#pretty bare bones but the message and the power of the lyrics really put it up there as a top song

[blxxdyvalentine19xx]

Internet Killed The Rockstar - Mod Sun Album Review by blxxdyvalentine19xx

Derek “Mod Sun” Smith’s 11 track Album Internet Killed The Rockstar debuted at midnight on February 12th, 2021, compared to his usual Hippy Hop as he calls it, IKTR is a much more Punk Rock sound. It opens with the lead single “Karma”, followed by both “Bones” and “Flames” I woke up this morning and hopped onto Spotify to give it a listen to.

Karma: The opening track to the album, Angry and loud. I didn’t much care for it at first, It took me a while to love this one. His ex girlfriend was quick to jump onto youtube with a storytime video, in which she suggests it’s about her, some believe it to be and others believe it to be about Bella Thorne. I was under the impression that Mod and Tana were on good terms last year so I don’t really know, I’m more convinced that it’s about Bella. It’s a banger of an opening track though.    

Bones: There’s a lot to this song, I remember the teaser he released for this piece. I’ve listed to the song almost as i have to that teaser. He explains in the breakdown of the track that it sounds like what the first few seconds before a car crash feels like, calm. This song absolutely put me through it, I lost a family member to a motor vehicle accident a few years back and never really moved on from it. Somehow through this song, Mod brought me the ability to heal from it and move on from the weight I carried with the accident. So thank you Mod Sun for a track so beautiful.

Flames (Ft Avril Lavigne): The only feature on the entire album and it’s a literal piece of art! It starts out with Avril’s melodic voice before jumping into Mod Sun’s explosive screaming vocals in the post-chorus. His vocals on this track doesn’t make me love it any less, in fact i’m in love with the track. Mod threw all he had at this track and gave us something that will hopefully stand the test of time. As many times as I have heard this song, I never tire of it.Avril has been the voice of a couple generations now and It’s amazing to see such a powerful collaboration as this one.

Betterman: I don’t know, I’m not really feeling this track so I don’t have a lot to say about it. He does say in it that someone makes him want o be a better man and that the same person saves him.To be nice about it I’m saying little about it. He does say at one point that he doesn’t want to die lonely, that’s a line i can vibe with, being lonely is one of the worst feelings in the world. It’s a beautifully worded track.

Prayer: I just listened to this song again, there’s a part of me that feels the message Mod puts out. I’ve saw what those white lines do to people, I nearly lost a friend to them in high school so Mod hit me with a load of built up emotions here. My life had been impacted by someone who hit their worst on drugs and I carry those thoughts everyday. The way he delivers this track is melodic and gives you a way to look positively on your future. Every action is a reaction. I know i’m rambling but  I don’t know just how to word what this song does to me, it makes me feel numb as I reflect on things I’ve been through. 2020 was my year to find my a better path and jut like Mod, I’m trying desperately to try on it.I wasn’t in a good place and this song feels like what my past was in words.

TwentyNUMB: It sounds to me like it starts out as a rap track before quickly reminding me of ‘Circles” by post malone mixed with an early 2000′s track that I can’t remember the name of now. As of right now I don’t have a clear explanation of the track. It’s good but it’ll have to grow on me. It may to chaotic for me as I’m neurodiverget and there’s so much to try and focus on in this that I start to get panicky and can’t focus on the lryics of it at all. it’s upbeat though so that’s a good thing.

Smith: We know this is about his father from the voice intro it carries. The lyrics carry you through a mostly negative father - son relationship, as it progresses, Mod goes on to say there will always be a room in his house for his late father. It’s a tough one for me as my relationship with my father is beginning to fade and this song brings up the pain that i’ve endured the past few years seeing the father I once knew and loved change into a man I no longer know. I can’t help but cry hearing the pain in Mod’s voice when he delivers this track, even though my father is still living, i’m tasked with having to grieve the man I looked up to and that’s what this song does for me, it’s started the process of me letting go of what I have to for my sake. I don’t know how much longer I have with my father due to his health but this sing will forever make me think of him. No matter what a parent puts us through, there’s still that little kid locked inside us that loves them no matter what.

Rollercoaster: I’ve linked the song. The lyrics explain themself. Noting I can really say about it aside from being proud of Mod and the effort he’s made to staying sober.

Annoying: Shit’s cute! I will definitely be dancing around my kitchen to this song. It’s such a feel good song. My one qualm about it though is the “ for your eyes only” line, the One Direction fan in me only ever hears “ass” instead of “eyes” I can’t do much else but laugh over the line because of it. The song sounds as id Mod is declaring unrequited love to whoever this mystery girl he speaks of in numerous lyrics across the album. Whoever she is, she must be pretty damn special. The bridge make sit sounds as thought she makes him tongue tied when all he wants to do is tell her how much he loves her. Overall, Annoying is a really cute song.

Pornstar: This song starts out with Mod portraying himself as a really kind of shit guy, from missing his girls birthday to not being there after her surgery, like man, that’s low. The lyrics later sate that he’ll make up for his dickish behavior and fuck her like a pornstar, now we can assume he’s referring to himself as the pornstar here. He also talks about her sending him a paragrah every morning, he barely reads it and sends the ever dreaded one word answer, I’m a guy and that boils my blood, i’m a romantic at heart and a poet, one word answers are my least favourite thing. The chorus to Pornstar is damn well catchy almost as catchy as herpes, thank you to @triplexdoublex​ for that golden line. it’s been out a little over a day now and it’s already my fifth most listened to song, that’s saying something.

Internet Killed The Rockstar: I was in a dream driving in my Ford Explorer at 16 years old by myself. I snuck out of the house, not to go fucking spray-paint the side of a building or go meet up with a girl. No, so I could go ride around my city and scream the lyrics of a song and pretend that it was my song. That’s literally what I did as a kid. The song that was playing was ‘Internet Killed the Rockstar.’It painted the story of when the kid inside me essentially died and turned into a person that was living in a new age. I grew up quickly, but I’ve remained able to be in touch with this childlike sense inside me. [The song] is my tribute to the kid who literally thought he was never going to make it. And guess what? You made it! You made it. Direct quote from Mod’s Genius Music page. Nothing more to be said here other than I feel this on a personal level, I was in a place once where I never once thought I’d see my senior year of high school let alone where I am today. I’ve had to grow up quick lately and this song gives me comfort.

#mod sun #internet killed the rockstar #moive #album review #my thoughts #avril lavigne #punk rock

[fmdjoosungarchive]

location: home studios, gold star studios

date: ~late 2019, july, august, october 2020

word count: 1805

tldr; verification for sung’s song everythingoes. full lyrics & production, shared composition credit with @joohwanfmd.

it was funny, looking back on it, that this was the only song that managed to make it onto the album that he’d written with someone outside of the album, with no intention of it being on anything. seoul was something he’d been writing on his own, and had been so long in the making that nothing else could possibly top it, but this, it made sense to change up.

as the song that was the most different in message than everything else, it made sense that the feeling, the sound, was different too. he’d picked it out from his saved library, when the concept came to him.

sung wasn’t sure if using the idea was a good one, but in case he did want to use it later on, he ought to have it on hand. everything he’d started writing thus far was... pretty dreary. there was more to them than that, of course, he’d been introspective, and philosophical, and everything else he could think of, however, they followed the same theme of expressing emotions with no necessary ending. there was no hopeful message tacked on at the end about how he used to feel those feelings but has since move past them, because that wasn’t his reality. the reason sung wrote the songs that he did, was because he didn’t want to present the notion that feelings had to be eliminated. they were real, and just as important whether they came back around again and again, or were there one day, and gone the next. sung often said on his radio show that he finds the best way to deal with emotions being to let yourself actually experience them. to not shy away, or shove them down, and instead, sit in those feelings, breathe them in, so that when it’s time for them to lessen, you can truly feel lighter.

while sung didn’t want to ruin the messages of other songs, he also wasn’t sure if he wanted an album that was solely about sitting in those negative emotions. they wouldn’t last forever, no matter what they were. even the feelings that came round and round, would need to leave in order to come back again.

an english phrase came onto sung’s radar from a book he was reading on the subject of feelings moving on. he’d been reading a translated version of the book, but the translator had kept in the phrase, “this too shall pass.” they’d explained what it meant through the original author’s words, and over time, it became something that popped up in sung’s head, again and again. round and round. like his feelings, it circled, even during said feelings. once, during a particularly bad spell of negative emotion, sung had sat himself down to write out positive affirmations to himself in a notebook, as his therapist suggested. originally, it started as specific to the situation. his self worth had been bottom of the barrel, and affirmations were easier, in situations like that. yet, what ended up helping sung the most was as he turned to scribbling out in his terrible latin alphabet that phrase he’d read, this too shall pass.

the struggles he was facing wouldn’t disappear when the emotions lightened up, no, that was a journey to take on bit by bit, but, the feelings would pass eventually. he could fill his lungs with pure air once again, when his emotions had had their time. it was a comfort, to sung, to remind himself of that.

that concept had been what he’d taken in when looking through his old compositions. sad on the side of his desk was that notebook, open up to the page with his affirmations, and rows and rows of his english phrase.

he’d liked this composition a lot when he and hwan had started it together. it wasn’t all that complete, like most compositions without melodies or ideas behind them were, but it sounded like something that could fit into what had been building up of his album. there was a specific sound to everything he’d been doing, and that composition sounded like it could be easily molded into it.

the feeling was different, though. many of his other songs sounded like the lyrics, for as shaky and unsure the compositions of them were in order to encapsulate feeling. he wasn’t super sure on where he was going with that sound, or if it would stay in the months to come, but for then, sung liked it. this instrumental, he supposed, could fit into the idea of matching a song’s concept, and because the concept was lighter, so was the composition.

it reminded him of the feeling of walking into a greenhouse, being surrounded in light shifting through the windows in geometric shapes, and breathing in the beauty of what the natural world brings to us. bright, high plinks through every line was like reaching out to those streams of light, and touching something warm, cozy, and filled with pixie dust.

every moment was a building block to the next, as well. that might have been what sung was the most excited to continue to build on, with the potential it held to create really powerful moments towards the end utilizing lyrics to bridge the two together. joohwan was particularly helpful in creating that sound that sung had liked so much. if it was only him working on it, it might not have sounded as powerful and grand as it did at that moment, because he wasn’t as comfortable using guitar in his music as hwan was.

while sung worked mostly on his own, there was benefit to working with others, in cases like that. whatever this song ended up being wouldn’t be the same without hwan. -and that was where he stopped. sung had only managed to figure out an alternative to straight plagiarizing the phrase this too shall pass, to use in the song, when his mind had drifted far enough away that it refused to work further without hwan by his side. this was their song.

at least, that was his brain’s original plan. sung ended up getting back to the song a week and a half later, to write out more lyrics, vague ideas of what to write for a short verse on the song. probably around the bigger building sounds, so he could figure out where to punch with the most important lines. or before it. or coinciding with the change. clearly, he wasn’t sure yet.

the song sat unfinished for a while, as sung was determined to work with hwan again, and mixing two busy schedules wasn’t easy. eventually, the heavens smiled upon them, and they were able to meet up to rework the song, and figure out what they might want to do with a melody, if much of anything.

having ideas about where to take the song next when he came in helped a lot in getting the juices flowing. they settled on the rap verse taking the listener into the most explosive parts of the song, and reworked the composition so that it slowed down right before, for that extra impact when the heavy guitar came in swinging. there was some cleaning to do, largely sung sitting there incrementally changing the tiniest details of the mixing so that it was more smooth, and there was the melody to ‘write’ if it could be called that. they didn’t have the time that day, but sung planned on recording two different versions of the song, one with him on the majority of the track, and one where hwan was the star of the track. that meant, unfortunately, there wasn’t much vocal prowess that could be utilized on the song, at least not without ruling out himself as a contender.

he’d been working hard with his vocal lessons for the opportunity just like this, though, and maybe... maybe gold star would let him.

the session was succinct as could be, in and out with loads more written and finished enough that sung could finish mixing on his own at home. he could remember hugging hwan goodbye, promising they would meet again as soon as they could for recording.

it’d only taken sung a couple of days to finish off the main portion of the song. he couldn’t feel comfortable shipping it off to the general public yet, not when he’d only just started figuring out where he was going with the album as a whole, but everything was laid out for when that day came.

and came it did. recording with hwan went about as smoothly as it usually did when it came to being with friends. they understood each other more closely, and sung could prod out the parts of hwan’s voice he wanted most more easily. although, it did set some worry, in sung’s head. hwan had a much better voice than him. why wouldn’t the company want him instead, especially since he was already going to be on the track anyway, why not the whole thing?

worries plagued him enough that he didn’t send the song in for review to the company until he’d re-recorded his parts probably fifty times, and until it had hit the first of october, his last chance to add new songs for consideration. more than any other, with all of the changes he’d made thus far on other tracks, as well as the addition of that track, sung was nervous. he pressed the send button on the email with his eyes covered, and promptly distracted himself as much as humanly possible, until he received a message back.

it took a day.

there were notes, lines to change, sounds they didn’t like, suggestions of things to add, and under everythingoes was... nothing. not a single issue. sung had no clue how to express everything he was feeling inside. and so, he danced. music came flowing out of him into his limbs, as he shimmied and waved around the studio. the next thing he did was text hwan, then daisuke, to share the news.

from then on, the track stayed almost where it was. sung matched the production to fit the style of the album, cleaned it up. the biggest change came at the very end, when he was putting together his final tracklisting. at the end of the song, as well, when the guitar cut out, and the instrumental cut to the bare bones of piano, sung decided to tie everythingoes into forever rain, a song that held meaning almost opposite, but complimentary, to everythingoes. forever rain started with rain, and everythingoes, song of cyclical emotion, ended with it, too. rain comes, rain goes, but that doesn’t mean rain won’t come again, nor does it mean the rain in your heart is a bad thing. flowers will bloom one day.

#fmdverification #had to pause this one so many times to go be emo over this album #yall i love happiness so much skjskjdskj #it's my little Baby #self para #era: happiness

[ben-winch-writer-rocker]

Live, Masonic Auditorium, Detroit, 01/14/1978

Fred “Sonic” Smith and Oppositional Defiance Disorder:

The appeal of MC5 guitarist Fred “Sonic” Smith goes beyond his guitar work, savage, deft and incendiary as that work may have been, and far beyond what traces of that work remain via studio and live recordings. In this era of “over-diagnosed” psychological disorders, Smith’s “condition” might well be labelled, like Kurt Cobain’s, “oppositional defiance disorder”. But unlike Cobain, Smith had neither the drive to be a frontman nor the good grace (or self-doubt) to back down in the face of physical opposition. And unlike Cobain, he was no suicide; his anger faced squarely outwards, driven by a righteous indignation that, at first, was anything but self-implicating.

A famous MC5 creation myth paints the young would-be revolutionary. While discussing the band-to-come at a Detroit restaurant with Wayne Kramer and Rob Tyner, Smith knocked a glass over mid-rant and (according to Kramer) said, “Yeah, this is what we’ll do, we’ll just knock shit over if we wanna knock shit over. We’ll be powerful. We’ll take a stand.”

“That ain’t cool,” Tyner said. “That ain’t being powerful. You’re not taking a stand. You’re not proving anything.”

Smith: “Well what are you gonna do about it?”

Tyner: “I’ll do what I have to do.”

Smith: “Then let’s fight.”

So they fought outside in the icy parking lot. After a couple of punches it went to the ground and Smith, an athletic six-foot-plus, came out on top, fist raised. “I could smash your face in,” he said.

And Tyner said, “Well why don’t you?”

As Kramer tells it, for three teenagers this was deep, and they got in the car and drove around for hours analysing what had happened. For Smith, I suspect it was a turning point, maybe not just in his relationship with Tyner (“After that they were tight,” says Kramer) but in his understanding of what nowadays might be termed his disorder. Of course it didn’t stop him fighting (he’d spar with Tyner again, and tackle two policemen when they arrested MC5 manager John Sinclair), but just maybe it started him questioning, turning his ideals from “smash everything” to “smash what needs smashing”, and giving him the dignity and true-seeming righteousness that comes across so strongly in his future wife Patti Smith’s recollections. (Fred Smith died in 1994, aged 46. See Patti Smith’s book M. Train for some touching writing on the man.)

From Detroit delinquent to doting family man, Smith’s trajectory was always up, despite that the MC5 crashed and burned due to record-company hassles and Sonic’s Rendezvous Band never had the chance to repeat that ignominy, largely or partly, if the other players’ testimonies are accurate, because Smith willed it that way—because Cobain-like he taunted and insulted any A & R man plucky enough to make him overtures.

So, like the MC5, like the Flamin’ Groovies, like even—to some extent—the Stooges (whose masterpiece Raw Power was, production-wise, a misfire) Sonic’s Rendezvous Band are one of the great protopunk should-have-been-a-success stories. In a sense they may be the greatest, because of their failure, because of their mystique. And that mystique is rooted not only in mists-of-time semi-invisibility, but in the aura of rebel iconoclast Fred “Sonic” Smith.

Scott Morgan and the Tonic:

But since Sonic’s Rendezvous Band, despite the name, were a two-singer band, let’s discuss the second singer, especially as he was, by any traditional yardstick, the better frontman—louder, more professional, with clearer diction (Smith’s was, make no mistake, awful; fans will be arguing over the substance of his lyrics forever), and more possessing of what some listeners may have taken as charisma. And in any case, the first song on the album is his: “Electrophonic Tonic”.

Scott Morgan, a veteran of fellow almost-made-it Detroit rock band the Rationals, had cut his teeth as a frontman singing Otis’s “Respect” pre-Aretha’s-version and turned that song into a regional hit, which, thanks to the last-minute non-involvement of Jerry Wexler’s Atlantic, never made it national. (Faced with the Rationals’ lofty demand of five grand upfront, Wexler demurred, handed the song to Aretha, and the rest is history.) A soul singer, then, with a hard rock edge, which may simply have been what it took to get across in the intimate and sonically inadequate venues of Detroit in the late 1960s, Morgan delivers his parts here with an R & B frontman’s panache, positioning himself on the classic-rock continuum somewhere between Ted Nugent and Steve Marriot, though when he sets his band loose they kick harder—thanks to ex-Up bassist Gary Rasmussen and ex-Stooges drummer Scott Asheton as much as to Smith’s semi-insane, close-to-breaking-point, post-Chuck-Berry guitar solos—than almost anyone except AC/DC, and with a sheer abandon which the famous Scots-Australians, ever the professionals, rarely mustered.

But let’s back up a little. Harder than anyone? What about Sabbath, Zeppelin, Deep Purple? I’ll make it clear: Sonic’s Rendezvous Band doesn’t do lumbering. Much as they’re classic, classic as hell, you couldn’t call them dinosaurs because they’re too fleet-footed. But nor do they sprint, they’ve got too much distance to cover; every other track here clocks in at over five minutes, and two of them (Smith’s masterpieces “Sweet Nothin’” and “City Slang”) are nearer to seven. The tempo is Sex Pistols and up, the beat almost motoric. (Asheton focusses on hitting hard and keeping the pace; he hasn’t got time for fancy flourishes.) Their roots are in R ’n’ B boogie, just as Sabbath’s were in blues. And I’d say they were just about as ahead of their time as Sabbath, if inevitably (given they had no record deal) nowhere near as influential.

But back to the “Tonic”. It’s a good song: deft, workmanlike, shuffling the same old three classic-rock chords in a natural and not entirely expected fashion. There’s a nice halftime breakdown in the middle. It’s got grit. Those who weren’t bemoaning its classicism (this was a support slot at a Ramone’s gig, after all) were probably shaking their heads in disbelief at its onslaught, unless they were shaking their asses with sheer abandon, tearing up seating, going wild. As an opener and a mission statement, it kicks ass. But for me, it’s only in track two, “Sweet Nothin’”, that the magic happens.

Sweet Nothin’:

Who can say what arcane voodoo is at work here? On the surface it starts out not so dissimilar to track one. We’ve jumped from E to B though, a good sign. (B is a great guitar key, enabling riffs that E makes obscure.) But to start off with, at least, it’s the same three-chord theory. There’s a subtle key-shift in the pre-chorus, and then with the chorus we’re in new territory: the minor sixth—the “Raw Power” chord, the “Suffragette City” chord, the “Sonic Reducer” chord—rears its head and Smith puts his cards on the table. Like Sabbath’s embrace of the devil’s interval, this is a chord-change that would inspire an entire genre—postpunk—and it darkens proceedings and ups the drama as soon as Smith unveils it.

What can I say? “Sweet Nothin’” is an anthem, despite or maybe because of the fact that I can’t hear more than a few words of it. It’s a love song, that much I’m sure of, maybe penned for the soon-to-be Mrs Patti “Sonic” Smith. (Patti Smith was on the scene intermittently in Detroit around the time: the two had sparked up an affair—she was still married to her last husband—and SRB would support her in bigger venues, breaking away from their intimate, not to say dead-end, bar gigs, where according to legend they played for as few as six people.) Whatever the “message”, I don’t care; I feel it in my bones. And when Smith, after repeating the simple refrain “You’re really really something sweet nothin’” in the plainest of minor-key melodies five or six times before the final solo, sing-shouts “You take my breath away”, barely caring if he’s in earshot of the microphone, I know exactly what he’s saying. Besides, whoever said an anthem has to meansomething? What does “Pretty Vacant” mean? “There’s no point in asking, you’ll get no reply.” You either know it deep down, deeper than words, or you never will. “There’s more to the picture than meets the eye” after all, and “Sweet Nothin’” is as good an illustration as any.

To make it clear, “Sweet Nothin’”, in my opinion, is one of the top twenty rock songs ever. It gets in. It obsesses you, or obsesses me, and I say this as someone who discovered it at age 43, via Spotify, through a $200 portable Bluetooth player. As Roberto Bolañosaid, if you want to find out if something’s a masterpiece, translate it. Translate it badly. If it stillretains its power, there’s your answer. And this album, smothered in tape saturation and poorly mixed from the live desk, was hardly a good translation to begin with. It’s not a classic like Bowie’s Low, or Abbey Road, or even the flawed Raw Power—not a finely-wrought work of art. It’s more like a jam tape. And what’s more, like a jam tape that doesn’t half sound familiar. I’ve beenat those jams. I’ve played in them. Not that our jams were as powerful, but I’d say Sonic’s Rendezvous Band stake a convincing claim to sounding like what, to this day, many rock bands want to sound like.

Into the Red:

And so it goes, through the five-minute semi-psychotic choogle of “Asteroid B612” (weird name for Morgan’s declaration of righteous love for his woman, bisected by a brilliant, dexterous-soulful blues-at-11 solo from Smith) to Smith’s five-plus-minute slightly more contemplative but still excoriating “Gone With the Dogs”, which to tell the truth slightly pales, given that Smith’s voice is already hoarse and he’s just graced “Asteroid B612” with some of his tastiest guitar-work. But wait, that accolade may well go to track six, “Song L”, which attempts a truly strange percussive minor-chord motif that doesn’t quitework but adds a new-wave-like aspect to Smith’s palette (it almost sounds—wait for it—sophisticated), before the nuclear explosion of the solo. By now, admittedly, following Morgan’s “Love and Learn”, it all seems slightly like business as usual: high-energy rocker after high-energy rocker; two guitar solos a piece, apparently thrown in whenever Smith feels like it; each song culminating in a swelling classic-rock crescendo. Nonetheless it’s precisely the lack of dynamics that makes this feel so modern. It’s unrelenting.

And I wonder, was it only in the space above zero VU—well into the red—that Smith felt the thrill of being powerful, of knocking stuff over, that had made him want to play guitar in the first place, but without the need to do violence that had very nearly made him cave his friend’s face in? Whatever their motivation, for the remainder of the set he and his collaborators play their hearts out, so much so that by “City Slang”, pretty much the ultimate showstopper, it’s hard to believe they can still play at all. Yes, the performance is patchy compared to the seven-inch version (the only record released by SRB in its lifetime, and a flat-out masterpiece). Smith is barely enunciating by the last shouted refrains. But he always maintained he liked performers that stepped up to or over the line, and all four players do that here. It’s pure adrenalin.

Plainly no band could have kept up this intensity without some serious motivation. And the truth is that by “City Slang” Smith sounds tired. Probably he didn’t have what it takes to be a frontman, at least not a touring frontman, and possibly he knew it. Maybe all he wanted was to sing his songs—because they existed, because he’d written them, because if he didn’t no-one else would. And it’s this near-complete lack of ego—this hesitating on the verge of doing nothing at all, then throwing himself in regardless body and soul—that makes Smith’s performance here one of my all-time favourite perfomances by a male singer, despite its faults. It’s the tone, bluntly masculine but vulnerable, straight-talking, speaking calmly from the centre of the storm. What can I say? He means it, and he really doesn’t much care how it goes over. Or better put, sure, you can tell he’s humbled by the crowd’s ecstatic response, but get a record deal, tour the country, maybe get rich and famous? The song and its performance are their own rewards. And, just maybe, this degree of selflessness could only have come from a singer who didn’t think of himself as a frontman.

From playing back-up to Rob Tyner and sharing the stage with Scott Morgan, Smith transitioned, shortly after this recording, to playing husband and sideman to Patti Smith, collaborating on her 1988 album comeback album Dream of Lifeand its breakthrough single “The People Have the Power”. For someone who started with a will to destroy, the adult Fred “Sonic” Smith had learned humility. His story, or what I’ve managed to uncover of it, is a true inspiration, because though he never hit the bigtime he lived the dream, doing what he wanted how he wanted at maximum volume, and never with that preening strut of the peacock that suggests it’s all theatre.

Live, Masonic Auditorium, Detroit, 01/14/1978 is a flawed document, and who knows, it may be that Sonic’s Rendezvous Band were never going to break through outside of Michigan. Regardless, it’s a classic. It takes your breath away.

#sonics rendezvous band #fred sonic smith #detroit rock #mc5 #rock writing #rock n roll #classic rock #hard rock #scott morgan #patti smith

[waldowski89-blog]

Tumblr Written Return.

So, I’m back here doing my usual routine. Hello, I guess… you guess? In any case, I enjoy these don’t get me wrong. My abrasiveness is just something acquired, I think. Or not talking to people, I don’t know. Okay, that started off on a wrong foot, left or right you decide… god this is rubbish. So I’ll split this into 3? I didn’t say that last time. I think three segments is enough for 1,000 words… enough for anybody.

I think I’m at the point where most people give up [Edit 20-02-19: I kinda wanna.]. I want to be relentless with this. This notebook seems like it may take longer to fill. Anyway apparently there’s a point where people quit or feel like it but it comes just before take off as it were. Not that that was ever the plan of course. I always felt if it made one person laugh or happy or entertained etc. then it was worth it. I’ll take regular in writing this or these [Edit 20-02-19: I seriously don’t know what that means… oh breaks I think I meant.]. I won’t include times though just dates. All that was probably only interesting to me anyway. I don’t really know.

Wow, can you believe I’ve been here on and off for about two years now? Does it seem like that? I don’t know. Don’t roll your eyes at that. It really has been a while, hasn’t it? Do you look forward to another two years? I’m smiling so I must be. I never cared about popularity or getting paid… hint hint. Eurgh, all that leaves a bad taste in my mouth. I just want to entertain but one has to make a living too. Can one really trade in blood… that’s overly creepy. I meant metaphysically. I don’t always talk about positive subjects. Also I was about to talk on where I’ve been this past month. The thought is conflicted… who really cares anyway. Why am I so grim and grey? Cue Bohemian Rhapsody. Actually that’s interesting that’s a nonsense song and Alice’s Adventures in Wonderland is a nonsense story. I really want to get around to reading that. I want to do a reading on a new channel of mine. It’s not set up properly though and I have nothing to post there yet. Just a few maybe dumb outtakes of Jane Eyre. I wanted to read that first… for an old friend. I LOVE YA BUB! BUB. Hey that’s a point, I forget to do ending ideas on my streams. I shall begin that again too… I mean I already started streaming again but I meant the Ending Ideas™ IN ANY CASE! (My talents are wasted) (What talent?)

Where I’ve Been? been up to?

Right hello again, next section. So I’m not going to go into depths as to where I was and what I got up to. Suffice it to say that it was an education. An ongoing education. Also one that technically started years ago. There’s no need for me to go into great detail anyway. Clearly there’s something wrong with my mental health. I have been determined to have a mental disorder. That is or it has been observed that way. I don’t disagree. Oof, I don’t like talking about it. It always brings the mood down. Put short I am depressed and this could be due to anxieties I have. Fear not though for I am getting help. Deers. Should I call my audience deers? Jeeze why the fuck do I have an audience for this? It’s not fun. Hopefully talking helps. Openly or at least as openly as one would like. I want to move on already. With life, with everything. Again, fear not, for I will stay here as I can. It’s too dour. Let us move on shall we? I’ve barely broached the subject though. However I feel I’ve said enough. I hope.

In any case, hope is a good tool in these situations. Hope that things will get better and that it just takes time… it’s taking a pretty fucking long time, huh? That’s about all I’ve got on this subject for now. Oh, except that there was an app about all this. Link! Hey you! Yes you! Got crippling depression? Feel anxious all the time? Yes? Then there’s an app for you.

Okay, now that was overly facetious (I’ll have to edit in whether I spelt facetious right or not later) [Edit 20-02-19: I did.]. Anyway I’ll link (spelt tink wrong it’s early… and I did it even wronger just then). I’ll link it at the end. I haven’t used it myself (fear perhaps) but I will in time. It sounds very helpful bringing each other hope in depressing times/situations/circumstances.

I’ve always wanted to help people. Entertain people. Keep people smiling. It’s nice. Like Psycho Mantis in Metal Gear Solid: “I’ve never used my powers to help people before… It feels… kind of… nice…”. I can still hear that in my head. Gosh, I played Metal Gear Solid a lot as a child… David Hayter in that Christmas message about it was like: “Yeah, well it’s a dark world.”. That was epic where he just dropped into The Voice™: “Brother” and Cam Clarke too: “Dear brother.” I FUCKING LOVE THAT GAME AND ALL THE VOICE ACTORS AND CREATORS AND EVERYONE! … In any case… FFFOXE DIE DIE DIE… calm down Andrew. Counterintuitively I’m listening to the Hitman Blood Money Soundtrack.

Been Looking at Microphones.

Anyway, time to move on. I wrote the above title a few days ago. I’ll read back this thing to get a better idea of where I am. I usually write these in bits over a few days.

Okay, so that seems like a waste of time. It’s just my usual pontificating. So the microphones. I don’t know or remember why I wanted to dedicate a whole section to that but hey ho here we are (I’m listening to the album Hollow Bones by Rival Sons by the way. More Links!). Um basically I was thinking of investing in a much more expensive microphone. That’s it really.

So moving on from that… jeeze it feels like one of these mission constraints in Assassin’s Creed. “Write only about buying a professional microphones only” Well I’ve broken that constraint but there’s no checkpoint here.

In any case, that was it. Interestingly though I found the album Hollow Bones by chance or by how I usually find music and that’s through the recommended on iTunes. I actually do usually judge an album by it’s cover and this one is cool. It has what could be an arctic fox on the front. I’ll put a pic in here.

[Edit 22-02-19: Nice vape, yo.]

I found this album from the recommended in Victorious by Wolfmother. That album gives me nostalgia (what doesn’t?) for a few years ago. It was when I was in the grip of psychosis I think (That’s brave? Don’t post this) I thought I was in a TV show or something. I can’t be the only one to ever have felt this way… Derren Brown more specifically anyway. That’s all over with now. I wasn’t it turns out. I thought the music was a message to me directly as if created for me… I know it’s or may be narcissistic of me. Anyway I tried to listen and applied the lyrics to my life… ANYWAY… I guess I finish this by linking a Jack White video: “Let the music tell you what to do” I haven’t even watched it yet. I will now but alas we are at the end of another Tumblr. I look forward to working with you again friend… The Internet. My name’s Waldowsky (with a ‘y’ why? for now) and thank you to every single one of you who read. My hand hurts (Stop complaining, Andrew).

Just watched it. Well I was going to say I can write a bunch and keep it all. I hardly delete anything. I’ll link Death Letter too… I really love that track. Curiouser and curiouser, I just realised it’s from De Stijl… what a coincidence that he should mention that song.

[Final Edit 20-02-19: A lot of this made no fucking sense.]

[Final Final Edit 22-02-19 or P.S.: The app was called Wisdo. Still haven’t tried it yet.]

Links

Wisdo

Hitman: Blood Money Soundtrack [Edit 22-02-19: I nearly forgot to add this. I need to find a soundtrack for Metal Gear Solid too. I have some music from that game, so don’t you worry.]

Hollow Bones - Rival Sons

Victorious - Wolfmother

Jack White - Speech: "Let the music tell you what to do" | Producers & Engineers Honoree | GRAMMYS

Bonus

Bonus Bonus [Edit 22-02-19: There ya go.]

[themusicenthusiast]

Saturday, December 8th, 2018 – Myles Kennedy and Co. Treat Fans to an Expansive Set as the Year of the Tiger Tour Rolls Through Dallas

Photos by Jordan Buford Photography 2018 has been a banner year for Myles Kennedy, who has continued to build upon the illustrious career he has had by getting back in touch with his roots. Best known as the lead vocalist of Alter Bridge and his collaborations with Slash in the form of Slash feat. Myles Kennedy and The Conspirators as well as some other projects Kennedy has positioned himself as arguably one of the most respected vocalists currently in the business. However, solo artist had never really officially been added to that juggling act – despite a planned album a few years ago that was ultimately shelved. It wasn’t until earlier in the year with the release of Year of the Tiger that Kennedy finally made his foray into that territory, an undertaking that was highly praised by fans and critics alike. His tour earlier in the year was a largely sold-out endeavor, loyal fans proving how much they enjoyed Kennedy and his works as they attended concerts that saw him performing his most intimate collection of songs to date in a bare-bones fashion, just he and  a guitar. For a while it seemed as if that might be the only run supporting the album, at least until the announcement of another round of the Year of the Tiger Tour, this one performed by Myles Kennedy and Co. Enlisting the help of a couple musicians (including percussionist Zia Uddin, an old band mate from The Mayfield Four era), Kennedy planned to amp things up significantly from his previous tour, providing everyone with a different experience from what they had previously gotten; and the fact that this outing was taking place in more sizable venues meant everyone who wanted the opportunity to see it would have the chance. The Dallas show on this Saturday night was taking place at Canton Hall, a mid-size venue that boasts around a thousand person capacity and was pretty full even before the lone opening act, Walking Papers, took the stage. The Seattle-based outfit made quite the impression on the spectators, their blues inspired brand of rock ‘n’ roll piquing everyone’s interest and they left having won over plenty of new fans in North Texas. There was no doubt about who everyone was there for, though. Many concertgoers sported Alter Bridge shirts, some even already having picked up a Year of the Tiger tour shirt, and all were anxiously waiting for the time that Kennedy and company would take the stage. By the time that happened the place was roughly three-quarters of the way full. The setup was a unique one for Kennedy, a stand with the sheet music placed directly to the left of the center microphone highlighting how out of his element these shows put him. It was used only for reference and even that appeared to be just occasionally, though it was clear many of these songs weren’t second nature to him like those of his longer running projects. Flanked by a bass player and Uddin, the trio hit the stage at 9:16 and promptly set to work on the 80-minute long set that they had planned.

The power trio made quick work of the first handful of songs, the format being more in line with what’s heard on Year of the Tiger, yet they still sounded different in a way. What Kennedy and everyone else accomplished in the studio with that is a remarkable blend of singer-songwriter and rock ‘n’ roll, with a host of other influences seeping in to the tracks as well. Something that is rather bare-bones but still packs a punch. Live, they were supercharged as the delicate nature and in-your-face approach collided with one another, yielding something that was heartfelt and sentimental but also energetic and commanding. “Devil on the Wall” demonstrated that well as it kicked things off. One of the most candid tracks on the album, it at first fit with the searching that it depicts (perhaps best summed up by the final line of the first verse, “…If there is a God, why did he take my father’s soul?”) before exploding into a massive rock number that affirmed that they meant business. Kennedy was as masterful as ever as he launched into the sizzling solo, earning some excited cheers as fans got a solid idea of the wide-ranging set that they were in for.

“Ghost of Shangri La” further proved that, specifically due to the intro it was given, Kennedy reaching for a slide before initiating it. By doing so Kennedy was able to showcase a side of his that’s seldom seen, his prowess as a guitarist growing even more impressive; and what resulted was undeniably country thanks to the twangy sound, yet it was also fused with a compelling mix of blues and soul, subtle as it may have been. It was absolutely gorgeous, that blend sounding more prominent than how it comes across on the recording, adding a new layer of depth to the highly emotional track. Afterwards, the more laid-back demeanor of this set became apparent. Don’t misinterpret that, the trio gave it their all, constantly, however, Kennedy did engage and banter with the onlookers more than is usually seen with his other projects, seeming to relish the more intimate setting. “Give it up…” he began, getting no further before fanfare filled Canton Hall. “Not yet,” he said with smile and chuckling at the strong reaction. It was Walking Papers he was asking everyone to make some noise for; and he chatted a little more with everyone as his band mates disappeared from sight.

Anything that was a cover from his other projects was done solo and acoustic; Kennedy treating the fans to a rendition of Slash feat. Myles Kennedy & The Conspirators’ “Standing in the Sun”. His stripped-down, more tender rendition placed the emphasis squarely on the lyrics, presenting the song in a new light. One of the best songs of the night was “Haunted by Design”. It received a total makeover from what is found on Year of the Tiger, the twangy tones ever present, though it was electrified considerably. “Come on,” Kennedy requested as they hit the bridge, proceeding to clap his hands, successfully getting the bulk of the crowd to join along. It was in the final minutes that the three of them let loose, the track concluding with a soaring guitar solo that was nothing short of epic. “How you guys holding up?! Is everybody good?!” Kennedy asked afterwards as he checked in on everyone, genuinely hoping everyone was enjoying what they were hearing. The cheers that answered his question clearly expressed they were.

Another special moment came when Uddin left his kit, but settled in at the forefront of the stage with a smaller percussive instrument in hand. The drummer remarked how awesome that Deep Ellum was, saying he loved that area of Dallas. That affinity quickly shifted to his band mates, whom he said surprised him by flying his son in from Argentina so he could spend some time with him and see the show. “We go way back. Decades; when dinosaurs roamed,” Kennedy quipped, mentioning The Mayfield Four. The pair briefly revisited those days with a more restrained version of “Eden (Turn the Page)”. For the audience it was just fun to hear something from Kennedy’s past, while he and Uddin reveled in that fleeting nostalgia, savoring those few minutes where it was just them reconnecting with something they had created together. That was the first in a string of covers, which included the lone song of the night that Kennedy had no hand in writing. Iron Maiden’s “The Trooper” brought things back up several notches, the three-piece outfit pulling off that classic heavy metal sound quite well before things were toned back down for some Alter Bridge.

“Watch Over You” was almost expected. At the very least the balled-esque number fit with this format, and it allowed for a quintessential concert moment when Kennedy turned the final chorus over to the audience. “And who is gonna save you when I'm gone? And who'll watch over you when I'm gone?” Their collective voice was loud enough that it was audible; that entire piece being gorgeous beyond words. However, what was really unexpected was the inclusion of “Addicted to Pain”. That former song definitely translates into an acoustic setting. But “Addicted to Pain”, one of the most ferocious tracks in Alter Bridge’s arsenal, not so much. Yet there stood Kennedy performing the song all by himself, portraying another song in a different light as he adjusted the tempo accordingly, and it was stunning. Much of what was left drew from Year of the Tiger – the album being played nearly in its entirety. That included a rousing rendition of “Turning Stones”, which ended by conveying an overwhelmingly triumphant feeling; while the catchy title track of the record ultimately wrapped up the performance. As they hit the interlude Kennedy strolled up towards the edge of the stage, taking it all in as he surveyed the audience, extending one last thank you once it was all said and done and even throwing out a couple of picks to some people. The musicians weren’t gone but a minute or two before returning, answering the chant for an encore that had begun to build.

The most emotionally powerful songs of the night had been saved for last, “Mother” being a blistering number, the passion it exuded meant to portray that the matriarch of a family embodies and the selfless actions they often take. The 10-minute long encore then finished with the longest song from Year of the Tiger, “Love Can Only Heal” offering an inspiring message to patrons. The title says it all, the song practically imploring anyone who might need to hear it to not shut others out, that love is imperative; Kennedy putting every fiber of his being into that one, the sentiment resonating strongly with him and he was more impassioned than he had been all night as they finished what had been a spectacular night. Any fan of Myles Kennedy needs to see one of these shows. In some respects, it took the acclaimed singer and guitarist out of his element. The songs he penned for Year of the Tiger are his most diverse yet, and that was best appreciated in the live environment, where the intricacies are most noticeable. Sure, many of the songs do still possess that rock flare that is frequently associated with Kennedy; and his signature belting – which constantly sounds epic – is a hallmark of these tracks as well, but beyond that there’s so much more depth to them. He approached this solo venture the right way, choosing to explore a new path, his artistry benefitting from the unique material he crafted, standing out from his other projects.

Sonically, the music is utterly compelling, every single track providing something different. The twangy sounding songs may sound out of character but they’re not out of place, instead allowing Kennedy to break out of the mold most see him in and showcase the versatility he’s capable of. That was thoroughly on display this night as he and his band mates tweaked some of this original material, fleshing it out so that it worked even better for the live setting, or the different reinterpretations that Kennedy had prepared for some of the more well-known songs from his career. In the end all of that worked to make him even more impressive, the patrons seeming to be more enamored with Kennedy than they were when they stepped in to Canton Hall this night. Indeed, everyone stuck around until the end, remaining steadfast even as Myles Kennedy and Co. took a gracious final bow, wild cheering and applause letting them know how they had done and ushering the musicians off the stage. It was something special. Something that got more to the core of who Kennedy is as a person; and along with that insight was a legitimate, enthralling show. This leg of the Year of the Tiger tour is nearly over, with dates in Helena, MT, Spokane, WA and Seattle WA on December 13th, 14th and 16th, respectively, being all that’s left. More info on those events can be found HERE. Make a point to see one if you’re in the area, as you’ll be glad you did. And for anyone who doesn’t yet have Year of the Tiger, preview or purchase it in iTUNES or GOOGLE PLAY. Set List: Full Band 1) “Devil on the Wall” 2) “The Great Beyond” 3) “Ghost of Shangri La” Solo 4) “Standing in the Sun” (Slash feat. Myles Kennedy & The Conspirators cover) Full Band 5) “Blind Faith” 6) “Haunted by Design” 7) “Nothing but a Name” Duo 8) “Eden (Turn the Page)” (The Mayfield Four cover) Full Band 9) “The Trooper” (Iron Maiden cover) Solo 10) “Watch Over You” (Alter Bridge cover) 11) “Addicted To Pain” (Alter Bridge cover) Full Band 12) “Turning Stones” Solo 13) “World On Fire” Slash feat. Myles Kennedy & The Conspirators cover) Full Band 14) “One Fine Day” 15) “Year of the Tiger” Encore 16) “Mother” 17) “Love Can Only Heal”

#Myles Kennedy #Myles Kennedy 2018 #Myles Kennedy Dallas #Myles Kennedy The Music Enthusiast #Myles Kennedy Review #Myles Kennedy Show Review #Myles Kennedy Concert Review #Myles Kennedy Jordan Buford Photography #Myles Kennedy and Co. #Myles Kennedy and Co. 2018 #Myles Kennedy and Co. Dallas #Myles Kennedy and Co. The Music Enthusiast #Myles Kennedy and Co. Review #Myles Kennedy and Co. Show Review #Myles Kennedy and Co. Concert Review #The Music Enthusiast #2018 #Dallas #Texas #DFW #Deep Ellum #Canton Hall #Zia Uddin #Jordan Buford Photography #Dallas Music Blog #Texas Music Blog #Review #Concert Review #Year of the Tiger #Year of the Tiger Tour

[vnshkk]

SUKEKIYO [2017.06.27 - Kyo and YUCHI interview]

Explosive force , an inquisitive spirit and everything thereafter.

Part 1 of Kyo and Yuchi’s interview for spice. 

Sukekiyo, a band lead by Dir en grey’s vocalist Kyo, have just released their new sound and visual image collection 『ADORATIO』

With an explosive force to the point where it will surely be thought of as going to extremes, those extremes only serve to give even more power to the musical composition. This is surely a piece work that can be said to be pushing this band's potential forward.

“From the start with Sukekiyo, I always hated not being able to do something the very instant  I decide to do it. It’s not a case of can or cannot, I want to ascertain how I feel. “  - Kyo

The release of ADORATIO, is not an album but a “sound and visual image collection”,  The way it was executed in terms of a work of art has a strong colour that suits Sukekiyo.

Kyo: I sort of feel like,  ‘mini album’ or ‘album’, those kinds of ‘expressing oneself on the surface’ titles don’t have that much worth to them these days. For the age we’re living in they’re kinda, outdated. I’m also not really fond of the process wherein it’s not a case of we made it take form in this way but rather we made our work into a product and then a Blu-ray was whacked on there as a special bonus. That wasn’t the case, it was more like wanting to exhibit something, a feeling of   “let's gather up everything into one piece of work!”

So in a way, It was a case of wanting to make the piece of work hold even more significance? So, with that in mind,  in more concrete terms, just what kind of worldview were you trying to express this time around?

Kyo: I'm not really sure exactly when Sukekiyo’s new world view came to be but, it was a case of taking those unconventional parts and making them more unconventional, then incorporating a more digital element into it. There was a vague feeling of not really having heard that kind of ‘digitized unconventional sound’ and if Sukekiyo were to attempt something like that, how would it turn out? And so, that was the starting point that really made everyone think, “I wanna try out something like this!”

YUCHI: Which is exactly why the start really was just us groping around in the dark. That kind of ‘dance music you can dance to’ really would be more suited to a song with a brighter temperament, but if Sukekiyo were to attempt something like that wouldn’t the result just turn into something completely different? Simply, as I had always been a fan of digital music from the start, it was a case of Kyo san and I having a discussion whilst sharing more concrete ideas and so, we were able to continue.

An understanding of the unconventional versus the digital. Certainly, during your performance for the 3 band tour Merry hosted (March 21st Shinjuku ReNY) I received quite a shock when I saw Kyo san using the Kaoss pad, I thought “Whats going on?!”

Kyo: About that, during the first day of the tour in Osaka, I just suddenly said, “I wanna do it”. Even though prior to that point I had never so much as even touched one before.

What?! The day of the live?!

YUCHI: Yeah, (haha) Originally we did talk about wanting to use some kind of equipment during a show at some point though.

Kyo: However, even after going to 3 to 4 different places in Osaka we couldn’t find the equipment. Then it became a case of, if it's a shop in Nagoya will we make it on time? And so we got it from Nagoya. If it had been a case of wanting to do it way back before Osaka I would have prepared it beforehand but I realised I wanted to do it on the day of the live so I couldn’t do it in time.

YUCHI:  Kyo is the type that the second he thinks “Today I wanna try this” he does it. For example, deciding to do a new song before the lyrics or anything is even complete, but it's thanks to that, that during lives I'm now able to exhibit this power of wanting to try something new and exciting.

Even so, it’s incredible you can do something like that.

Kyo: From the very start with Sukekiyo, I always hated not being able to do something the very instant I decide to do it. For example there are those types, aren’t there? Who say they wanna start skiing or tennis, but then hesitate because you gotta wear the right clothes, you gotta buy the right equipment, and in the end spend years not even doing it. I really can’t stand those types who are just all talk. They’re gross to even look at! Just like, it has nothing to do with can or cannot, just go there, give it a try and figure out by yourself whether or not you’re good at it.

When you actually went out and gave it a go, how did you find it?

Kyo: Nah, I just thought “this is cool” It was interesting, doing something like that made it feel like a fresh new version of myself.

Wow. I had thought it must be a case of you having completely finished the song and then performing it, but that's completely wrong isn’t it?

Kyo: It wasn’t even remotely finished was it?

YUCHI: To be honest, it was an experiment. We had the songs prototype, so to speak, the bare bones but, there was a sense of wanting to actually just give it a go during the atmosphere of a live. By doing so you end up noticing a lot of things about the song! By allowing a song to grow during a live and developing that version of it that is stripped down of any unnecessary waste, once you record it, it reaches completion naturally whilst retaining that old indies band feel we wanted.

Kyo: When doing a tour because you’ve released music, the completion comes once you reach the end of the tour, but to be honest I like recording once the live is over. I'm a band man. This time around at the oneman tour, before the various artist live with merry, we were allowed to play new songs and I was happy were able to record a sound that had been polished and worked out during the live. We didn’t perform it at the live but, the arrangements in 「純朴、無垢であろうが」were also made during rehearsal. Making music with that feeling where it’s almost like being in band for the first time all over again. No pre-existing rules, just “Well let’s give it a bash!” I really love that kind of feeling.

So did you use the kaoss pad during recording too?

Kyo: nope, that arrangement is for live performances so it wasn’t used during recording. We just added in the theremin. I’d been wanting to do it for ages, when I said “I proper wanna use it during the live for one of the songs” I got a message from UTA (guitar) saying “Let’s add the theremin in on the 10th track 「嬲り」” So I was like “ooh ok!” and then UTA said, “Put it from so and so second to so and so second please.”

YUCHI: True! True! That's what happened! (haha)

Kyo: And like me right, I’ve never touched an instrument in my life, so of course I dunno how to properly follow the code. And like, all he says is “add it in” ?! Like, “something noisy” or like “Something quiet” Something like that, but he didn’t tell me anything! Since I had no other option I just had a go at messing about with the theremin and recorded loads of takes at home then sent them to UTA. But, even without all that, this song was a difficult labor.

But, the evolution of Sukekiyo’s song seems so perplexing and profound that all of the songs sound as if they were a difficult labor.

Kyo: I’m already numb to that side of things. Even if I make a song with the intention of it being completely insane when I listen back to it I’m like “oh...it’s normal...”

YUCHI: On the contrary, this time around the thing we were most conscious of was the idea of simplicity. Of course, at a glance, the album looks intense, there's almost these sort of destructively devastating parts but we kept in mind it's structure and the story itself, in order to make it simple.

Kyo: In regards to the songs on this album, I wanted to make them as simple as possible, so I reduced a lot of parts and elements. I’m the kind of person who keeps trying to cram more and more into a song,  so I wanted to stop that as soon as possible. Then once I listened back to the sound, it was actually quite deep and profound, which made me think that even if it's not something difficult it's still possible to convey a particular atmosphere.

If you were to compare it to a film, it's like a scene free from the clutter of the actors lines, simply stood in an atmospheric place, that's what we wanted to draw out.

So that's why the performance itself is relatively long in length? Even the sound itself is painting a picture.

YUCHI: Although Kyo san is the kind of person who is infinitely able to put a melody to absolutely anything and everything, this time he held back. We cut out some of the pre-existing melodies from the demos and it's thanks to that we had a sense of being able to up the pace more than before. As well as songs like 「純朴、無垢であろうが」and 「マニエリスムな冷たい葬列者」those kinds of songs, with a strong digital colour, the way Kyo san sang them was an approach I had never heard before.

Kyo: UTA said something about「マニエリスムな冷たい葬列者」too, he was like “The hook… it’s pretty good isn’t it.”

YUCHI: Sometimes he’ll suddenly be like “This is awesome!” (haha). Songs are often re-recorded, and so I wonder if, within Kyo,  by doing so, it becomes closer to the nuance he intends it? For 「死霊のアリアナ」didnt you record 8 different takes?

Kyo: Yeah. It’s probably such a small level of change to the point where you’d be like “where is it even different??”

When I feel as if I haven’t properly attained the protagonists feelings I have a go at changing around the ending of the sentences.

With lyrics that constantly arouse and stir up your imagination, making one wonder just what story will unfold here, I understand your urge to pin down the nuance of the song.

Kyo: Each individual song gives the feeling as if it can be turned into a film only, the protagonist would lose their mind… and then generally, die. (haha)

Actually, come to think of it, aren’t the protagonists female?

Kyo: Indeed they are. Sukekiyo’s lead protagonist is a female. That element is something which naturally came to be but also something that keeps it completely separate from DIR EN GREY.

Particularly when listening to the song 「死霊のアリアナ」it brings to mind the story of the couple watching 『死霊のはらわた』(The Evil Dead), or rather… the feelings of a girl being forced to watch it by her boyfriend?

YUCHI: But, it there’s an incredible reality to Kyo san’s singing isn't there? Even though it’s like he’s losing his mind it's not as if he's singing about some far away world. Which is why on the contrary you feel the possibly that maybe reality is crazy.

In a sense, Kyo san himself isn’t losing his mind, but rather the dark, twisted parts hidden away by the world are being dug up and this is something you must be conscious of?

Kyo: Ah, yes, exactly that. Consciousness! Oh, by the way, during the phases of 「死霊のアリアナ」pre-production, Takumi played the bass and YUCHI did something completely different, so I suggested to him earlier, “What if Takumi was to play bass during the live?”

YUCHI: Yeah, I think that's an interesting idea.

The 13 tales that make up this story are bound together with the title 『ADORATIO』however,『IMMORTALIS』（First album, released April 2014）、『VITIUM』（First mini album, released February 2015）、「ANIMA」（First single, realease April 2016 ）there is is continiuantion of Latin titles isn’t there?

Kyo: It was decided that the titles to Sukekiyo’s sound would be in latin. Personally, I really dislike it when you line albums up and the titles look like they’re all over the place.

YUCHI: Yeah, I know what you mean. I want to line them up so that they’re all neat like the spines of manga books.

Kyo: Right! I guess that’s what happens when you’re born in the Dragon ball era. (haha)

I particularly want those of you who bought the tour version of the CD to have a go and line them up. You’ll see how the band's name and title all neatly line up.

*I’ll post part 2 when my eyes stop bleeding*

Kaoss pad*

#Sukekiyo #kyo #yuchi #adoratio #interview #translation #i love them both #they're such a married couple #CAN YOU TELL HOW MUCH YUCHI LOOK UP TO HIS SENPAI??? #SHOUT OUT TO MY BOY TEFU FOR PROOF READING

[deadcactuswalking]

REVIEWING THE CHARTS: 7th April 2019 (Billie Eilish, Lil Nas X, Ariana Grande)

We actually have a pretty busy week to cover today, with five new arrivals, one of which is in the top five, another of which is a total meme that just hit #1 in the States. There’s also a tragedy less lighthearted we’ll have to talk about, but for now, let’s discuss the top 10, because there’s been somewhat of a shake up.

Top 10

That shake-up isn’t going to affect Lewis Capaldi still at the top of the charts for a sixth week, as “Someone You Loved” continues its reign. I hope it gets overthrown pretty quickly because the song is pretty painful on its own and it does not bear well with me after the overplay.

Our shake-up starts just at the runner-up spot, however, as from her worldwide #1 album, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, debuting at number-two is “bad guy”, her fourth UK Top 40 hit, second Top 10 and first ever top five. We’ll talk more about it later.

This means that Rag ‘n’ Bone Man and Calvin Harris’ “Giant” is down one space to number-three.

Tom Walker was hit with an identical loss, with “Just You and I” down to number-four...

...as was “Sucker” by Jonas Brothers, also down to number-five.

Thanks to the album, “bury a friend” by Billie Eilish had a large boost up 14 positions to number-six, which is a new peak after its debut at number-seven.

Speaking of number-seven, Dave’s “Location” featuring Burna Boy is down one spot this week.

Steel Banglez’s “Fashion Week” with AJ Tracey and Mo Stack doesn’t suffer nearly as much as I thought it would this week, just moving down one position to number-eight off the debut.

Ariana Grande, the only real competition for Billie Eilish within the top 10, seems to have been hit more than anything else here, as her song “break up with your girlfriend, i’m bored” has been pushed down four spots to number-nine.

Finally, we have “Piece of Your Heart” by MEDUZA and Goodboys rapidly moves up the charts, up a whopping 22 spaces this week to #10, becoming each artists’ first top 10. I don’t know why, but I’m not necessarily complaining, it’s a good song, I’m just kind of confused about its incredible boost in popularity this week, maybe a commercial placement. That seems to help a lot of these EDM tracks from relative nobodies rack up chart points.

Climbers

There are literally no climbers outside of the two already discussed in the top 10.

Fallers

On the other hand... sigh, let’s sort this by genre as I try to do whenever we have a massive amount of losses.

In pop and dance, “Walk Me Home” by P!nk was walked down five hills to its home at #14, “Don’t Feel Like Crying” by Sigrid is also down five to #18, as is “Don’t Call Me Up” by Mabel at #21, while “Dancing with a Stranger” by Sam Smith and Normani is down six to #27. Ariana Grande’s “7 rings” also continues its fall down nine to #38.

In hip-hop and R&B, NSG and Tion Wayne’s “Options” is down seven to #17, “Wow.” by Post Malone exits the top 20 finally, down five to #22, “Disaster” by Dave featuring J Hus loses album release steam down eight to #23 (as does “Streatham”, also by Dave, down 11 to #33), “Keisha & Becky” by Russ splash and Tion Wayne is down six to #25 off the debut and “Please Me” by Bruno Mars and Cardi B is down seven to #32.

Dropouts & Returning Entries

“Nights Like This” by Kehlani featuring Ty Dolla $ign is out from #33, “Kitchen Kings” by D-Block Europe is out from #34, “Think About Us” by Little Mix featuring Ty Dolla $ign is out from #35, “MIDDLE CHILD” by J. Cole is out from #36 due to cuts to its streams’ importance on its chart placement, “Sunflower” by Post Malone and Swae Lee is out from #37 and “How it Is” by Roddy Ricch, Chip and Yxng Bane featuring the Plug is out from #40. Good riddance.

Also, Billie Eilish’s “wish you were gay” returned to #13, reaching the top 20 at a new peak. Since this is the lowest Eilish song on the chart and it was released prior, that means there is no album bomb from Eilish; this, “bury a friend” and “bad guy” are the highest-performing songs and that’s all the UK chart allows.

IN MEMORIAM

On March 31st, 2019, a man named Ermias Joseph Asghedom was shot six times in the parking lot of his own clothing store, once in the head. Approximately 30 minutes after he was transported to the hospital, he was pronounced dead. That man was Grammy-nominated rapper Nipsey Hussle, murdered fresh off of the release of both his single “Racks in the Middle” with Roddy Ricch and Hit-Boy as well as his album, Victory Lap, which had failed to grab the Best Rap Album Grammy Award the month prior, having his life at the peak of his career cut short unjustly by gang violence which he had since made incredible efforts to put in the past and distance himself from, making positive and charitable contributions to his hometown ever since, to the point where the Crenshaw and Slauson intersection has been named Nipsey Hussle Square in his honour. His memorial service has been held today, April 11th, and he’s since been buried, at only 33 years old, leaving two children from a long-term relationship with Lauren London behind to carry his legacy. While I was not amazed with Victory Lap, I thought I’d discuss one of my favourite tracks from his last ever record released in his lifetime.

“Dedication” – Nipsey Hussle featuring Kendrick Lamar

Produced by Mike & Keys, Rance and MyGuyMars – Peaked at #93 in the US

First off, this oily beat is pretty beautiful, with reversed and manipulated soulful vocal samples backing some really slick keys and piano loops, giving off a great West Coast vibe that was Nipsey’s signature style. Nipsey’s first verse is an intense way of introducing the listener to the subject matter, with an intricate depiction of Nipsey’s life as a youth trapped in the ghetto, with a nice beat switch-up in the last few bars. The short chorus is barely a hook, but Nipsey gives a surprisingly great singing performance on the track, and it has a drop of sorts where Alexandria Dopson and Garren Edwards show off some vocal power in the midst of Nipsey’s frustrated grunt-screams, which I like to think are representative of how he felt when he thought he could never make it out of the streets, but the chorus is about how he finally broke himself free of its chains – dedication, hard work plus patience, invoking imagery of the abolishment of slavery used as wordplay throughout Nipsey’s third verse. Kendrick’s great albeit oddly-mixed verse references his come-up as well, but also the death of his grandmother how when he was suggested to make a song with Nipsey Hussle because of how they were both Crips, he responded by emphasising how he’s not just a gang member, but a man too, and after his death and some of the negative comments I have seen about Nipsey mentioning his past, is a stronger message than ever. The best part of the track is when Kendrick’s verse is interrupted by some 808 stabs, and the instrumental transforms into a semi-chopped and screwed shell of what it was, with echoing vocals from Dopson fading out before Kenny comes and sings in a janky flow that is trippy yet also pretty elegant and makes sense considering how it transitions from Nipsey and Kendrick talking about their history in gangs and Nipsey’s final verse about how satisfied he is with how his music, or what he says are is spirituals, have brought him into fame and luxurious life after about 30 years of barely making it by. I love the line where he references not only his friend YG’s album but the popular local saying, “Stay dangerous”, as he was educated by the hood into believing that he had to be feared to be safe, as well as his bars about how him owning his own masters is his way of abolishing what had shackled him as a teenager and as a young adult. The song ends with another repetition of the anthemic hook as a book-end, as we are treated to a relaxed instrumental featuring piano melodies layered on top of each other and Nipsey laughing in joy as he’s finally “Made it out”, with sound effects of dogs barking and general civilian life surrounding the melodic finish to a fantastic song.

This the remedy, the separation / 2Pac of my generation, blue pill in the f***in’ Matrix / Red rose in the grey pavement / Young black n***a trapped and he can’t change it

RIP Nipsey Hussle, August 15th 1985 – March 31st, 2019.

Now, on a lighter note...

NEW ARRIVALS

#40 – “MONOPOLY” – Ariana Grande and Victoria Monét

Produced by Social House and Tim Suby – Peaked at #6 in New Zealand and #70 in the US

Why Ariana Grande seemed it fit to release this song as a non-album single on Monday, I’ll never know, but I’m not going to blag on about that as Grande released this single and its amateurish video as seemingly a joke, right? It was on April Fools, and was coined “a treat for the fans”, with a video that had a budget of less than $10, as well as being both sonically and visually meme-heavy, so I don’t think it should be taken any seriously and rather just as a fun celebration of Grande’s success, featuring rap verses from her lead songwriter and best friend for some reason. It’s Grande’s 20th Top 40 hit over here and Victoria Monét’s first ever credited appearance on the Top 40, and you can tell their level of success by just their performances on this song, as Grande gets to show off the vocal prowess and is provided with both the intro and outro as well as all the multi-layering, while Monét’s expressions of her personality are relegated to the singular actual rap verse (Which she still shares with Grande) and Auto-Tuned ad-libs that are literally just sped-up sentences, as well as a messy Nutty Professor reference. The beat is pretty lightweight, with a couple vocal samples and cloudy synths hidden behind a trap skitter, but it’s fitting to back the nonsensical lyrics here, all of which only work because of the charisma the girls ooze from their vocals, despite the imbalanced vocal production. And, yeah, the lyrics here are awful, as expected. First of all, the refrain/pre-chorus rhymes “Where you been?” with itself three times, barely fitting the lyrics into the meter by scrambling the word “GPS” into a Twista-like chopper flow for like a second until going back to the droning, saccharine delivery. Let’s look at some highlights.

Bad vibes, get off of me / Outta here with that f***ery

Sorry, I just love the visual in the music video of Monét and Grande literally swatting away the “F***ery”, it’s pretty cute.

I swerve both ways, dichotomy / I like women and men

This painful, forced reference to Monét’s bisexuality is so blunt and to the point that when Grande says it, it’s hilarious. Imagine coming out in a loosie trap single that barely counts as a song and not an interlude. I do kind of like how straightforward the line is, to be honest, it’s almost anthemic... maybe I’m thinking too much into this.

Then we hit the bank, making dumb investments, for the win

“For the win”? I didn’t expect a song saying, “For the win” to make the Top 40 ever, but, sure, let’s roll with it. What does Ari say?

And if they try come stopping me, I’ll show them my discography (Yeah, yeah)

Okay, that’s kinda clever—

Even though we gave up that 90%, for the win, go!

Nevermind, they said, “For the win”, again.

This been buildin’ up, I guess this friendship like Home Depot

Yeah, nope. Next song.

#39 – “Old Town Road” – Lil Nas X

Produced by YoungKio, Trent Reznor and Atticus Ross – Peaked at #1 in the US

Oh, great, another meme song. Well, at least I can say this – where were you when a country-trap fusion from a former Twitter comedian turned rapper that samples a Nine Inch Nails guitar loop and was later remixed by Billy Ray Friggin’ Cyrus became the most popular song in the entirety of Northern America thanks to TikTok memes and a racism scandal? The whole situation is so loony to me, but I respect Lil Nas X and YoungKio for being so relaxed and chill about the whole fiasco, especially when it started getting bigger and bigger, becoming the shortest number-one song in America since 1963, with a runtime of only one minute and 54 seconds, disregarding the remix of course. Is it a country song? I mean, obviously, it’s a country rap song, nobody’s arguing that, and that’s got country in its name so yeah, in my opinion, if Nelly and Tim McGraw count when they released what was essentially an R&B song, this counts, even if it’s essentially just a trap song about horses. It actually paints a pretty interesting lone cowboy story inspired by Red Dead Redemption 2 but, who cares? It’s a meme, alright, and for now it’s pretty funny. It’s got a really catchy hook/intro, with an effective refrain as well as verses that much like “MONOPOLY”, were probably written in less than five minutes but they work, and that’s all that really matters. I like how his voice sounds in the muffled outro, but really, there’s not much to it. It’s a fun beat with a great sample that Billy Ray Cyrus takes advantage of entirely and bodies. His flow is stiff but so is the stunted beat so it fits together quite nicely, and the additional choruses add some needed meat to the track, as does the banjo and the whistling at the tail-end of the outro... but we’re not judging the remix just yet, and on its own merits, “Old Town Road” is nothing all too special.

#26 – “Better Man” – Westlife

Produced by Steve Mac – Peaked at #2 in Scotland

Westlife released a second single in 2019, after their last single three months back debuted in the Top 20 and did insanely well in radio and sales... in 2019. This new single, produced by Steve Mac, has an orchestral version, and is set to be on their new album Spectrum which was announced to be released on 6th September, 2019. This new single is their second to reach the Top 40 in 2019. It nearly peaked at the top spot in Scotland, in 2019, and has had success all over Britain in the week of release, which may I add, was in March 2019. I refuse to believe Westlife will have a resurgence in 2019, and although I mostly believe that charts are ran by impressionable teenagers, this proves that Mom-pop is safe in the midst of the new British trap-rappers who talk about murder and drug trafficking, and of course Gothic art pop starlets that aren’t even old enough to drink yet... and I’m not here for it. No, the orchestral version is not better, get this manufactured waste of time off the charts.

#19 – “Your Mrs” – JAY1

Produced by Coolie

So, just as I was actually starting to lighten up on British trap-rap – seriously, Tion Wayne’s stuff, especially “Options”, has been growing on me immensely and I loved Dave’s debut studio album – this  comes out and debuts in the top 20, and it’s bloody awful. It’s literally one piano chord. It’s literally ONE. FREAKING. PIANO CHORD. Through the whole song. There’s a trap skitter as well after the beat doesn’t transition to the drop after its intro and instead just fades out with a cheap pitch-shift effect, until we get to a developed version of the beat, and by that I mean it has two annoying high-pitched beep sounds and a bass that clips through the mix thanks to the vocals that are louder than everything else. For the most part it feels like it’s just JAY1 rapping over a hi-hat, and to be fair, that’s what most of it is. It’s not menacing, of course, because even if it was, literally in the first bar of the song, he’s joking. He won’t actually be luxurious enough to take your missus, as he says, and would rather just let the women watch him, I guess. He’s not interesting, and although there switch-ups to the instrumental that help make it more interesting, the more stretched-out flows he uses are absolutely painful. The subject matter is nonexistent, apparently he has an Australian side chick and NAV helps transport his cocaine. Oh, but do you hear that? There’s a flute... no, seriously, can you hear it? Because I can’t, really, I mean it’s just a pathetic loop probably stolen from some Creative Commons musician that somehow ended up in an official release, and it doesn’t last long. It comes back in the third chorus, where he’s multi-tracked with a pitched-down vocal and this would actually be menacing if he wasn’t just talking about how his girl has a big butt. If that voice was whispering about cold-blooded murder, then this song would be awesome... but it’s not. It’s weak flexing and bragging with a nonexistent beat from an incredibly uninteresting dude who doesn’t know to mix his bass properly. I hope to see this gone quickly, because this is dreadful.

#2 – “bad guy” – Billie Eilish

Produced by FINNEAS – Peaked at #1 in Australia, Canada, Czech Republic, New Zealand, Norway and Slovakia, and #7 in the US

This is the big #2 debut, the one I’m supposed to care about most, but mostly I’m just feeling lukewarm on both the big single and Eilish’s album as a whole, which felt structure-less and lacking of much substance as she gets wrapped in her own metaphors. This new song has got a vivid, shocking and quirky video, but Dave Meyers stole it from an indie magazine called Toilet Paper’s photo shoot so I suppose that has helped this song increase in popularity – nothing like some good controversy. The dark, bass-heavy and reverb-drowned groove here is actually really nice, and I love Billie’s vocal melody, especially when it’s multi-tracked with the fake finger-snaps in the background that are incredibly flat, and that bassline when it hits in the chorus is insane. The lyrics are kind of funny if anything, as Eilish references her melodramatic, emo image as she claims herself to be a “make-your-momma-sad, might-seduce-your-dad type”, priding herself in the cynical bad guy personality among pop music’s cutesy stylings we’ve been accustomed to. The eerie flute-like synth melody is pretty creepy and I love how it takes itself way too seriously despite the lyrics that are basically just Eilish being an edgy teenager, even with a post-chorus where she says, “Duh”, in a deadbeat manner followed by high-pitched gliding chopped-up vocal samples, and it’s all good, right? But then there’s a beat switch that just doesn’t freaking work. The pause from the original beat lasts way too long, so the transition feels incredibly forced, and the trap breakdown/drop means the song loses all momentum, especially with that annoying bird chirping sound that starts it off. There’s no real transition here, so Eilish’s offbeat delivery isn’t interesting and endearing, just kind of janky, with the whispering not being creepy but forced and tryhard. Without the drop, this’d be pretty cool though.

Conclusion

Wow, what a mixed week. Sadly, I can’t give Best of the Week to “Dedication”, so it goes to Lil Nas X for “Old Town Road” because it’s probably the most fun song here, with Ariana Grande and Victoria Monét snatching Honourable Mention for the so-bad-it’s-good mess, “MONOPOLY”. Worst of the Week should be obvious as it goes to JAY1 for “Your Mrs”, but Dishonourable Mention is harder, so I’ll give it to Westlife for the sake of tradition. See you next week!

[theseventhhex]

RF Shannon Interview

RF Shannon

Photo by Jess Williamson

On ‘Trickster Blues’, their new full length album, RF Shannon take a drastic shift from the long form, pensive desert meditations of their previous record. RF Shannon formed the new music born out of natural and self-imposed boundaries; the final product is an album that lives in the sonic space between desert blues and old school R&B. At times heavy like a jackhammer while maintaining the velvety vocal deliveries of Shane Renfro, the mind behind the band. ‘Trickster Blues’ is an album that embraces the natural indecision surrounding the songwriting process and goes with its gut decision every step of the way. The album is demanding in its immediacy while providing a raw and profound insight to the raw sonic and lyrical landscape Renfro & Co have crafted… We talk to Shane Renfro about the themes he was drawn to, plant medicine and meditation…

TSH: How do you feel your musical outlooks have progressed since the last full-length?

Shane: I feel that I’m learning to distil a lot of the vibrations I want to emit into a more accessible form, which for this album meant a little less musicality and more of a bare-bones approach. It’s like the difference between a poem and a short story; can you whittle it down and convey the weight of a vibration or meaning with less descriptors and narrative? It’s been nice to make a song that even my dad would smoke a joint to and say “hell yeahhhhh”. I wouldn’t call that progress as much as trying something different.

TSH: Were you looking to create something that elicits an array of different emotions this time around?

Shane: Basically, my buddy Jesse Woods met me in Marfa and we hung out for a couple months and demoed the material. We had the time and space to play around with a sound we wanted to get, which just came from living a life we wanted to live. I think the end result feels like a mysterious little ball of light that you can easily hold in your hand, you can let it float around, but you can grasp it if you want to and put it in your cocktail. Not too emotional, just kind of a passing feeling, a liminal state, a glance at the astral plane while you’re doing your taxes.

TSH: What sort of ideas and themes were you mostly delving into with ‘Trickster Blues’?

Shane: Learning to recognise self-sabotage, learning to empathise with people that I think are destroying the planet, embracing the shockwaves of a world that seems to simultaneously be growing more beautiful and more terrifying every moment. The album name ‘Trickster Blues’ came from an intense experience I had while in a ceremony working with San Pedro tea. I feel that during that night I caught a glimpse of the Trickster archetype and it really turned me on to a perspective shift that allowed me to have room in my heart for all these frustrating, conflicting things going on in my life and the world at large. So that’s the main theme, those are the sort of ideas I was working with.

TSH: As a whole what kind of message(s) do you feel underlines the album’s significance?

Shane: On a musical level, I hope it just grooves for people. I have no idea what people like anymore. I think it’s all over the place. Our record is mostly minor-based guitar blues music with a western edge and a touch of psychedelia; it’s just new folk music. When I go back to visit Austin, a lot of my old friends just go to raves now and listen to EDM. I think that’s just fine. I hope people can listen to this album and remember they exist in a PLACE - independent of social media, memes, mob mentality, politics, etc. It’s oneiric, it’s the stuff of dreams, the in-between meaning kind of thoughts and feelings that flow through us when we’re not putting on fronts and chasing ambitions, it’s the simplicity and profundity of simply being human and not getting in the way of that. Because when you get in the way of what you fundamentally are, you create delusion and suffering. You end up caring more about how many followers Taylor Swift has on Instagram than what kind of trees are growing in your back yard. Is that significant? I think so.

TSH: How important is the aspect of sequencing for you?

Shane: My brother and I sit in his truck drinking Coors and listen on repeat deciding what works best, what gives us the most joy. This usually lasts for hours. I feel like sequencing allows songs to be multi-contextual and can lend a whole new power to them. Although Leonard Cohen refers to “the minor fall and major lift” in the context of a song, I think it works with album sequencing too. It’s important; it’s also really fun, although I will say the album is mostly minor falls.

TSH: What sort of feelings were experiencing when you completed this album?

Shane: I felt stoked. We recorded it live; most of the songs were done in one take. It was fast and easy, which felt strange considering that we spent a year recording our previous record. We just rolled with it. We basically all lived together in Lockhart for a few months prior to recording, so the album is like a soundtrack to that. Listening back, of course, I would dive into some of the compositions and expand on them, make them more interesting, smooth out some of the tones, but it’s too late and I’m glad for that.

TSH: Talk us through the ideas behind the track ‘Cold Spell’ and how it entails a complicated scenario…

Shane: The song is about a love triangle, and it is written so that any person involved in the situation could say the lyrics and it would make sense for them. It is about trying to understand the perspectives of all sides at once. That’s something to chew on. It means you can’t really justify or bullshit yourself, you just gotta deal with it all.

TSH: What sort of motivations do you draw on to pen a track like ‘Gates of Paradise’?

Shane: I wrote it in Marfa because I was feeling like life was pretty perfect, yet I still couldn’t shake a lingering sadness. It’s about being in paradise and not finding what you thought you would. It’s about that Illusion - the trance of expectations sabotaging us. It’s another way of dealing with the grass is always greener on the other side paradox and trying to work through that with a useful trance, a penetrative gaze into what’s really going on.

TSH: Does playing live help you to figure out the shape of your songs?

Shane: I would say that up until very recently, it’s the only way I have shaped the songs. I have an idea that I lay out on my phone’s voice memo, then I send it to Jeff (Brother/Drummer) who either digs it or doesn’t, then it goes into rehearsal. Also, I feel that we’ve always been known in Austin as more of a live band, but in the past we recorded these lush arrangements that we couldn’t recreate live. With ‘Trickster Blues’ we just went for it and tracked it (mostly) live to honour that experience. I think lately though, the songs I have been building are more independent of a live setting.

TSH: Outside of music, what strong attachments do you have to non-musical walks of life?

Shane: I like to be outdoors. I’m really fascinated by plant medicine. I need to be outside talking to the water, the hills and the birds. I grieve for a lost sense of wildness in myself and the world. I can’t help it, I just feel it. It makes me angry. I bottle it up and get depressed about it. I’m attached to experiencing wisdom, and exploring knowledge of how to keep a good relationship with earth, spirit and death and all these things we have clearly failed at relating to in a healthy way. That’s what I’m most attached to.

TSH: Do you often meditate still to find some clarity?

Shane: I do and I don’t. I feel that my life itself is pretty clear. My day job is fabricating metal. So when I’m building, it’s like a meditation. Thoughts come and go, I acknowledge them but I’m just stoked to be alive and creating something, and then I get off work and I tend to emails and hang out with my girl and we cook nice simmering meals and burn incense and write songs. I feel my life has become fairly clear. But, you know, when I feel that way, something always comes out of the swamp, something from a long time ago that demands my attention. But then, meditation is all about letting that ride. There are days where I know I need to sit and breathe it out. So, I do and I don’t.

TSH: What is the most gratifying factor in being immersed in the art form of music?

Shane: To be honest it’s the formative stages. It’s being a little tipsy and stoned and digging into a vibe, without thinking, that just soothes the soul. From there, I share it with my brother. It keeps us in constant contact. He has his own plumbing business in Austin. I’m in LA. Can you imagine? If we didn’t have this common link we’d probably grow apart. My favourite thing about making music is making it with my brother and close friends. It keeps us all dreaming together. Apart from that, playing a live show to an attentive and stoked crowd is an energy that can’t be replaced.

TSH: What are your musical intentions as you look ahead?

Shane: Keep it real at all costs. Keep it coming at all costs, there’s no money in it so it’s easy.

RF Shannon - “Had a Revelation”

Cold Spell - Single

#Interview #RF Shannon