Waves <3 

  www.shinytimes.bandcamp.com

www.tapewaves.bandcamp.com

www.emotionalresponserecords.com 

[bobbystompy]

My Top 88 Songs Of 2020

Previously: 2019, 2018, 2017, 2016, 2015, 2014, 2013, 2012, 2011

Though we couldn’t get as trim as last year’s 75, still very happy to keep this under 100 for the second year in a row. This was a very difficult year in many ways, but music helped make it more bearable.

As always, criteria and info:

This is a list of what I personally like, not ones I’m saying are the “best” from the year; more subjective than objective

No artist is featured more than once

If it comes down to choosing between two songs, I try to give more weight to a single or featured track

Each song on the list is linked in the title if you wanna check them out for yourself; there is also a Spotify playlist at the bottom that includes the majority of the songs

Usually a pump up video goes here, but 2020 had a different energy, so Michael, take us in.

88) Katy Perry - “Smile”

Even Katy Perry’s good songs are a swirling spiral of maxed out auto-tune. This one is just fine. It’s... fine.

87) All Time Low - “Trouble Is...”

Is All Time Low the Katy Perry of pop punk?

86) Tee Grizzley f/ Payroll Giovanni - “Payroll”

I have never heard of Payroll Giovanni, but I have two questions:

1) Is this his song, and he got Tee to jump on it?

2) Or, did Tee write a song called “Payroll” and think to himself “You know who would be great on this? Payroll Giovanni!”

Favorite stretch:

Listen, we is not the same, you say "door", I say "dough" You say "floor", I say "flow", you say "for sure", I say "fa'sho"

85) Lady Gaga & Ariana Grande - “Rain On Me”

Coming out in 2020 probably hurt this song, because I have no, like, out of the house memories with it. You can only have so much fun with Big Singers Singing over a pulsing beat when it’s coming from the phone in your kitchen as you’re indifferently scrambling eggs.

84) Benjamin Gibbard - “Life In Quarantine”

Now this is a song you can do nothing to; almost feels like it’s reluctant to even exist. It got released in March of 2020, so the outro (“No one is going anywhere soon”) served as a too sad reminder/mantra for what the year was about to be. Second shout out to Gibbard for the many YouTube sets he put together during the early stages of the pandemic (when so many of his peers were trying to figure out the next move).

83) Cardi B f/ Megan Thee Stallion - “WAP”

This felt less like a song and more of a “whoa, did you see the music video?!” and/or a means to relitigate the eternal question “What is the sexual line in music?” And while it was fun to watch people freak the fuck out... the quality itself really needed to be better.

(Note: YouTube video is the edited chorus; explicit version here)

82) McKayla Maroney - “Wake Up Call”

Former Olympic gymnast McKayla Maroney -- of medals and memes fame -- dips her toe into the music waters. It’s inside-the-box modern pop music. One thing that’s hard to escape: it doesn’t really sound like her.

81) Chelsea Cutler - “Sad Tonight”

He vocals really remind me of Alessia Cara.

80) blink-182 - “Quarantine”

Blink doing a Bad Religion impression. Docked a few points for the very weak chorus lyrics (“Quarantine, fuck this disease”). That said, as serious as the song comes off, there are some clever punchlines to be found.

79) Dave Hause & Brian Fallon - “Long Ride Home”

This is kind of a nothing song, but it’s easy listening. Also, if your guitar leads can’t clear the “Could Bobby have written or performed this?” bar, then said leads are probably pretty weak.

78) Travis Scott & Kid Cudi - “THE SCOTTS”

Two artists who pair so well together, it’s hard to tell who exudes more influence on the track (eh, that’s not true, it’s Travis Scott, but Kid Cudi is more of a roommate than guest). They want you to be high by the time the instrumental outro hits.

77) The Strokes - “Bad Decisions”

The beginning sound feels somewhat evolved, but by the time Julian Casablancas croons “Making bad decisions”, the song feels like it could be on their debut album “Is This It?”. And it goes in and out like that from there.

76) Thundercat - “Dragonball Durag”

Thundercat is one of those artists I wish I liked more, but when the occasional track does hit, it’s a momentary glimpse into what real fans seem to always see.

75) TI f/ Lil Baby - “Pardon”

Standard fare. Lil Baby’s cameo is very meh.

74) Porches - “Do U Wanna”

For a song that repeatedly asks “Do you want to dance?”, it sure makes you feel like you’re moving in slow motion.

73) NOFX - “Thatcher Fucked The Kids” 

On the best-named album of the year (“West Coast vs. Wessex”), Frank Turner and NOFX cover each other’s material. To start us off, the legends take a song from 12 years ago about British politics from 40 years ago and, well, very easily apply it to right god damn now in America.

72) The Bombpops - “Dearly Departed”

Ahh, my year’s first cancelled concert. The listed names in V1 always make me want to skip this song -- but patience, grasshopper. Chorus is aight.

71) Ratboys - “Alien With A Sleep Mask On”

This band name will never match what the music sounds like.

70) Rolling Blackouts Coastal Fever - “She’s There”

The vocals in this song channel, like, four completely different singers for me, ranging from Bob Dylan to Cloud Nothings.

69) NOBRO - “Don’t Die”

An anthemic chorus meant to be belted in a room with sweaty strangers.

68) Oliver Tree f/ blink-182 - “Let Me Down”

The original solo version of this song is 1:52, and though the blink cameo pushes it over the dreaded two minute mark, it adds enough diversity to justify the choice (keep an eye out for the quick Green Day lyrical nod in the back half).

67) AJJ - “Normalization Blues”

This dropped in January, and if you thought the year was bad then. Punk News:

I'll admit I do want the album to age badly because I really don't want to have to listen to it years later and still say this is the world we're living in.

Said album being titled “Good Luck Everybody” is straight cryptic.

66) Selena Gomez - “Rare”

Very chill for big pop; triplet rhythm singing in the chorus gets me erry time.

65) Kid Cudi & Eminem - “The Adventures Of Moon Man & Slim Shady”

Cudi’s second split collab yields bigger results than his Travis Scott joint (admittedly with a worse beat here). It rarely ever hurts to let Eminem do the heavy lifting.

64) Alkaline Trio - “Smokestack”

A little cheerier than the average Alk3 song, but Dan Andriano seems like he’s been in a great place for a long time now; confident and in control. For me, the whole song builds up to the “You changed my life” chorus.

63) Frank Turner - “Scavenger Type”

Here, Frank takes on the acoustic closer to NOFX’s legendary 1994 album “Punk In Drublic”. Though the energy boost is most noticeable, my favorite part is how you can hear how much Turner loves this song as his melody bursts on the verses.

62) Mike Posner - “Alone In A Mansion”

Mike Posner, an artist I have a very soft spot for, released a storytelling concept album in 2020. From the intro track:

This album was written, recorded, and produced over a period of two weeks in Detroit, Michigan in my parents' basement. It's meant to be listened to all the way through. At least on the first listen. And it's about 36 minutes long. If you can't devote 36 minutes of undivided attention to this album, I again politely ask that you turn it off and return at a later time. I love you and I thank you for taking the time to listen in the first place. Also, it's important to note that the characters and the stories in this album are completely fictional. In addition, anyone struggling with a mental illness - depression, schizophrenia - should not listen to this album. Turn it off.

So those are the stakes. Pulling this song -- the record’s closer -- feels unfair void of context, but them’s the breaks.

61) Nada Surf - “Just Wait”

Heavy hitting chorus without having to be heavy; this could really work in a movie.

60) Matt Pond PA - “Wild Heart”

This having only 805 views on YouTube is criminal.

59) Liquid Death - “Unnecessary And Unimpressive”

Liquid Death -- in this iteration -- is a punk rock supergroup with members of Rise Against, Anti-Flag, The Lawrence Arms, and The Bombpops. If that didn’t interest you enough, all lyrics in the project (which, I believe, is for charity) come from hateful comments or negative reviews. Of the four artists involved, this sounds most like a Bombpops song, with Jen on lead vocals as others chime in.

58) PUP - “Rot”

Off my silver medalist for album name of the year (“This Place Sucks Ass”), PUP doesn’t do anything new here, but it was relieving to see them still going in 2020 when so many others got roadblocked, both physically and creatively.

57) Paul Harrold and the Nuclear Bandits - “Massanutten”

This reminds me of local Chicago artist Al Scorch. So much earnestness in the vocals, but a little more prairie for Harrold compared to speakeasy for Scorch. This would be a good road trip song. And I’m not talking about singalong... more for the stretch where you want to sit in silence and look out at the sun-kissed land blazing by. The song’s greatest victory is getting me to like something that cracks 6:00.

Note to future me: Massanutten is in Virginia (saved you a Google).

56) Kesha f/ Sturgill Simpson, Brian Wilson & Wrabel - “Resentment”

Kesha has been vulnerable in the past but never this stripped down sonically; the chorus would feel right at home on a country radio station. Love a good bridge, too.

55) Megan Thee Stallion f/ Beyoncé - “Savage (Remix)”

An up-and-comer pairing with a legend rarely lets down when both sides are this locked in. Bey wins. Fav line: “If you don't jump to put jeans on, baby, you don't feel my pain”.

She matches flows with Megan but also brings melody. Her blessing takes this song from pretty damn good to undeniably great.

That beat, too.

54) Red City Radio - “Baby Of The Year”

If all you want to do right now is grab a drink in a bar, here is a video built to troll.

(Also: a Liquid Death cameo?!)

53) Nathaniel Rateliff - “And It’s Still Alright”

The last time Mr. Rateliff had our attention, he just wanted a drink. That hit had a chorus with the very-sad-when-removed-from-the-song “If I can't get clean, I'm gonna drink my life away” lyric. Well, our man got sober since. And when the party is over, the introspection comes.

52) Direct Hit! - “HAVE YOU SEEN IT?”

Listening to slowed down Direct Hit! is like watching Usain Bolt lightly jog. It kinda makes sense because the core action is there, but it also feels sort of incorrect.

51) Hayley Williams - “Dead Horse”

Solo Hayley songs have this feel like they could do anything at any time... but then don’t. This one does the same until a very fun chorus breaks it up.

50) Kid Cudi f/ Phoebe Bridgers - “Lovin’ Me”

Probably the most improbable collab on this list (if 2020 hadn’t repeatedly taught us to not be surprised by anything).

49) The Homeless Gospel Choir - “Don’t Compare”

Listening to The Homeless Gospel Choir is kind of like getting a dedicated pep talk from a good friend... while fire rains down from the sky.

48) Carly Rae Jepsen - “Let’s Sort The Whole Thing Out”

Queen vocals with one prince of a tempo; this chorus is Sour Patch Kids riding Twix logs down a soda pop waterfall -- and it’s a b-side.

47) Green Day - “Meet Me On The Roof”

I like this song because it reminds me of summer and because it doesn’t really sound like Green Day (but still totally does).

46) Broadway Calls - “Meet Me On The Moon”

Promise -- swear -- I was gonna compare this Broadway Calls song to Green Day before realizing they both had titles about meeting in an escalated location. That said, I did put them next together on purpose to more coherently make this point.

45) David Rokos - “Building Bridges”

My buddy Dave wrote this song, and I think I’ve asked him three times what “burning sugar” meant (he says it’s a reference to absinthe). This song will make you want to travel to enjoy not only the places but the people around you.

44) Charli XCX - “claws”

Charli XCX keeps it futuristic in a video that could be described as sexy, cheesy, goofy, and playful-yet-serious.

43) Brian Fallon - “Lonely For You Only”

This is too easy and should not work (and maybe doesn’t). But that chorus... that circular phrasing... it still takes me all the way out. But I’m the same cat who proposed while a Gaslight Anthem cover was playing.

42) Waxahatchee - “Fire”

This song could be in a different language and hit just as hard.

41) Harry Styles - “Adore You”

Purifying pop.

40) Local H - “Hold That Thought”

Hardest rock song thus far. Local H was one of the first artists to play “live” once the lockdown hit (on a simultaneous YouTube/Facebook stream), and watching them attack music in their Chicago practice bunker felt a little bit like taking in the end of the world. New songs, old songs, covers -- it didn’t matter; their cool, unmatched apathy fits a pandemic or peacetime.

Ironically, was able to see them live in 2020, as they played a socially distanced, outdoor drive up concert in a minor league baseball parking lot. It wasn’t the same, but it was still something.

39) Crazy & The Brains - “I Don’t Deliver Pizza Anymore”

This song is just cool*. The verses feel tense and crucial, it starts to unspool in the pre-chorus, and the chorus itself feels like a light comedown more than anything else.

(* -  though the lyric video is docked some points for spelling y’all as “ya’ll”)

38) Drake f/ Fivio Foreign & Sosa Geek - “Demons”

Menacing Drizzy can be very fun from time to time. Also more than happy to keep “Toosie Slide” very far away from this list.

37) Hey Dad!!! - “Life’s Alright”

Small band, big song; though summer feels light-years away.

36) insignificant other - “i’m so glad i feel this way about you”

This song lands a big haymaker in the first few seconds, so it was probably a good call to pull back some for the chorus and, eventually, outro.

35) BTS - “Dynamite”

Heard they made the lyrics bad on purpose for their English hit, which makes sense, because they’re bad. That said, if you listen knowing they’re supposed to be bad, it kinda makes them... good? Listen, 771 million views would have me singing nursery rhymes in Pig Latin.

34) DaBaby f/ RODDY RICCH - “ROCKSTAR”

Someone said this could be the song of the summer, but, because there wasn’t really a summer, I feel like I only heard it once all year. Also, are we really pretending Post Malone* didn’t just do a “like a rockstar” song three years ago?

(* - and N.E.R.D. before that and Cypress Hill before that... though N.E.R.D. only waiting a year after Cypress, so maybe DaBaby actually was patient)

33) The Front Bottoms - “the hard way”

Don’t take it easy on the animal / I am the animal

Not quite sure what this line means, but I fixate on the phrasing every single time. This song sounds resigned in a very self-aware way.

32) The 1975 - “If You’re Too Shy (Let Me Know)”

For a band called The 1975, they sure sound like they’re on their ‘80s shit here. Also, a real thing that happened:

Me: Is he coercing her to get naked?! I thought this band was woke.

/scans lyrics

/notices “She said” before the “Maybe I would like you better if you took off your clothes” line

Me: Ahh.

Sax solo, take us out.

31) Charly Bliss & PUP - “It’s Christmas And I Fucking Miss You”

A song that is already a forever staple on all my future Xmas playlists.

30) 2 Chainz f/ Ty Dolla $ign & Lil Duval - “Can’t Go For That”

Shorty said she love me / I said “I love me back”

This is a real genre blur; rap at its core, but also soulful, funky, and very danceable. Damn creative.

29) Billie Eilish - “Therefore I Am”

Billie's 2020 gave a few singles -- but no new album -- and a body shaming scandal where the backlash to the backlash probably caused more headlines than the tweet that started it all. Still, she stays on cruise control above the clouds; can all eyes be on you if they can’t even make you out?

Video for this is fun, too. Not sure if her running amok in an empty mall is more of a COVID necessity or commentary on the dying retail industry. As always with her, fill in your own blanks for now.

28) Future f/ Drake - “Life Is Good”

This was my most listened to rap song in the first half of the year, and bumping again now, almost forgot how good it is. Drake just chasing one-liner Instagram captions in the first half:

- “Haven’t done my taxes, I’m too turnt up”

- “N****s caught me slipping once, OK, so what?”

- “B****, this is fame not clout, I don’t even know what that’s about”

And, of course, “Workin’ on the weekend like usual”. The man could make anything glamorous. Let’s hit that H&R Block, bro!

Future’s back half is a totally different song and feels mostly like noise, but the vibe is cool, so I don’t even totally mean that in a bad way. You can even make out a “Got Promethazine in my blood and Percocet” lyric to mark your Future bingo card and immediately move on.

27) I’m Glad It’s You - “The Silver Cord”

This song feels like cold air blowing on the back of your neck.

(Sidebar: thought this band was called The Silver Cord until literally right now)

26) The Spill Canvas - “Mercy”

A dreamy, distorted, at-home version of whatever you remember The Spill Canvas sounding like. This song is confessional and at peace, with the Grade A self-loathing we’ve come to love from this band.

25) 100 gecs f/ Charli XCX, Rico Nasty & Kero Kero Bonito - “ringtone (remix)”

100 gecs first hit my radar with the explosively obnoxious “money machine”, but that’s a 2019er, so this remix to “ringtone” will have to do. It’s catchy like a younger sibling persistently singing a song you’re sick of hearing*.

(* - /only child trying to work in sibling analogies)

24) iann dior f/ Machine Gun Kelly & Travis Barker - “Sick And Tired”

Iann Dior -- ...yeah -- channels Juice WRLD on the hook, and MGK/Travis Barker buoy a track that, honestly, doesn’t really even need the help.

23) Nick Lutsko - “Unleash Your Spirit”

Lutsko hit my radar on Twitter with some legendary political anthems (word to the RNC and Dan Bongino + his Dashboard Trump parody). “Unleash Your Spirit” is the song I most fear hearing (or even thinking of) within a few minutes of going to bed. Not because it’s Halloween theme is scary -- because it’s that god damn catchy. It permeates your brain. True story: a week ago, I woke up in the middle of the night with “Bobbing for apples with the boys” so ingrained in my head, it felt like someone was standing there yelling it through a megaphone.

22) Dogleg - “Kawasaki Backflip”

Bad 2020 robbed many concerts from us, and not getting to see this band live might take the cake. I end the year liking them but could have been *all in* with the right performance and the right venue. Also, Song Title of the Year until further notice.

21) Eminem f/ Juice WRLD - “Godzilla”

Eminem has all of the words and all of the lyrical dexterity, but sometimes it feels like there isn’t anything to ground him. Enter: one of the best beats he’s ever spit on and a Juice WRLD hook to give it pop angle. But let’s not put Slim in the corner -- when he starts accelerating at the end, it’s is a true “holy fuck” moment. It sounds faster than if you actually fast forwarded.

The video ends with a touching audio message from Juice WRLD.

20) Soccer Mommy - “circle the drain”

This song is so gloriously ‘90s; it leans in and does not care.

19) Sam Russo - “Always Lost”

The first time I met you, we were on the last bus You passed me a bottle, and I knew you were one of us

Took 25 words to hook me; I was txting friends before the first chorus even hit.

18) Sincere Engineer - “Trust Me”

Deanna Belos pushes her vocals in this one. I asked about the performance, and she said it was one of the first ones they recorded in the studio, but when they were done and listening back to everything, she re-did this track because her throat was much more used to what the song required.

“That’s why it sounds like I’m on roids lol,” she added.

17) Jay Electronica f/ JAY-Z - “Flux Capacitor”

Jay Electronica signed to Roc Nation in November of 2010. At of the start of 2020, he had still -- STILL HOW FUCKING STILL -- not released a debut album. When he announced it was finally dropping in February, it was met with skeptic eyes. He’d “announced” before. Shit, he’d even posted track lists of albums that never saw the light of day. He was a tease’s tease. It ended up getting a release date of March 12. As the pandemic got really bad in the March 11 zone, he finally had an actual reason to delay the proceedings (the plan: a studio live stream listening party*).

But no -- this is Jay Electronica. Why wouldn’t he drop as the world was ending? The same reason why his costar wouldn’t not have a watch like a Saudi prince. It had to end for it to happen. I wish I saved the memes, because they were fantastic. All I have is my own Twitter memory to prove it happened:

I love this song entirely: the “get the gat” hook (soooo New Orleans), Hov calling out the NFL/acquaintances clout chasing his potential death/rapping forever bars, Jay Elect’s ham-fisted and awkward ass Farrakhan line. Everything is exactly where it should be.

Final verdict on the full album: I don’t know, a B or B+? It had a lot more Jay-Z than expected (wooo), but -- and I rarely say this -- it could have actually been longer.

16) New Found Glory - “Greatest Of All Time”

NFG with a song referencing the Jordan-Rodman-Pippen Bulls only a few months before “The Last Dance” aired. Dare we call it marketing genius? The punk beat does not care; the punk beat is too busy taking souls.

15) Dave Hause f/ Amythyst Kiah & Kam Franklin - “Your Ghost”

“I can’t breathe”

On the heels of the George Floyd/BLM protests came Dave Hause’s somber attempt to capture the moment, desperation, and hurt. On a podcast, he said he was aware he might not ever lead the movement but still wanted to contribute something in an effort to use his platform as a white artist to change someone, anyone’s mind going forward.

14) Taylor Swift - “this me trying”

The chorus makes me feel like the crowd is parting like the Red Sea on a high school -- shit, no, middle school -- dance floor; smoke machine and all. Your crush is waiting for you on the other side. What are you going to say?

13) Phoebe Bridgers - “Kyoto”

Phoebe is one of the best lyricists out because of her specificity, but even though this song is about her dad, you can really fit it to your own narrative.

12) The Lawrence Arms - “Last, Last Words”

The Lawrence Arms wrote their new record (which singer Chris McCaughan described as “this end of the world outpost”) prior to the pandemic, but once you start to process album themes -- and research its namesake -- you do wonder. All of this, combined with some “Catcher In The Rye” references, and we’ve got ourselves a winning formula.

Dressed to kill for oblivion 

11) New Lenox - “Fairytale Of Gary, Indiana”

Your boy plays drums and is on the cover art for this one. Dave Rokos wrote the tune, which references The Pogues’ “Fairytale of New York”. Good news: no slurs in the Gary version. We’ll have you in and out in 90 seconds. Also: say hello to the recording debut of Alisa Caruso (some backup vox at the end). 

10) Beach Slang - “Tommy In The 80s”

My most played song of 2020, but it really was more of a byproduct of how early in the year the album dropped. I’m still such a sucker for it, though. Other than forced nostalgia, not totally sure what the track is about. Did learn Beach Slang recruited former Replacements bassist Tommy Stinson to play on their LP, which was named -- /deepest of breaths -- “The Deadbeat Bang of Heartbreak City” (so maybe it has something to do with that).

9) Juice WRLD f/ Mashmello - “Come & Go”

The :55 mark. Wait until the :55 mark. When the guitar kicks in and tempo doubles, we have a real “oh, shit!” moment. I knew who Juice was when he passed but only “Liquid Dreams”. His 2020 album (“Legends Never Die”) showed us of what could have been; 55 minutes, loaded with cameos and creativity and experimentation. This song had me in its gravitational pull immediately. By the end of the year, they were using it on sports broadcasts, and it felt like a ubiquitous part of the culture.

One of my favorite days of 2020 was visiting the Juice mural in Chicago with my wife. We went impulsively during the day after someone posted a picture on Twitter.

I snapped one of my own and posted to IG with the Signals Midwest lyric “There is such quiet grace in private moments in public spaces”. The band responded with “RIP JUICE”; the perfect online exchange.

Shortly after, I was out with a different group of friends, and we went back at night. This time, it was protected by a fence you had to squeeze past. When we got through, there were kids in there smoking, taking pictures, just hanging out; empty liquor bottles lined the bottom of the mural. Even though it didn’t take all that long to make it there, it still felt like a journey and total ‘movie moment in real life’; a complete rarity in a year like 2020.

8) Mac Miller - “Good News”

Maybe I’ll lay down for a little...

Sadly continuing the theme of artists gone too soon, we have this reflective Mac Miller single, which feels more like self-eulogy than traditional rap. You feel it the entire time. The song crests with “There’s a whole lot more for me waitin’ on the other side”, and it conveys a readiness for whatever happens next.

7) The Dirty Nil - “Done With Drugs”

I don’t pray to Jesus or even own a suit

We lost the creators of our last two songs to substances, and, if we are to take this song at face value, The Dirty Nil don’t want to go down the same path. Drying out never sounded so cool and defiant... until the IKEA suggestion.

6) The Weeknd - “Blinding Lights”

Uptempo Abel is undefeated. My favorite pop song of 2020 has you feeling like you’re speeding through the empty streets of nighttime Las Vegas in a stolen car; indifferent to your environment, only tuned in to your personal desire.

And, on the lamer side of the spectrum, it spawned a catchy TikTok dance.

5) Spanish Love Songs - “Self-Destruction (As A Sensible Career Choice)”

It won’t be this bleak forever... yeah, right.

SLS has always been over-the-top with their lyrics spotlighting the hopelessness of the human condition -- so it was the *perfect* combo to being locked inside with nothing looking to forward to. Bonus: fun cake video.

Though the song’s core is uncut despair, a random moment I remember from 2020 was my wife telling me “I can hear you smiling as you’re singing” from another room as I belted the despondent chorus.

4) Worst Party Ever - “False Teeth”

This song sounds like The Front Bottoms; insecure yet so full.

3) Run The Jewels - “the ground below”

There were a lot of songs *about* 2020, but I’m not sure any artist soundtracked what being alive now is like more than RTJ. My favorite rap song and rap record of 2020.

Fav Killer Mike line: “Not a holy man, but I'm moral in my perversiveness / So I support the sex workers unionizing their services”

Fav El-P line: “I'll slap a dying child he don't pronounce my name correct”

2) The Menzingers - “America Pt. 2″

The Menzingers unexpectedly released an acoustic, re-done version of 2019′s “America (You’re Freaking Me Out)” single. It dropped on my birthday -- June 5th, 2020 -- as the rage in this country boiled over and protesters took to the streets. Though some of the lyrics remained the same, the new ones were changed with true purpose:

Well George Floyd was murdered by a cop The whole world saw the video and watched Now justice is long overdue Grab your pitchforks, we’re heading to Pennsylvania Avenue

I had nothing left when the first pre-chorus hit: “I hope the Devil and Donald and Mitch McConnell rot in hell for all tomorrows”. Tattoo this on my fucking soul.

All funds from the song were donated to Community Bail Funds (via Act Blue) & Campaign Zero. I purchased the track before hearing a note.

1) Machine Gun Kelly - “My Bloody Valentine”

Going into the year, I couldn’t tell you the difference between Machine Gun Kelly and Mac Miller -- now they’re both fixtures in this Top 10. All I really knew about MGK involved tattoos and a rap battle lost to Eminem (not that anyone ever beats Eminem).

In 2020, he took a punk/emo turn, with the services of GOAT drummer Travis Barker and new squeeze Megan Fox at his side. This song’s lyrics could potentially be cheesy but aren’t -- they all land. From the simulation going bad to not wanting “fake love” to all the damn second guessing and the earnestness that just won’t let you off the mat.

Every piece to the puzzle adds something: the messy hair, the Ken doll build, the forced iconic pink guitar that now feels actually iconic. It was almost like no one had any fun this year so he could have all of it on our behalf. There’s a half second shot of him sticking his tongue our during the pre-chorus, a joy 99.99% of us never got to feel.

The album itself was just as fantastic*; a 2000′s pop punk throwback with a Halsey duet, horrible skits (hi, Pete Davidson FaceTime), OpIvy lyrical nod (complete with a royalty check), a warp speed punk track that doesn’t even crack the minute mark, your token 6/8 ballad, acoustic closer (about his daughter), and some experimentation that leaves the new genre but still stays nearby; shades of Lil Peep, if he had Blink-182 as his backing band. Speaking of, please do not miss Travis’ fill at the 2:30 mark.

(* - named “Tickets To My Downfall”... woof)

MGK could get cancelled tomorrow, but we’ll always have this year in a bottle. The acoustic version of the song (sung in a lower resister), the 10 minute making of video (that I watched, uh, twice)... shit, he even turned it into a medley at the start of 2021.

It might be cliche to say “stay winning”, but when someone stacks this many W’s with no end in sight, what the fuck else do you call it? Real love.

* * *

Thank you so much for reading. Here is the Spotify playlist (includes 87 of the 88 songs).

#machine gun kelly #bts #selena gomez #hayley williams #the menzingers #rtj #run the jewels #the weeknd #the dirty nil #mac miller #mgk #juice wrld #phoebe bridgers #2020 #music #lists #taylor swift #sincere engineer #jay-z #sam russo #jay electronica #100 gecs #charli xcx #blink-182 #pup #travis barker #megan fox #billie eilish #soccer mommy #drake

[anarcho-mom-unist]

A survey of my ‘spotify wrapped’ from 2020

So, I listen to music between a lot of platforms, I hate how spotify operates as a company (and like in a way that’s pretty comparable to my loathing of the publishing/distribution sides of creative industries,) and I fucking refuse to ever pay for spotify askjdhd

However based on the aggregate of my 100 most-listened-to songs from a year of mostly hitting shuffle on an artist, album, or playlist on mobile, I do have some reflections and highlights. From that I made something of a survey of that list which includes my #1 and #100 song in addition to 1 song from each set of ten, for a total of 12 songs. These represent artists and genres I really got into this year, as well as longtime favorites that are worth talking about:

1. “Bad Trip” - Bad Trip (single) - Xena Elshazlii & Fady Haroun: "Bad Trip” is probably my favorite 2020 release, like if I had to pick one. The track has incredible energy, from the soft piano and vocalization intro to the verse with it’s sparse drums, subtle bass line, and slight strings to an absolute banger of a chorus with punchy staccato synths, reinforcement of the drum groove, and addition of an electric guitar. Elshazlii & Haroun pack a lot into 2-and-a-half minutes of music, and the variations in texture, mix, & music in each iteration of the song’s discrete sections are *chef’s kiss* ---verse 1 and chorus 1 are not identical to verse 2 and chorus 2, to say nothing of the short instrumental transition b/n the first chorus and second verse. Whenever I listen to “Bad Trip” I’m compelled to hit ‘repeat’ ---which is not a normal occurrence for me---and experience the builds and releases that this track brings once again. I don’t know much Arabic beyond the slang terms and exclamations that peppered my grandparents’ & parents’ speech when they spoke to each other in Armenian, but I’d be a liar if I didn’t tell y’all that “Bad Trip” is among the songs that make me want to learn the language so I can better sing along w/ them.

3. “City Lights” - Sailorwave II - Macross 82-99 ft. Kamei:  "City Lights” is the opener to Macross 82-99′s 2018 EP Sailorwave II, and it does that job immaculately. While I recommend the entire EP and an exploration of the Future Funk genre as a whole, you can’t go wrong with getting a taste of either through “City Lights.” The track bursts to life w/ synth brass chords and fast drums, quickly finding its way into punchy up-tempo horn line w/ light rhythm guitar and an active & bouncy bass line joining the mix. “City Lights” more or less goes from A to B to C and after the instrumental opening, the track shifts to a more under-voice horn line offering a countermelody to a mid-to-low register vocal line which is soon after joined by high voices punctuating the beginning of each phrase. The horns, guitars, and singers are cut from the track as the song enters its final section, a rap verse from featured artist Kamei accompanied with a slower-moving bass and light synth chords & wash in the middle register. Taken all together, “City Lights” ---like “Bad Trip” before it---packs a lot of music into a short duration & leaves me wanting more, which I especially long for when listening to the track outside of the context of the EP (which is what I usually do.)

12. “Turn to Hate” - Pony - Orville Peck: There’s a lot I could have done better in 2019, and “check out Orville Peck” is pretty high up there. “Turn to Hate” is a song that is at once heartrending, sincere, & catchy as all get out. Peck does one of my favorite possible things a musician can do on this track, and that’s make me Feel Things at a quick tempo. The vulnerable lyrics sung in outlaw country bass are supported by a fairly simple chord progression that acts as a solid foundation for a lot of texture ---moving guitar lines in the accompaniment part and middle-ground lines that move in and out of the melodic foreground. My moment of pure delight on the track is Peck’s laconic “yeehaw” that leads into a guitar solo that does so much work w/ its relative simplicity. “Turn to Hate” is an excellent song to get you into Orville Peck’s music if you aren’t already, if any of this piques your interest then I strongly recommend exploring his output of classic country meets 2010s indie meets camp gay sensibilities meets emotional realness. (This is as good a place as any to advise you to check out Yola and her album Walk Through Fire.)

27. “Water No Get Enemy” - Expensive Shit - Fela Kuti & Africa 70: I’m a newcomer to Afrobeat which is a fuckin’ shame because it contains a lot of the things I love most in music: rhythmic density and variety, jazz and “folk” idioms working together, a sense joy in the music-making with righteous anger at injustice in the music’s purpose, and a kick-ass horn section. "Water No Get Enemy” by Fela Kuti & Africa 70 is as good an intro as any to Afrobeat as it’s a delightful & excellent piece of music by the genre’s pioneer. It’s worth mentioning that in addition to its musical quality, Afrobeat is also deeply connected with Pan-Africanism and the resistance to the presence of European colonizers in Sub-Saharan Africa. To be frank, whatever I write can’t really do justice to this song or the musical movement from which it comes, go listen to it... a jam you can dance to while hating the British!? Immaculate. 

31. “Vardavar” - EP No. 1 - Tigran Hamasyan: The first of two songs from Armenian Jazz-fusion pianist/keyboardist and composer, Tigran Hamasyan, is a fast moving rhythmically dense piece of music named after the Armenian holiday of the same name ---Vardavar is a holiday of pre-Christian origin that Armenians celebrate in July in observance of the transfiguration of Christ, it involves throwing buckets of water on each other! Appropriate to its namesake, the running piano line through much of the track and the melodic lines are both exceptionally fluid and reminiscent of water. The rhythm of the tune follows a highly irregular subdivision of the bar that it’s best to feel along w/ as a listener ---seriously, unless you’re transcribing the tune or practicing/rehearsing it, don’t worry about counting---and get lost in with the flow of the music. Notable features of the track are the dense layering of instrumental/vocal lines on the melodic and countermelodic material, breakdowns & entire sections where the music takes to longer notes, “slower” feel & division of the bar, and a slower harmonic rhythm, unexpected unisons b/n instruments, and the transformation of Armenian folk melodies & texts between vocalized material and statements of the original material. There is no living musician whose work I love more than Tigran’s and if you’re not familiar with it “Vardavar” is an excellent place to start.

46. “Boyish” - Tropical Jinx - Little Big League:  "Boyish” is better known as one of the singles from Japanese Breakfast’s sophomore album Soft Sounds from Another Planet where Michelle Zauner presents the tune at a slow tempo with an unassuming instrumental accompaniment, wash of synths in the chorus, and low-register closing guitar solo which leaves the audience with a sense of melancholy & vulnerability. The original version from the 2014 LP of Zauner’s former band, Little Big League, offers a different take on the text: noisy guitars, driving rhythm, aggressive drumming on a rock groove, and a vocal delivery offering more of the rage of heartbreak than its sadness. Zauner refers to “Boyish” as an ‘ugly girl anthem’ and that intention is very apparent on this version of the track ---whereas the Japanese Breakfast take on it gave me a sense of being in the gender hinterlands b/n acceptable presentations of masculine and feminine. Both versions of the song are really worth seeking out for different reasons, and I chose to highlight Little Big League on this list because they’re a solid guitar-driven emo band that deserves appreciation in its own right.

50. “Dreaming” - Eat to the Beat - Blondie: What do I need to say about Blondie!? A CBGB act from the late-70′s that straddled the worlds of Punk and New Wave at their peak with a mix of an exceptional rhythm section (that bass!) diverse and compelling guitar work, and the captivating and ever-iconic vocals and presence of Debbie Harry. “Dreaming” might be my favorite song from Blondie and has had a special place in my heart since I first listened to them with my mom. It’s one of those songs that I’m tempted to call a perfect pop song: a joyful performance, lyrics that are at once simple and relatable ---whom amongst is unfamiliar with longing!?---music full of hooks & containing the kind of energy that just goes and takes you with it!

65. “Holy” - Shadow Theater - Tigran Hamasyan: The second entry from Tigran Hamasyan comes from his 2013 album Shadow Theater ---an excellent work as a whole---and is one of the slower, more spacious, and simpler tracks from it. “Holy” is a setting of the Armenian liturgical piece “Soorp Soorp” which is frequently used in the celebration of the Eucharist (even in the Armenian Protestant church I grew up in) and it’s achingly beautiful. There’s always something to be said about a musician capable of complex and virtuosic feats on their instrument doing something very simply and very well, and that’s what the entire ensemble brings ---including frequent collaborator Areni Agbabian who provides the vocals. Even as the texture thickens in the middle of the song, the middle ground & harmonic support coming from strings and bassoon (Ben Wendel) is simple, under-voice, and reverent. “Holy” is the kind of piece of music that offers an encounter with God ---even if one would never otherwise believe in something beyond the material; even just for a moment.

77. “The Day the World Turn Day-Glo” - Germ Free Adolescents - X-Ray Spex: X-Ray Spex is one of those bands I’ve listened to before on a recommendation I received ages ago but never really followed up on beyond the one song sent my way. “...Day-Glo” is a fuckin’ banger of song that just bursts with this wonderful energy from the jump & showcases the best qualities of X-Ray Spex’s sound: driving guitars, wild saxophone lines, and chaotically charismatic lead vocals from singer Poly Styrene. X-Ray Spex have an output that is wild and fun as hell to explore, and “...Day-Glo” is an excellent place to start ---you’d also do well to check out their more notable song “Oh Bondage, Up Yours!” 

84. “Marquee Moon” - Marquee Moon - Television: Listen, you don’t need to read some internet lesbian with a music degree go off about Television ---one of the most musically interesting acts to come out of CBGB and one of many definitive proofs that Punk is not a label that people should fucking fight about having a true definition of. Clear 11 minutes in your day, find a pair of headphones so you can experience the use of stereo in the recording and enjoy each element of the song, especially with regards to Tom Verlaine and Richard Lloyd’s interlocking guitar lines.

96. “Leylum” - Kokorec - Collectif Medz Bazaar & Sevana Tchak: Armenian folk music, baby!! Collectif Medz Bazaar offer a lively and joyful rendition of the classic folk song “Leylum” which has been burned in my mind from church and community gatherings ---the fun ones with music and all of your aunties dancing in a circle and such. Listen to this song and DM me if you aren’t dancing along of joining in on the response parts as best you can. I think this particular recording offers a nice entry point into an exploration of Armenian music, the instrumentation hits a lot of the staples of Armenian folk ensembles ---duduks, dohl, dumbek, clarinet, shvi, etc.---and the song itself is an up tempo dance tune which I find to be easier to start with than ballads or liturgical music.

100. “Electrastar” - Paradize - Indochine: Back in the hazy past of 2017, one of my friends from undergrad and I were hanging out and playing music for each other. In a departure from his usual library of French Baroque music, he played a song by French New Wave band, Indochine. That song was “Electrastar” which is a consistent favorite of mine, my favorite song from its album ---Paradize, which is already a solid record---and a great entry point into the musical output of a band which has been active for about 40 years. "Electrastar” features driving rhythm guitar, pulsing synth under the texture, eminently catchy chorus and post-chorus, and a very care-full and effective approach to the mix. Also, not for nothing but that album cover is 👀

Survey of 2020 Listening

#magatha.txt #long post #music recommendations #Xena Elshazlii #Fady Haroun #macross 82-99 #kamei #orville peck #fela kuti #tigran hamasyan #little big league #blondie #x-ray spex #Television #collectif medz bazaar #sevena tchak #Indochine #french mention

[lakkimi]

[TRANS] K-Pop Pia Vol.10 (2020) “2019 FNC KINGDOM -WINTER FOREST CAMP” part 2/2 - interview with Jaejin

"You have to work super hard!", something that has become his motivation

Lee Jaejin will follow Lee Hongki, FTISLAND’s vocalist, to enlist on January 21. In FTISLAND, he is in charge of the bass, subvocals, and recently, composing too. (t/n: I don’t know what they meant with “recently”, Jaejin started writing for FTISLAND with I Believe Myself and that was back in 2009. He started composing for FTISLAND with Yume, and that was in 2011.)  has finally released his own songs, 3 months before he makes his enlistment, through his first solo mini album, Scene.27.

Jaejin presented us with a world unique to him, a world of music that is different than that of FTISLAND’s. Using Jazz as the basis, his songs are filled with warmth and softness, the way that he as person is.

There were barely any chances for us to visit him for an interview during his tour to commemorate the release of his album, but we were finally able to visit his waiting room in Nagoya concert hall for his solo mini live and listen to his story. Starting with the release of his album, Scene.27 and following up with his solo live, we made an approach to Lee Jaejin’s artistry.

In KINGDOM, he still holds on to his belief that FT is still the best.

――This issue will be an FNC FAMILY exclusive, so we would like to talk about KINGDOM first. As one of the performers, is there anything that you look forward to?

First of all, I am looking forward to meet the FNC family after a long time. We don’t really have that many chances to meet like this. And when we do get to perform together, I could only think of “as expected, we are still the best!” (laughs) Hongki hyung always said, “I don’t wanna do KINGDOM”, but when we started to perform, his gaze would change. For us, we also look forward to perform together with CNBLUE, our good rivals. However, they still can’t beat us of course, at least for us, huhuhu, sorry CN (laughs)

――Ho! As expected of FNC’s first artists! What about the collaboration stages?

I like that we get to have many collaborations and perform together. I like stages where I can show my colors properly, and the experience of performing with members of the other teams is precious, that I think it would be nice to have more of this. This time, FTISLAND will have less power as Hongki isn’t here, but our juniors that sing well (N.Flying’s Seunghyub, Hweseung) have come to help, and N.Flying have also come to help to be my back band for my solo stages. I am looking forward to that. I am busy thanks to FTISLAND and my solo. (smiles). 

As a soloist, it is the most important to be able to show how much I enjoy music

――Please tell us more about your solo album and tour. You have just finished your Tokyo concert. You previously said that “the completion of an album is its concert”, but in reality, how was it to be able to sing live in front of fans?

I was nervous (laughs). At first, after completing FTISLAND’s FIVE TREASURES TOUR with its encore concert “ARIGATO”, I wanted to take and dedicate some time to prepare and perfect the (solo) concert. However, suddenly I had to take over the I Loved You musical from Hongki hyung, so I had to manage doing the musical (in Korea) at the same time as my mini live in Japan. I still had preparations for the mini live, and there were things that didn’t go as well as I wished, but I was happy that I was able to perform at the musical. I worked hard on the preparations on my own, but when I did my first solo live in Tokyo, there were staffs and fans who put in so much efforts to help me, I thought one again, “ahh I have this many fans..”, “I can’t just let it be like this!”, “I have to crazily work hard for this!”, I was incredibly motivated. “Let’s do this!”, and that’s how I have become so much ambitious now. (laughs)

――I’m looking forward to it (smiles). You seemed really nervous during your first live in Tokyo?

On the first day, there were so many things that were unexpected to me. I have always performed as a band, but this time, I am performing a solo. That’s why, there are so many things that I didn’t know about. Not only that I had to change my singing techniques, but also how to center the sound that came through the in-ear monitors, a lot of details that had to be done differently. That’s why, no matter how many times that you did rehearsals, when the actual audience came in, unexpected things still bound to happen. So whenever I felt that I did a mistake, I would feel really nervous because of that. Especially, in the first concert, when I started singing, my voice came out too loud that I was surprised myself. And that’s why I became really nervous suddenly (laughs). I knew clearly that if I feel troubled by it from early on, it will just follow me around to the end, but I couldn’t shake off the feeling that I just wanted it to be the best.

――I could feel that by the night performance, you were already more relaxed.

Yes. I have been around for 12 years, I have an excellent adaptability (laughs). From now on too, I hope that I would be better and better in every concert.

――Jaejin is a bassist, but during your solo live, you only touched your bass once, during the Polar Star performance. How did it feel to perform without bringing along your bass?

As expected, I feel safer if I bring my bass~ (laughs). I have been doing live performances for 10-ish years which made me develop singing while playing my bass pose, so now that I have to sing without bringing along my bass,  something just felt wrong to me. Even more, I was already too used to being in the position to support Hongki hyung, so it felt unfamiliar and strange that I was in the position to lead the band and everyone. As FT’s bassist, I have developed the mindset to play and have fun on my own, but now, not only that I have to be the main vocal, it had just been brought into my attention that it is important that I develop a good rapport with the audience as well. I wanted to apply this right away to my next live performances, but now that I have to enlist first, I guess it would have to wait (laughs).

Now that I have tried out being the main vocal, I could see the efforts that Hongki hyung put in.

――What kind of image that you want to show as a soloist?

I am still a rookie soloist, so I think that my top priority for now is to show what is it that I’m doing properly. That’s why, nowadays, I’m learning how solo artists engage the audience in the fun. I’ve been watching foreign R&B solo artists’ live these days. What I learned from there, is that they all instead of actively telling the audience “what”, they actually put importance on thoroughly enjoying the show themselves. I think they were so mature and cool, I want to do it like them too. Indeed, it’s also something that differentiate it with a band too. In a band, it is important to be able to harmonize, but as a soloist, you only need to 100% focus on yourself, I feel that it is important that you can show how much you enjoy the stage yourself. 

――After trying out being a main vocal singing by yourself on stage, is there anything that you have come to realize in regards to Hongki as FTISLAND’s main vocal?

I have come to realize... a lot of things. In regards to doing recording for example, as I already said before, all this time, my responsibility has always been to support. But using the same singing methods as a main vocal, it actually turned out too weak, it just didn’t turn out well. In FTISLAND, Hongki and I not only have different vocal style, but we also hold different roles. I have been doing music for 12-ish years, but as expected, it is hard to be the main vocal. 

――Then, how did you overcome it, being a main vocal?

I’m doing something that I really have never done, so I shared my worries with Hongki hyung who has a whole lot more experience on this, and I tried out a lot of different things too with him. However, he then had to go enlist (laughs) However, now that I have given this a try, I got a little more sense of responsibility. The responsibility not only to support, but also to lead. Once more, I feel how Hongki hyung is amazing.

――As expected, Hongki! like that (laughs)

That’s right (laughs). We also did musical practices together, and I asked him a lot of things like what has he been doing all this time (for the musical). I have come to know things like, “Ah Hongki hyung was doing something like this at that time..” or “Ah Hongki hyung has been working hard on this” that made my respect for him grew. I couldn’t help but to wish Hongki hyung for more strength as there were things that actually were too bothersome (laughs) but Hongki hyung put so much efforts into them - and he knows it himself too, that’s why he has such a great confidence in his singing.

――Ah, I also felt the same about Hongki when he became the vocal trainer in Produce 48.

Right? For Hongki hyung, 3/4 (of his talent) is something that he got naturally (laughs) but the other 1/4 is hard work that I didn’t know he put in until now.

――How would you like to advance as Jaejin, a vocalist? 

I feel that being a vocalist is a new thing to me. I feel like I am starting over as a rookie. I am happy that I also get to do a musical during this rookie phase. I learned a lot from these people who are vocal experts. I also found out a lot of things that I want to fix, it turned out to be such a great experience. It also gave me a lot of motivation to advance myself.

――You are doing your musical while also doing your tour simultaneously, but I feel that your throat is doing just well.

No, it’s not well at all.

――I didn’t know.

Is that so? That’s a relief then.

Through FTISLAND and solo, I want to try out different characters.

――To sing the songs from your album live, are there any changes that you made from the original version? 

I made some changes to Love Like The Films and Oasis. I sang Love Like The Films more softly when I did the recording, but for my live, if I sing it the same way, the sound of the band will overpower my voice. That’s why I sang it more strongly in the live. For Oasis, because it’s a cool sounding song, I thought that it would be better to arrange it more cleanly and tightly for the live performance, that’s why I made a bit of changes to the sound. I think it is just right to have the recording and the live versions sound differently.

――You also did the arrangement for FTISLAND’s live too, but for your solo live, what kind of arrangement that you had in mind?

If want my concert this time to have the mood of the album Scene.27. I said, let’s make it Jazz and ballad sounding.

――Among them, there is FT.Triple’s Love Letter, it made think of the old times.

That’s right. I also sang it after a long time. Fans were like “Oh! Love Letter?!” (laughs).

――Why did you select this song to be included in your first solo live?

It’s also one of the challenges that I took upon. I can’t do FT.Triple anymore now in FTISLAND, but it’s one song that is most well known with my voice as the main one, so I thought that it is a good opportunity to bring it back.

――You also did Polar Star, the song that Hongki said “I’m not gonna do it”. 

Everyone likes it, right? I like it too, as it is a song that gives you the feeling of hope. As Hongki hyung already said no to performing it, I’m doing it instead (laughs).

――How was it, singing an FTISLAND song as your own?

I only played my bass for the Polar Star stage, and the fact that I sang it while playing the bass gave me the FTISLAND song feeling. It felt like I sang to support Hongki hyung, so it was like the feeling of meeting someone after a long time. I am working hard for my solo, but as expected, I want to be able to perform as FTISLAND again as soon as possible. Doesn’t everyone feel the same way?

――That’s right, that’s right. As I watched your Polar Star stage, I felt that, indeed, Jaejin is the best when playing bass.

Well, it can’t be helped. It’s something that I have been doing in the past 10 years (laughs).

――As we all miss the you that is playing bass, what about making a song that you can sing while playing bass?

No no no. The way that is used to catch the rhythm for bass and for vocals is different, so it is hard to play bass while singing the melody. That’s why I chose to not play bass during my solo live this time around. Adding to that, as Scene.27 has Jazz and R&B underlying to it, even just playing the bass is already hard, so to do both, for me it would be impossible~ (laughs) Indeed, I’m presenting different characters as FTISLAND and as a soloist.

When we tune in to each other in FTISLAND, I am just too focused that I can’t remember anything else.

I am working hard as a soloist, but indeed, I want to perform as FT again as soon as possible!

――As you embarked on your live tour, was it able to make you look back on the Scene.27 album?

I still don’t have a clear map on this, but I am starting to have a bit of direction that I want for my next album. For my next one, I have a certain music style that I want to try, as lately I have been listening to it.

――What direction is it to be exact?

It would still be Western style music like Scene.27 but with simpler melody and I will add more repetitive parts to it. I won’t pay attention much to the lyrics, the songs will be easy for everyone to sing along, something like songs that you can party with. But it’s not a concrete plan yet, for now, I am still gathering ideas. It’s because, in 2 years (note: after he finishes his military enlistment), I will prioritize FTISLAND first. And so, doing solo could be in plan in about 3 years from now. By then, my musical interests might have changed too. I have a lot that I want to do (laughs).

――Was it a new experience to be able to work with a band of Japanese musicians for your solo tour?

Yes. As expected, they have different styles in many ways compared to when I am in FT. In FTISLAND, as a bassist, I have a lot of challenges that I took on, there were a lot of cases where I went, “How should I do it?” that it gave me headache. In the band here, everyone is pro, and I am free to do anything. “Ah this is the feeling of being the main vocal (laughs). I only need to memorize the lyrics and sing. I don’t even have to do tuning, I don’t have to change my instruments too. I’m liking so much the freedom that I have. 

――In 2019, you were not only lead a band as a soloist, you were also able to participate in N.Flying’s tour. Through this experience, were you able to see the good points of being in FTISLAND once again?

That’s right. I might be just boasting, but I did feel, “As expected, FTISLAND has an amazing vocalist!”. Of course, please don’t take it that I’m saying that N.Flying is bad, but I feel that Hongki hyung is just that even more amazing. Also, (in FTISLAND) as we have spent so much time together, I feel that our bass and drum is much tuned to each other. I enjoyed playing bass with N.Flying’s Jaehyun, however, I feel that I can match with Minhwannie’s drum playing energy much better that I always enjoyed it so much. I think, even if I play with other bands, I would feel the same way. In N.Flying, I’m in charge of keeping the rhythms, but in FTISLAND, I feel that we all are in charge of it together. When we tune to each other in FT, I would become too focused that I don’t remember anything else. Really, (laughs) I wouldn’t even know what I did wrong or what I do, to that extent. However, I think I can only say this (about FT) as we have been around for more than 10 years (smiles).

――I think, it’s more that you would feel a lot of things as you work together for a long time. 

As Hweseung entered the band, I feel that there seems to be more balance in their vocal department. The fact that they have a twin vocalists, where hweseung can take on the parts that require long and high notes, while Seunghyub can take on raps with his low and deep voice, I think it has become their strength. They have nice vocal and music style, they also have grabbed their balance. They also have a bit of this Western music style to them, as well as band style, it feels like they have a little bit of FTISLAND and CNBLUE. It feels like they are able to absorb a lot of different things. They also have good songs and live performances. The harder they work, they more time passes by, I feel like they would be able to be an excellent band. They are a band that I am looking forward to see how they would advance in the future. That’s why, I hope you will be able to support them while FT and CN are away. You can like them, but don’t forget that FTISLAND is still the number 1!

t/n: Translated by Lu, 100% accuracy is not guaranteed. Translation is based on Japanese-Korean translation thanks to fprit. :) 

#ftisland #f.t.island #lee jaejin #jaejin #scene 27 #interview #trans #fnc

[leopardprintismybrown]

Time for confessions

(From Music Life August Issue 1985)

In May, Queen made their sixth visit to Japan. Despite the disturbing rumous of a breakup, the concert was still amazing and once again the Japanese performance was a huge success. After Freddie’s interview for last month’s issue, this month we will share an interview with Roger Taylor and John Deacon. They will be open about confidential topics never shared before: the truth about the breakup, what will happen to Queen…

**********************************************************

★ This was the best tour even according to them

First of all, this year’s concert was awesome. It was very impressive and, in my opinion, it was better than any previous performances.

Roger: Really?! Thank you so much. Even in our opinion, this world tour was the best we’ve ever done.

John: Before coming to Japan, we’ve performed in Australia and New Zealand. Our last time in Australia was nine years ago and this was our first time in New Zealand, but the concert in Sidney was particularly great.

Roger: Exactly. 70000 people attended the 4 concerts in Australia. The tickets were all sold-out and right about that time the album was at the second place, it was amazing. Though, apparently, it was the wrong season. The weather in Australia is usually very nice, but it kept raining throughout our stay!

Well, well… And how was the response of the Japanese audience?

Roger: Very good! It’s not flattery, I’m serious. Since the security was strict, I had the impression that the people weren’t participating as expected, but everyone was singing with us and it was great!

John: Speaking of which, yesterday Roger and I were discussing about how many times we’ve performed at the Budōkan. I guess 15-16 times, maybe 17?

The staging and the set changed but it was as impactful as ever. When did you start with that stage set?

John: After “The Works” was completed. We started with the European tour. Then we toured South America, Brazil… and after that Japan. The one who designed that stage was…

Roger: Me! (laughs) Then with our tour manager we thought of a stage designer in Los Angeles. Basically, it’s the atmosphere of the movie “Metropolis”.

I was overwhelmed by the stage set, but I was really surprised to hear the early Queen numbers such as “Liar” and “Seven Seas of Rhye” because I wasn’t really expecting to hear those songs…

Roger: Uhm, we selected the songs together. The tour with this set started with Europe, but in the middle of it we wanted to include some early songs, too. Then we decided to do a medley with 5 early songs and to put it into the set halfway through the European tour.

John: We’ve played so many songs so far, that I even forgot some of them. It was so hard to remember! (laughs)

★ The scary story behind Rock in Rio

I have a few questions about “Rock in Rio” that took place in Brazil on January of this year. You’ve already played concerts in Brazil so far but this was the first time in Rio, right?

John: Yes, we’ve been to Argentina and Brazil in ‘81, but we only played at Sao Paulo Football Stadium. This was our first time playing in Rio, but the hall and the audience was great.

Roger: It was the biggest concert we ever did. We did two shows, the first day and the Friday night, and each one was attended by 250000 people. Everyone sang with us and the atmosphere was great! There was no violence.

John: And we were lucky. The two nights when we played it didn’t even rain. It was an outdoor location and the rain could have been a problem. The ground gets messy because of the mud... It rained the day Rod Stewart played.

Did you have the chance to watch the performances of other bands?

Roger: Of course. I saw Whitesnake. I also met Cozy and…. Oh yeah, I saw Rod Stewart.

John: I didn’t go… the venue was so distant. However, there are bars with televisions in Brazil and groups of young people watched together the part of the event that was broadcasted every night. AC/DC were good.

Would you care to share some interesting anecdotes?

Roger: Oh! I have a lot, but those are not properly the kind of stories to tell. (laughs) Because it was like a 10 day long party.

John: Oh yes, a lot happened…. Let’s see… The first day we had a hard time. Rio is a traffic jam. For this reason, the people in Rio leave their cars on the road when it gets jammed and walk. So we decided to go the venue by helicopter, just in case. However, the road was not packed at all and we arrived way too early.

Roger: Yes, we had to be at the venue by 6 o’ clock and we couldn’t be late. It’s good that we arrived early, but our set actually started at 2 in the morning! Next time we’ll go by bus no matter what!!

John: Also, it was fun to be able to meet people we haven’t met before. With him (if you look at the picture on ML April Issue, he’s pointing at Neil Murray) it was the first time. Oh, this is a picture we took at the party in the hotel (he’s looking at the picture of Brian with a local fan), Brian looks drunk. He jumped into the pool. (laughs)

What?? I can’t imagine Brian jumping into the pool! Well, now that you say that, his hair and trousers are soaked… Anyway, it looks like you enjoyed “Rock in Rio”! (laughs)

Roger, John: Yes, a lot! (laughs)

★ It was difficult (The Works)

It’s been almost 12 years since Queen was formed…

John: Yes, it’s been 12 years… 12 years! (he suddenly makes the imitation of an old man) 14 years that I’ve known the other members.*

In these years you’ve established your own musical style, you’ve released many wonderful records, and you’ve written a brilliant and shining page in the history of rock. And also, each member is now working individually as a musician. Is there a special reason for working outside of the group?

Roger: Uhm, my personal reason is simply because I like to work.

John: It was very difficult to complete “The Works”, to be honest… Of course, all of us want to pursue Queen. But it’s true that preserving the group is hard. When we entered the studio, we had a lot of expectations but it was as if the time was just flowing rapidly without realizing it… The recording of “The Works” took too much time and it was a bit tiring. Four people were not on the same page, musically speaking... though, of course, we made it work in the end, somehow. But this is the case for every band that has been around for years.

It must be difficult, because every member of Queen is an independent musician.

John: The next plan is to take a break for a while and then go back to the studio around November. This time we’re also going to change the producer.

Do you already have ideas for the new album?

Roger: I have something vague in my mind, but nothing concrete. I want to do something different from “The Works”. I think that “The Works” is a good album with a mix of modern and old elements, but we have to keep changing. “Tonight” by David Bowie was a mistake, in my opinion. The album was released too soon and it hadn’t changed enough.

★ Break up? We will someday

Do you want to do something in particular in your time off? Is John going to make a solo album?

John: I thought about it. I went to a little studio in London but I don’t have time to think during tours. But when it comes to singing… I’m sorry, but I need to get someone’s help for the song. (laughs)

And Roger? Are you going to make a third solo album?

Roger: I have no plans for a solo album but I’m producing something, lately. Sideway Look, Jimmy Nail… Jimmy Nail made it to the top 20 in the UK charts. It was the first record I produced, so it’s all the more satisfying!

Are there any musicians or bands you want to produce in the future?

Roger: Yes, a lot. Jeff Beck, and also Rod Stewart. It looks like we can do a good job.

Have you listened to Freddie’s solo album?

John: I’ve listened to some songs, but not to the whole album, yet. “Made in Heaven” is a good song.

Roger: The one I like more is “Made in Heaven”, too.

Finally, I’d like to ask a slightly more serious question. There’s been rumours about Queen breaking up…

Roger: (bursts into laughter) Mwahahahah…

Of course, I don’t want to believe in these rumours, but I’d like to know the truth.

John: Well, someday we will breakup. But does anybody know when this someday will be?

Roger: In these 14 years, we’ve always denied with a firm “NO!” whenever someone asked about Queen breaking up. That’s just a rumour. There are absolutely no plans to break up at the present day. I wonder if everyone wants Queen to break up so bad... (laughs)

John: Certainly, touring is getting harder, because we have to completely change the shows and the approach. But it’s been decided that we’ll work on the new album starting from November.

Please continue your work with Queen forever, no matter what form you want it to take in the future. I think this is the wish of all the fans.

Roger, John: Thank you very much. You’re right, that is way better than breaking up.

Ok, this is really the last question. What do you want to do in the future as members of Queen and as individuals?

Roger: Personally, I want more kids! (laughs) As a Queen member, I want to be more successful in America. It’s true that we have a certain notoriety in America, but the last album didn’t sell that well… Well, there are ups and downs in everything. That’s why I want to hit big in America again. To achieve that, we must do a looooong tour centered in Midwest. (laughs)

Roger and John have clearly denied the breaking up of Queen. They’ve talked about ambitions for the future, like achieving a bigger success in America. Their eyes focused on the future have still not lost their glow.

*I don’t own the magazine where this interview was released so I cannot double check. I think the numbers have been reversed because Queen formed in 1970 before John met them. And if you read further below, Roger mentions 14 years of activity.

**********************************************************

A/N: As always, I am not an English native speaker, so forgive any possible error. Also, remember that translating into a foreign language is difficult and I hope I have preserved the original meaning.

#translated by me #music life #music life magazine #queen #queen interview #queen in japan #80s #80s Queen #roger taylor #freddie mercury #Brian May #John Deacon #rock in rio #1985 #the works

[petalsbloomed-a]

itaru talks about noah - part 2.

1. does the mun give out personal info? like birthdate, first name, age, gender, etc? he’s pretty liberal about the things he shares, to be honest. he shares everything listed here, as well as his myers-briggs type and other personality stuff, and his blood type too, miraculously. however the name he goes by is not his legal name, even if it is what he goes by in real life, and he would never share his surname on a platform like this.

2. does the mun have any learning disabilities? he struggles with a bit of dyslexia at times.

3. what irritates the mun? whenever he misplaces something he thought he knew where it was, and whenever he just can’t get something so minimal right. when he’s practicing and just can’t get something down, he has a habit of just quitting out of frustration and saving it for a later time. i think in some cases, saving it for a later time is the right move.

4. does the mun have self-esteem issues? if so, has this caused any problems? oh yeah, he definitely does. a lot of it may be connected to his body dysmorphia and dysphoria, but he often thinks lowly of his skills and his musical abilities often. i don’t think it’s caused any relationship problems, but sometimes it makes him run away from practicing or completing schoolwork.

5. is the mun easily nervous? if so, why? it really depends, but a lot of his nerves may come from the fact that he has an anxiety disorder. he gets nervous before a solo performance, and sometimes if he has the urge to pull a prank he may chicken out due to fear of rejection.

6. does the mun have a habit that’s annoying? he bites his nails and licks his lips a lot, and it makes kind of...unconventional noises when he does this. he also jiggles his leg and fidgets in his seat a lot.

7. does the muse think the mun is intimidating to approach? not at all, actually. because of his fashion sense, he may come off as a bit unapproachable, but he’s actually a very warm and open person.

8. is the mun easy to talk to? i think so, yeah. he’s a pretty good listener and is down to discuss pretty much anything.

9. what’s the mun’s favorite thing to drink? he literally always asks for a root beer whenever he’s at the dining hall. so i’m gonna say that.

10. what food does the mun like to eat? noah’s a bit picky, but he does like a lot of food. he enjoys breakfast and comfort foods a lot, like mac and cheese and cheeseburgers, but he also really likes pineapples and the dining hall’s marble cake.

11. what do they like to use for communicating, ims or discord? he uses both, but he prefers discord since it’s less messy.

12. does the mun like talking to people? or are they shy? he likes talking to people, but he does have his moments. i think it’s less shyness and more anxiety when it comes to talking to others, especially if they’re new to him.

13. does the mun believe in the supernatural/paranormal? not really, no. he does think that paranormal movies and tv shows are cool, though.

14. what’s the weirdest thing the mun has said? “his face looks like an asshole that was destroyed by fifty cocks.” i shit you not, he said that last year in college when he was hanging with his friends at the dining hall.

15. if the mun could choose one person to meet, who would it be? probably ariana grande. he’s a huge fan of hers and has bought pretty much every album and single that she’s released digitally.

16. has the mun ever pulled an all-nighter before? not officially, but he has stayed up until like five in the morning just doing stupid shit when he was home over the summer.

17. would the mun make a call-out post if they had to? probably not? he doesn’t really like getting involved in drama, so he’s not really aware of the things that a particular individual has done unless if he’s talked to about it or sees call-out posts that others have made.

18. does the muse like how the mun writes? yeah, it’s pretty easy to understand, but every now and then he throws in some complex emotional shit that my brain has difficulty deciphering. noah operates more on emotion than i do, so some of the things he writes doesn’t interest me, but generally his style is easy to interpret.

19. what song does the mun think fits them and what does the muse think? what song does the muse think fits the mun and why? he doesn’t really have a specific song he think fits him, but he often talks about how songs about courage and finally finding your place really resonate with him. i think that any song that has an r&b vibe to it or somewhat of a slow-moving orchestral background really fits his personality.

20. does the mun want to learn a different language? he’s currently learning japanese right now, and is interested in korean and spanish too. i’ve tried teaching him some stuff but he often gets fidgety and loses focus within ten minutes.

21. if the mun could move to a different country, would they and why? he’s said he’s fine where he is right now, but he has expressed interest in moving to japan or south korea. i think it would be a good idea to at least visit and see how things are for yourself before making such a rash decision, and i do have concerns that it may be tough for him living somewhere where people don’t speak english as a primary language.

22. does the mun like to play games? he absolutely loves mobile anime games, and he’s also a bit of a sucker for minecraft as well.

23. has the mun told anyone about the muse(s) birthday? will the mun tell anyone? oh yeah, he’s been pretty open about the fact that he and i actually have the same birthday. the other folks he plays also have their birthdays listed on his blog, so he’s pretty open about sharing birthdays with others.

24. does the mun evens or odds? i’m not sure what this question is referring to, if i’m being fairly honest...

25. what makes the mun happy? socializing with friends, writing, listening to music, watching his favorite content on youtube...a lot of things.

26. does the mun have any secrets? i don’t think he has any interesting or juicy ones to share, to be honest. maybe except for some aspects of his mental health and some family issues, but i’d refer to those as private information other than secrets. overall he is a pretty open person, though.

#itaru: ic #munday

[bobdylanrevisited]

John Wesley Harding

Released: 27 December 1967

Rating: 9/10

Following a very severe motorcycle accident in 1966, Dylan disappeared for the public eye and settled down with his new family in Woodstock. By vanishing at the height of his fame, some newspapers even questioned if he had died. Whilst in his self-imposed exile, he once again reinvented himself into a much more mellow and americana artist, recording basement tapes with The Band (not to be released for 8 more years) and this strange, stripped down album that comes completely out of left field and had very little fanfare surrounding it’s release. His voice has once again transformed, no longer is it the nasal, youthful angst of the previous records, but a combination of touring fatigue and quitting smoking meant it was turning into a much more countrified crooner style. His writing also evolved yet again, he was now focused on saying less and meaning more, each lyric steeped in mythology and, as a theme for the whole album, the presence and influence of scripture.

1) John Wesley Harding - Unfortunately, the title track is not only a misspelling of the outlaws name, it is the worst song on the album and even Dylan acknowledged that it isn’t very good. That being said, it is a nice introduction to how his style and voice have changed, gone are the electric guitar solos and loud drum kits which caused such controversy, this is a return to his roots with all the musicians being much more restrained and ‘folky’. However, it is still a simple throwaway song that I usually skip when I often revisit the album. 

2) As I Went Out One Morning - The bass on this song is brilliant, as are the haunting lyrics, which talk of Tom Paine, saving a damsel, and heading south. It is a difficult song to make sense of, some have suggested it is referring to the history of America, but to be honest I don’t care what the meaning is, I’m happy to just get swept up in the track. The vocals are very understated and effortless, and the music creates an atmosphere of uncertainty that is very different from anything that Dylan has done before. 

3) I Dreamed I Saw St. Augustine - From the titles it’s obvious this is full of religious imagery, and putting the saint to death with whom Bob now identifies. Augustine was killed when Rome was overrun and Bob imagines himself both listening and learning from him, but also joining in with the mob as they execute him. Although the song has much fewer words than anything on Blonde On Blonde, it is full of incredibly provocative and intelligent language, showing just how much his penmanship had altered to be more concise. Every live version of this song is brilliant also, as it gives Dylan a chance to show off his incredible pipes. 

4) All Along The Watchtower - I may be alone in this, and even Dylan disagrees with me, but I prefer this version to Hendrix’s. Don’t get me wrong, Jimi’s version is fantastic, but I think the original is more fitting with the subject matter. Another biblically influenced song, the harmonica and wistful singing are perfect, and it’s no wonder this track garnered so much attention upon the albums release. This is, unsurprisingly, one of Bob’s best songs, and is also the one he has played live the most, although he does play Jimi’s version which is fair enough for the stadiums. The album version is very intimate, and feels as though he is sat next to you telling you a story, and the whole arrangement provokes a reaction within you of wonder, and it’s just Dylan doing what he does best.  

5) The Ballad Of Frankie Lee & Judas Priest - The only other song I don’t like, a 5:35 fable about morals. It feels a bit preachy, and although it may be tongue in cheek, the track is actually fairly boring with the words being spoken rather than sung. Whilst there are some brilliantly written lyrics within, this is another song I skip as it feels like a complete misstep compared to the 3 songs proceeding it. 

6) Drifter’s Escape - Following the last track’s slowing down of the album, this brilliant tune helps you quickly forget it, as Bob weaves another fascinating story about a drifter in court for charges he does not understand, and being freed by a lightning bolt hitting the court house and those inside praying as he slips out. The drifter may have been saved by god or the devil, but it makes much more sense that the drifter is actually Dylan. He was on trial for going electric, and his saved by his motorcycle accident allowing him to disappear. Regardless of the protagonists identity, this is a great song which again has much more stripped back instrumentation and some fantastic singing. 

7) Dear Landlord - The main thing about this track is the haunting piano, and Bob pleading for equal rights. It may be that this track is about Bob’s manager Albert Grossman, the two had fallen out and there were arguments surrounding money. It could also be once again about god and religion, though this would make the song much less interesting. I feel like a broken record saying this again, but how anyone can say that Bob can’t sing only need listen to this track to be proven very wrong. 

8) I Am A Lonesome Hobo - Another song regarding morals, though this one is more gripping, as the hobo advises the listener to live by their own code and not make the same mistakes he has. A big part of this album is the high pitched harmonica, which can be grating to begin with, but I found that it really adds to the overall feel of the record and the best example of that is on this song. The mellow instruments are punctuated by Bob’s mouth organ, creating a unique sound that is both exciting and alerts you to the importance of the words. 

9) I Pity The Poor Immigrant - In all honesty, I have no idea what this song is about. I doubt the literal interpretation of Bob hating on immigrants is correct, considering his political views and his protest years, so there must be a deeper layer I’m missing. However, this is a slow number, which is relaxing and almost dreamlike. I like the song, and the Isle of Wight 1969 live version is very good, but I’ll just assume that the immigrant in question is a metaphor for something I don’t believe in, luckily it doesn’t change my enjoyment of the song. 

10) The Wicked Messenger - It’s clear that Bob was obsessed with scripture during this period, though he would not be ‘born again’ for another 12 years, as this is another biblical tale told in Bob’s unique style. I think his interest in the bible comes from seeing himself in many of the stories, this being a key one where he views himself as a ‘wicked messenger’, someone who speaks the truth and is chastised for it. Once again, the bass, vocals, harmonica, and storytelling ability are perfect here, and it’s a quicker number which is wholly enjoyable even if, like me, you don’t understand all the bible references.

11) Down Along The Cove - This is a very minimalist love song, with some lovely piano, and some brilliant singing. No hidden meaning, just a lovely little track that’s sure to put a smile on your face. 

12) I’ll Be Your Baby Tonight - The closing track is a huge clue as to what Dylan’s next venture would sound like. This country tune seems almost out of place compared to the rest of the album, but it is a great song, with Dylan’s Nashville-style crooning in full force. Again, the Isle of Wight 1969 live version is fantastic, and it is a nice closing number which is more uplifting and fun than many of the more ‘spiritual’ tracks. 

Verdict: I really wish I could give this album a 10, it pains me that I can’t, but with two songs I actively dislike and some difficult themes for my atheist brain to respond to, I have to knock a point off the score. That being said, this is one of my most listened to Dylan albums, it’s so relaxing and interesting as a body of work, and I thoroughly recommend it to anyone with working ears. The ability to reinvent himself is once again astonishing, this sounds like a completely different human following on from three intense electric albums, and this was only released the following year. Leaving the sex, drugs, and rock ‘n’ roll behind was good for Dylan, family life suited him and he was already sounding a little less jaded. He seemed to be able to deal with the anger that plagued his last few albums in a more spiritual and emotional manner. His next record would show his maturity and, oddly enough, that he was capable of genuine happiness, as his voice, guitar, and songwriting would delve even deeper into the country style. 

#bob dylan #john wesley harding

[putschki1969]

2020/09/07 Tweet by KEIKO’s staff

Source Once again, thank you for watching yesterday’s live「KEIKO First Live K001 ～I'm home～ 」🌈✨ We were impressed and touched by the enthusiastic encouragement from all sides 🙇‍♀️ You can rewatch the archived live until 9/13(Sun)19:00 (JST) so please continue using the hashtag #LIVE_K001, we are awaiting your impressions💐

https://stagecrowd.live/s/live032/?ima=0422

Articles about KEIKO’s first solo live are featured in today’s issues of Tokyo Chunichi Sports and Sports Hochi📰👏 Be sure to get them😌🌈

[Note: I ask all of you to purchase a ticket and support KEIKO if possible. Do NOT share rips of the live until September 13. Thank you! Here’s my TUTORIAL on how to buy a ticket]

»——————⋆◦★◦⋆——————«

News articles about KEIKO’s first solo live

Chunichi Sports | Sports Hochi | Barks

Sports Hochi

Former Kalafina member KEIKO holds first solo live revealing new songs KEIKO (34), former member of three-person vocal unit “Kalafina” which disbanded in March last year, made her solo debut this year in May and performed her first solo live in Tokyo on September 6. The concert had a live audience but was also streamed online. As a measure to prevent the spread of COVID-19, the number of people in the audience was limited to 1/10 of the usual capacity of the venue so only 72 fan club members got to hear KEIKO's beautiful and rich singing voice at the venue. It was her first performance on stage in about a year. To her fans she called out, "Finally, I am able to meet you!”, “ I couldn't do anything if it weren’t for all of you who believed in me and waited for me. I want to continue singing and convey all of my thoughts and feelings to you!" There were a total of 12 songs performed. During the encore she announced the release of her first solo album on December 2, KEIKO's former producer, Yuki Kajiura, has composed a song for it, KEIKO's new song titled 「七色のフィナーレ/Nanairo no Finale」 was also performed for the first time during this live. “Singing in front of everyone really inspires me,” she said being much more motivated to finish the work on her album.

Chunichi Sports

KEIKO “finally met her fans” who got to hear her “miracle voice” - 1 1/2 years after Kalafina’s disbandment - 1st Solo Live

KEIKO (34), former member of three-person vocal unit "Kalafina", held her first live at Shibuya Club Quattro on September 6 after her solo debut in May this year. It has been 1 1/2 years since the group disbanded. It’s been one year since she participated in the live tour of her former producer Yuki Kajiura (55). KEIKO was greeted with big applause by her fans and called out, “Finally I am able to meet you!” She performed 12 songs mainly focusing on new songs, sharing the joy of singing live on stage with her fans. ◇◇◇◇

As a measure to prevent the spread of COVID-19, the number of people in the audience was limited to 1/10 of the usual capacity of the venue so only 72 fan club members.

This was her first solo performance and a long-awaited live after being absent from stage for about a year. With a big smile she greeted the 72 fans who showed up in support, "only a limited number of people are allowed at the venue so thank you for coming! We will fill this venue with warm songs and passionate music. Please enjoy!" Following the disbandment of Kalafina last March KEIKO had taken a break from music activities for a while but eventually she decided to start a career as a solo singer, saying, "once more I would like to sing in earnest." KEIKO made her solo debut in April this year. Initially, KEIKO had intended to hold a tour in the wake of the release of her first solo album in October but due to COVID-19 these plans failed. Even so she decided to hold a live for that one day only, "unfortunately I can’t tell you that we have overcome this pandemic but this is my way of responsing to all of your feelings, I know you have all been looking forward to a live." KEIKO started her concert by singing her solo debut song “Be Yourself” being supported by a band consisting of four members, she also performed a song titled “Nanairo no Finale” for the very first time, it is composed by Yuki Kajiura who provided the theme song for the popular anime “Kimetsu no Yaiba”. KEIKO has written the lyrics for this song. In addition, she also made her first attempt at covering "I LOVE YOU" by her idol Yutaka Ozaki who inspired her to become a singer. From rock to ballads, a wide range of songs was performed with her “miracle voice” that can freely switch between low an high tones. It was also announced that her first album, which was scheduled to be released this autumn, will get its official release on December 2nd. She will also participate in the Yuki Kajiura live stream concert which takes place on September 18. KEIKO has opened a new door as a solo singer, aiming for even higher goals. ◇◇◇◇ ◇ KEIKO Born in Tokyo on December 5, 1985. As a member of the female vocal unit "Kalafina", a group produced by Yuki Kajiura, she made her CD debut in January 2008 with the ending theme "oblivious" for the movie version of “Kara no Kyokai”. After that, they sang the theme songs for popular anime works such as "Puella Magi Madoka Magica" and "Fate/Zero", as well as the theme song for NHK’s "Rekishi Hiwa Historia". After the group disbanded in March last year, she started her activities as solo singer in April this year.

Barks

KEIKO holds her first solo live in front of an audience and also provides live streaming for the audience at home. Her first album will be released in December After her solo debut in April this year KEIKO (former Kalafina) held her first live titled “KEIKO First Live K001 ~I'm home~” on September 6, 2020 at Shibuya CLUB QUATTRO. Originally KEIKO had a tour scheduled for October but that needed to be cancelled due to COVID-19. This performance was made possible thanks to the great support and encouragement by fans, she held the concert in front of an audience but it was also streamed live. It was her first time back on stage since about a year when she participated in Yuki Kajiura’s tour “Yuki Kajiura LIVE TOUR vol.#15 ~The Junctions of Fiction 2019~”. Accompanied by the sound of a live band she performed a total of 12 songs, 11 during the main performance as well as 1 encore song. Among these pieces there was one song titled “Nanairo no Finale” which she performed for the first time and which was composed by Yuki Kajiura, KEIKO also wrote the lyrics for it. She also covered “I LOVE YOU” for the very first time, one of the many masterpieces by Yutaka Ozaki who inspired KEIKO to become an artist. For this live KEIKO tried to challenge her voice and find new approaches to music, the concert featured already released songs such as "Inochi no Hana" and "Be Yourself" but also lots of new songs as well as pieces that can be traced back to her musical roots. During one of the MCs KEIKO announced that her 1st album would be released on December 2. KEIKO shared, "the album is coming out on December 2. Kajiura-san was kind enough to write a song for the album. It’s a great team- work. The composition is by Yuki Kajiura, the lyrics are by KEIKO, and the arrangement is done by Nobuyuki Shimizu, additionally, the guitar is done my Koichi Korenaga!  Waaaahh!!”

#kalafina #keiko #keiko news #KEIKO First Live K001 ～I'm home～ #long text post

[talkfastcal]

you can tell a lot about someone by the type of music they listen to 🎵🎶

rules: hit shuffle on your media player and write down the first 20 songs, then tag 10 people. no skipping!

Thank you for tagging me! @i-like-5sos

1. Long Way Home - 5SOS: Oh! I haven’t heard this song in awhile. This is one of my favorites from self titled (although I will always prefer the acoustic version) I still remember when they changed the lyrics to “white snake on the radio” during my ROWYSO show. My favorite lyric is “so we’re taking the long way home cause I don’t wanna be wasting my time alone”

2. Bloody Mary - Lady Gaga: I remember the first time I heard this being 11 years old and shocked LMAO if I’m being real honest I love the beat (AND THE BASS) of this song. ALSO the chorus “I WONT CRY FOR YOU” is so GOOD

3. Not Warriors - Waterparks: y’all are in for a TREAT THIS IS ONE OF MY FAVORITE WATERPARKS SONGS. I cannot just listen to this song just once. It’s always at least 3 times and it’s ALWAYS blasting (and yes I did replay it 3 times and blast it through my headphones while typing this) When the beat drops and “THERES NOTHING IN MY SYSTEM SO IM FEELING WHAT I FEEL FOR YOU” so POWERFUL!!!! My favorite lyric is “but hey for what it’s worth I think you saved my life”

4. Best Song Ever - One Direction: I still refuse to believe this song is about sex LMAO this is such a fun song to dance to though I love it. My favorite part is Niall’s solo “I said can I take you home with me, she said never in your wildest dreams”

5. Strong - One Direction: OH! FUCK! MY FAVORITE ONE DIRECTION SONG DON’T EVEN GET ME STARTED I LOVE THIS SONG SO MUCH THE CHORUS “IM SORRY IF I SAY I NEED YOU” I CANT I CANT. If you have not heard them acapella sing this do me a favor and go listen ITS SO GOOD ALSO! Zayn’s high note. My favorite lyric is ofc Louis’ solo “think of how much love that’s been wasted people always trying to escape it move on to stop their heart breaking but there’s nothing I’m running from, you make me strong”

6. Kids In The Dark - All Time Low: YES I LOVE THIS SONG I LOVE THIS ALBUM I LOVE THE MEANING OF THE SONG I’m not joking when I say that I found this song and this band during the hardest time in my life and this song just really hit me hard. My favorite lyric is “beautiful scars on critical veins” AND the firework pop towards the end!!!!

7. Olivia - One Direction: I will admit this song has grown on me big time post hiatus (also the fact that now I’m not hiding my sexuality from myself I can freely listen to this song without feeling ashamed) I! Love! This! Song! It’s such a cute love song!! My favorite lyric is “the summertime butterflies all belong to your creation”

8. I Love You 5 - Never Shout Never: another band I was obsessed with back in 2015 I haven’t listened to this song in awhile!! I remember loving this song though and using it everywhere. I also like in the beginning he says “I love you one a two a three shoobe-doo I love you four that’s more than I can afford”

9. Only Angel - Harry Styles: idk not much to say about this Harry song it’s not in my top 5 but it’s a good song! I like listening to it but it’s just not my favorite. My favorite lyric is “open up your eyes shut your mouth and see that I’m still the only one who’s been in love with me”

10. Viva La Vida - Coldplay: no one: - me: AHHHHHHHHH literally this song will never be the same ever since 1d performed it on xfactor. Idk what to say about this song other than the fact that I like it??? I also like 1D’s cover of it??? Yea cool. My favorite lyric is “Never an honest word but that was when I ruled the world”

11. Glitter & Crimson - All Time Low: this song has definitely grown on me since the release of wake up sunshine. ALSO THE BRIDGE! My favorite lyric is “lets start lets start a riot hard to sit still when your head’s on fire”

12. (Love Will) Turn Back The Hands Of Time - Grease 2: don’t clown me y’all but this movie and soundtrack are a guilty pleasure. I love the original grease BUT grease 2!! It’s such a stupid movie but the soundtrack is fantastic. Anyways this song is another guilty pleasure LMAO I love the whole song so I’m not picking a “favorite lyric”

13. Savior - Rise Against: OH!!!! OH!!! THIS SONG RIGHT HERE!!!! fun fact: the first time I actually heard this song was when I watched a video of someone on YouTube burning her littlest pet shops because a trade went wrong and she got scammed so she took her anger out on that. I literally forgot about this song until one day I heard it in my junior year literature class and had major deja vu. Okay anyways I love this song LMAO my favorite part is the chorus “that’s when she said I don’t hate you boy I just want to save you while there’s still something left to save. That’s when I told her I love you girl but I’m not the answer for the questions that you still have WOAH OH OH WOAH OH OHHH”

14. National Anthem - DE’WAYNE: okay THIS SONG it’s so good and it describes what it’s like growing up in America as a POC. I don’t wanna say too much about it since I’m not a POC so I know I will never fully understand the song because of my privilege but I appreciate the fuck out of this. I love the entire song I don’t have a favorite lyric

15. Your Love - Nicki Minaj: I miss this Nicki Minaj. UM not much to say about this song either??? It’s a good song and I like it?! My favorite part is the chorus OH and the outro I love it

16. Just Dance - Lady Gaga: another pop classic from my childhood alright I MEAN ITS JUST DANCE?! HOW CAN YOU NOT LOVE THIS SONG??? ALSO THIS LADY GAGA?! Don’t get me wrong I love the lady Gaga we have now BUT THIS ONE WILL ALWAYS BE ASSOCIATED WITH MY CHILDHOOD AND PRETEEN YEARS. I remember feeling like a badass singing this song when I was 10 years old LMAO I don’t have a favorite lyric I love the whole thing it’s a bop

17. Dear Patience - Niall Horan: Oh!! One of my favorites from Heartbreak Weather. His voice in this song is just so beautiful ugh yes. I absolutely love the chorus of this. My favorite lyric is “feels like you don’t even know me just me and the stars can get lonely”

18. San Francisco - 5sos: OH MY GOD I LOVE THIS SONG ITS IN MY TOP 3 FROM SOUNDS GOOD FEELS GOOD. I hardly see anyone appreciate this song so I’m here to tell y’all: ITS A GOOD SONG?!?! have y’all listened to the live version AS WELL!!!! masterpiece. This song makes me happy especially the guitar at the beginning. My favorite lyric is “reminds me of when we were free I swear that it’s still haunting me” BUT! I do love that pre-chorus

19. They All Float - Waterparks: NICE a song from their first EP okay but I love this song it’s much heavier compared to what they sing now and that’s what I like about it. My favorite part is THE BRIDGE!!! “this is the part where you cut your losses this is the part where you get a job this is the part where you settle for less just like you never wanted to”

20. We made it finally Adrenaline - Simple Creatures: OH MY GOD THIS SONG LISTEN this is the first song I listened to from this band (which btw if y’all didn’t know is made up of Alex Gaskarth from ATL and Mark Hoppus from Blink-182) I mean while it’s more pop (which is what their intention is) ITS STILL A GOOD BAND!!! ESPECIALLY THIS SONG!! ITS SO GOOD DAMN I love the music video omfg. I’m just a sucker for dance choreography since I grew up surrounded by dance (I did competitive dance for a couple of years and my sister was a competitive dancer until she graduated) okay enough about me this song is so damn good I can’t stop saying that alright! My favorite lyric “I think we’re failin to connect you don’t what you do to me do to me do to me” and I LOVE THE CHORUS

This was fun!!! And it took me forever LMAO I’m not tagging 10 people but I’ll tag some

@louhazzabeingloudandloud @28-oops-hi @devilatmydoor @glitter-cal and anyone else who wants to do this!! 💜

#tag games #mutuals 💜 #long post

[airadam]

Episode 142 : ...If You Hear Me

"We all need...some fresh air."

- Tobe

This month has been pretty exhausting, but I did have some good ideas for this episode, and once I hit stride with the recording I decided to try and keep the pace up and get it released on a weekend day! The selection has turned out to be heavy on artists who are no longer with us, but left us some great music to remember them by. Get yourself comfortable and press "play"...

Twitter : @airadam13

Twitch : @airadam13

Playlist/Notes

Evidence ft. Raekwon and Ras Kass : The Red Carpet

How is this track ten years old already? Time has flown since the 2011 release of "Cats & Dogs", the second solo Evidence album after four LPs as part of Dilated Peoples. While Evidence is an excellent producer in his own right, the reins here are taken by his future partner in The Step Brothers, The Alchemist. He further shows his confidence by bringing in California's Ras Kass and Raekwon from the Wu to guest, both legendary MCs, and holds his own next to both. A great collection of talent to kick off the show!

[DJ Premier] Gang Starr : What's Real? (Instrumental)

I just had to go back to "One Of The Best Yet" for another Preemo beat! Definitely get the instrumental release if you can, especially as you get the previously-unreleased "Glowing Mic" as a bonus cut.

The Notorious B.I.G ft. DMC : My Downfall

As I say on the voiceover, it feels weird playing a good chunk of Biggie's catalogue given how he ultimately died. This track from "Life After Death" is a perfect example, and feels like a mix of the creative writing he was famed for and maybe a realisation of exactly how much negativity swirled around him even after he had made the transition from the streets to the music industry. The legendary DMC of RUN DMC guests, only on the hook - but he does it well.

Agallah : Slaughter

Just a few bars, just a taste, as I needed something to bridge a track with no instrumental outro and the other with no open bars on the intro! Big respect to Agallah though, who has been putting in work since the mid-90s and will probably have yet another new project out by the time I finish typing this sentence. Find this beat on "Propain Campain Presents Agalllah - The Instrumental Vol. 1".

Sean Price and Small Professor (ft. Rock and DJ Revolution) : Refrigerator P

Heavy business! Ruck (Sean Price) and Rock, formerly the duo Heltah Skeltah, reunite on this killer from the "86 Witness" LP. Small Professor makes the beat dramatic, and DJ Revolution seasons the mix with his trademark super-sharp cuts.

Fred The Godson : Presidents

The Bronx-born-and-bred MC Fred The Godson sadly passed away last April at just 35 - one of the relatively early US casualties of COVID-19. During his lifetime, his catalogue consisted of some highly-rated mixtapes, but only after his death do we finally hear his debut album, "Ascension".  This track of course is built (by Hesami) around the same sample as Jay-Z's "Dead Presidents" as Fred expounds on the drug game.

Broke 'n' English : Tryin' (Calibre Mix)

"Tryin'" was one of the standouts on the 2007 debut LP "Subject 2 Status" from this respected Manchester crew. Both Strategy and DRS have a long-standing history in the drum & bass scene, and so it made sense that the remix of this track would be handled by someone like Calibre. Sharp, crisp drum action and a smooth bassline drive this one along, with DRS' vocals being woven in as a refrain. You can hear in this one track how DRS then went on to make several excellent D&B albums - his vocal versatility allows him to shine on any production.

Marco Polo : Cindy

The "MP On The MP" (see what he did there?) beat tape is inspired by a Youtube series he was doing, and features a host of new and unreleased beats. Marco Polo is one keeping this style of production alive, which I'm thankful for.  I still think of him as a "new" producer, but he's a veteran with over fifteen years in the industry!

Le$ : Out To Cali

Le$ is a great MC to go to if you want lyrics about just living life and having fun - almost like a Curren$y, but without the extreme high-end references. Right here, he's going to Cali, buying some weed, riding around, and enjoying the view - sometimes it doesn't need to be more lofty than that. Mr.Rogers goes to a familiar sample as a basis for the beat, and if you want more, the whole "Summer Madness" will give you these vibes - and exercise your speakers in the process.

O.C. : What I Need (Keelay Remix)

The "Smoke & Mirrors" LP is a bit of a forgotten one for many, but I really enjoyed it, and when acapellas became available, it was expertly remixed by the Sole Vibe crew out of San Francisco. The classic soul sample (which you may recognise from tracks like "Deeper" by Bo$$) is the foundation, with a heavy kick and skipping hi-hats providing the rhythm. O.C. never lost a step from his first LP, and he's never afraid to put his feelings out there on wax.

Sadat X : Stages & Lights

This is one of those tracks I was stunned to realised I hadn't already played on the podcast, so here it is at last! This Showbiz-produced cut from the 1996 "Wild Cowboys" LP, Sadat's solo debut, was also a B-side on the "Hang 'Em High" single - but definitely stole the show. If you ever find the original sample, you'll be amazed at how Show plucked that one small piece for this beat!

Phife Dawg : Thought U Wuz Nice

Killer B-side action from Phife Dawg, on the flip of the Superrappin "Bend Ova" 12", with J Dilla on the bouncy production. Still can't quite believe that both of these icons are no longer with us.

Saib : Beyond Clouds

The Chillhop label seems to put out endless amounts of beats from producers specialising in sounds inspired by greats like J Dilla and Nujabes, but with their own spin. This one comes from the "Chillhop Essentials Fall 2020" compilation, one of any number that are perfect for soundtracking study, work, or just a lazy day!

213 : Run On Up

That beat by Tha Chill and the delivery of "Shut the f********ck up and ruuuu-uuu-uuuun" by the late great Nate Dogg is enough to make this an absolute classic in my ears, but the full picture is even better. Way before "Doggystyle", "The Chronic", or even "Deep Cover", 213 was the group formed in Long Beach by Nate Dogg, Warren G, and Snoop, before any of them had got their big breaks. Years later, after all of them had become stars in their own rights, it was heart-warming to see them reform for the "The Hard Way" LP, from which this is taken.

Sporty Thievz : Angel

The Sporty Thievz deserve to be remembered for more than "No Pigeons", as much as we enjoyed the whole thing at the time. The "Street Cinema" album may not have quite lived up to the name, but there were some solid cuts on there, and this was one. Produced by King Kirk of the group alongside Ski, this track has all the foreboding, and while the singing on the hook may not be Marvin Gaye level, it absolutely works here.

Jean Grae : My Crew

One of the great underrated MCs - not because her skills are in question, but simply because not enough people know her! She's in fine early 2000s form on this cut from the "Bootleg of the Bootleg EP", produced by China Black. Straight boom-bap, and she cuts through with clarity and dexterity. Jean Grae raps, sings, produces, acts...one of the true talent of the culture.

Bronx Slang : Just Say No

New single from Jerry Beeks and Ollie Miggs, who have really been on a hot streak the last couple of years. It's nice to hear some protest music in an era that really calls for it, and if this is a marker of how good the upcoming second album is going to be, then you need to reserve a space in your crates right now! Jadell on production brings an appropriate heaviness to the track, no lightness on the beat!

[Ron Browz] Big L : The Heist (Instrumental)

All these years and I'd never looked to see who produced this beat from Big L's posthumously-released LP "The Big Picture" - come to find out it's one of Ron Browz' first credits. He's much better known for "Ether" by Nas, which came in 2001. The vocal version of this track is what the name suggests, a robbery tale, and you can hear the sound effects that punctuate the narrative still here in the instrumental.

Tobe Nwigwe : Fresh Air

Tobe Nwigwe and his collective (including his wife Fat and his producer Nell) have been quietly on the rise for a while, but in very recent times their profile has elevated noticeably. "The Pandemic Project" is a short six-track album from last year, and another quality addition to the catalogue. This man is an amazing MC, and Nell's often-unconventional beats are the perfect canvas. Don't sleep! 

Please remember to support the artists you like! The purpose of putting the podcast out and providing the full tracklist is to try and give some light, so do use the songs on each episode as a starting point to search out more material. If you have Spotify in your country it's a great way to explore, but otherwise there's always Youtube and the like. Seeing your favourite artists live is the best way to put money in their pockets, and buy the vinyl/CDs/downloads of the stuff you like the most!

Check out this episode!