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Critiquing From Inside the Box

Many artists have expressed their displeasure (as well as stronger words and feelings) for the music industry in their songs, with varying degrees of directness. But in this arises the question of the efficacy of criticizing from the inside. Can you effectively critique something and create change while participating in it?

I think it depends. What's the goal in making a song about it? Awareness? Change? Corporate bashing? Public Shaming? Any and all of these are possibilities, but as far as any of that actually happening, it is largely up to the artist(s), and the audience.

It is perhaps expected to hear this sort of topic in genres of protest music such as hip hop or punk, and you do. In 1977 the Sex Pistols released their first (and only) studio album, Never Mind the Bollocks Here's the Sex Pistols, which closed with a song bashing the label that first signed them: EMI. The lyrics of the song don't bother hiding the band's distain behind metaphors. Instead they opt for direct attacks, claiming that the company only picked them up for the money and fame they thought the band would bring in, and then dropped them when they realized that the band wasn't putting on an act for the public and weren't going to censor themselves. The whole relationship with EMI lasted all of 3 months, and there's a brief nod to the second record company that picked them up and dropped them within 6 days.

So what's the effect here? Well, there was no real change to the company as far as I can tell, but the Sex Pistols came out the other side of the ordeal on top. They were signed to Virgin Records when the album released, they got to publicly bash the industry suits who tried to hop on the UK's "punk trend" for money, and they got their name and message out in a chart that climbed to number 1 in the UK Albums chart.

But it's not just insurgent music that has taken to commenting on the nature of fame and the music industry. In 1974, Billy Joel released "The Entertainer" on the album Streetlife Serenade, which discussed the passing phenomenon of the pop/popular artist, and how public and industry opinion wavers based on hits. It also stemmed from and comments on how music and variety shows like The Midnight Special felt "like an assembly line, ... like [artists] are all interchangeable." Additionally, lines like "I've got to meet expenses, I got to stay in line," and "It took me years to write it...it was a beautiful song, but it ran too long...so they cut it down to 3:05," discuss the way many artists feel restricted in what they can do personally and musically.

What about here then? Well, the song itself was a hit, off of what was otherwise one of Joel's least successful albums. One he himself said was "half-baked" due to lack of time to write, since he was busy touring to support his previous album. Beyond that, while the criticism is valid, it proved to not be a big issue for Joel himself, who is world-renowned, and who's music is still played and loved to this day. Additionally, despite these criticisms, and a few other industry and societally critical songs, a majority of his songs "fit the mold" as it were.

And, old as this conversation is, it is far from over. Second wave pop-punk band Waterparks released their third album in 2019, on which at least half of the songs talk about many of the same issues, and is aptly named Fandom. What's interesting to me about their approach to these topics is that lyrically they take the approach of earlier punk and socially critical bands in being rather direct, but instrumentally and formally they stick to largely catchy, pop-leaning sounds. I don't think this lessens the impact of their words though. Waterparks still works in diversions from formulaic pop-punk, but even if they didn't, I think making a critical song that sounds like any other jam is entirely the point. To quote Emily Carter from Kerrang in her review of the album, Fandom "tackles its difficult topics with a sense of humor...subtly portraying the light-and-dark nature of modern life in a band."

There are a few favorite songs of mine that demonstrate this well. First, I Miss Having Sex But At Least I Don't Wanna Die Anymore is the perfect example of the aforementioned tongue-in-cheek type of approach to a fairly serious topic. The topic of the song refers to the common phenomenon of anti-depressants lowering libido. The opening lyrics directly address the sense of frustration and exhaustion singer Awsten Knight feels in regard to the common questions and demands from fans and media: "I'm sick of all this/ how'd you get your band name?/ Is that your real first name?/ Can you text/ or can you follow back cuz it's my birthday?"

The other two songs I want to highlight are Watch What Happens Next and War Crimes.

Watch What Happens Next focuses mostly on the industry and how pop-punk bands very often get pigeon-holed, struggle to "make it big" like they want or are expected to, and are under a lot of pressure to sound a certain way by both suits and fans. Lyrics like "Got nothing from our label/bitch, pay me what you owe me/ if you play guitar you can't want things," "All the fans that like us need an easy fucking format...It's a cultural hold-back," and "Can I pay rent?/ sure but not much else/ Can I try new sounds?/ go fuck yourself" are peppered through the verses between a chorus that belts "You wanna hear my art, but only on your terms." All of this over a boppy, catchy riff-heavy instrumental that you can just picture crowds of people jumping to at a concert.

Likewise, War Crimes critiques the façade a lot of bands have to or are told to put up to appear a certain way to the public, while also being expected to partake in "bad shit" behind the scenes. What's interesting to me about this song is the oscillation between the poppy, catchy sound of the chorus, and the heavier, distorted sound under the verses, especially the second verse/bridge. The lyrics of this song are also well worth a read through, with biting words like "I'm forgetting how to hate myself/ I saved my own life," and "So get your coke of my bus/ yeah keep that shit to yourself."

It's not quite clear yet what the impact of Waterparks' critical songs will be. But they have been immensely successful thus far, so I'll be interested to see if their message takes hold.

So, why is this still a conversation? Because of a combination of things likely. Including the "well you're still participating in it so you're complicit," mentality. Which is used in other areas of socio-cultural criticism as well (i.e capitalism), and while understandable is frankly irrelevant for situations like this where it's the only option for many people if they want to have any kind of livelihood. While it's entirely possible that there are hypocritical artists who make industry critiquing pieces for the clout or to be seen in a certain light, it seems the majority have actual grievances.

And it isn't all on the artists. The audience needs to actually pay attention to the lyrics and songs they consume, if this kind of music is going to do anything. It seems like the majority of the response to songs like this is, "yeah that's shitty, good on them for speaking out," in one breath and "it sucks, but that's how the industry is, it needs to change," in the next. But it stops there. Everyone agrees its shitty, and that the way artists are treated by industry execs and fans is beyond less than stellar, but no one really does anything. There's been a push lately with the strange sense of closeness social media can breed between fans and creators, with listeners banding together to back artists calling people out, but we've yet to see much real change. There's also still the issue of people not really looking at musicians as people. It's like people forget they have lives outside of the stage, that they have feelings, that they're fallible. Maybe I'm getting too pedantic, but I think it's worth mentioning.

Regardless, I think songs that make noise like this are important for recognition at the least. And hopefully, as we become a more conscious and caring society, we can actually clear the skeletons out of the closets and make these spaces better.

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Gorillaz: Constructing Legends

Back in 1998, Damon Albarn of nineties britpop band Blur and "Tank Girl" comic co-creator Jamie Hewlett created Gorillaz. A virtual band that came out of what Albarn has reflectively called "a very morbid obsession with the end of the world." Also, the band was reportedly a response to what the co-creators felt was the shallowness of Mtv, and the idolization of music creators and other celebrities. Creating these characters not only allowed for socio-cultural criticism and commentary, but also removed Albarn from the spotlight, and by extension the pressure, toxicity, and fame that comes with being a famous artist.

But simply making the band members was not enough for the duo. In order to create full, and "believable" characters, they crafted an entire backstory with ongoing history, and world for them to be in, one that crosses over with ours. Aside from the original story of how they got together, their story was to be told through the music videos from each album, the band mates' social media accounts, and supplementary media like interviews and books. The music videos were the primary source though, and they divide their lives and career into phases. With the upcoming release of their 8th studio album, Cracker Island in February 2023, the band is well into phase 6: wish you were ear. It is TBD if the new album will be included in this phase or will constitute a new one, but it's likely the latter.

So, who are they?

2-D is the frontman, responsible for keys and vocals, Murdoc Niccals is the bassist, Russel Hobbs is the drummer/percussionist, and Noodle plays guitar (along with a host of other small instruments, and occasionally backup vocals).

Their origin story begins with Murdoc, who can best be described as a caricature of the worst stereotypes about rock stars, and looks primarily human, but with green skin and a long, pointed tongue. His look is a mix of classic rocker meets modern Satanist, with jeans, leather jackets, black clothes, and an upside-down cross necklace being his usual attire. His look has evolved some though, and he appears to be branching out, though the shaggy black, quasi-beatles style haircut has never changed. Murdoc is greedy and indulgent for most of the band's history, with a bad attitude and habit of spending the band's money on a variety of purchases that range from actually sensible to "of course he did".

He had always wanted to have a famous band, and made a deal with a devil to make it so. After making that deal he thought the best way to get what he needed was to drive his car straight into the front window of a music shop, with the intent to steal all of the keyboards. As he did so however, he hit a young man named Stuart Pot, knocking him into a coma and damaging one eye. Sentenced to community service in the form of taking care of the kid, Murdoc later did the only sensible thing: donuts in a parking lot with Stu unbuckled in the back to impress some girls. This led to Stu being thrown through the windshield, which did wake him from his coma, but also damage his other eye. With now two 8-ball fractures (a type of injury where blood pools in the eyes making them look black like a magic 8 ball), Murdoc nicknamed the kid 2-D for the 2 dents in his face, and asked him to front his new band.

2-D, for some reason was ok with joining Murdoc after this, and agreed. 2-D for most of the band's history is skinny, meek, and kinda depressed. He gets bullied by Murdoc a lot, and if we didn't already know it for ourselves, it gets confirmed in phase 5: no unicorns anymore that Murdoc's treatment is a major factor in his general mood. So much so that Noodle thinks he might be possessed because he's so happy, and his eyes look different (white instead of black) during that phase. 2-D's style tends towards a more classic and simple look, aside from his natural spiky blue hair. 2-D and Murdoc both reportedly does a good bit of the writing, but that depends on the album. Additionally, his girlfriend, Paula Cracker was the band's original guitarist, but that ended shortly after discovering she was having an affair with Murdoc.

The incident with Paula occurred after the band acquired their third member, Russel Hobbs. A New York native, Hobbs was moved to Britain for his health and safety after a drive-by shooting killed his friends. Russel says he was saved by his friends that got him into Hip Hop, and so losing them took a toll on him. Even more so since the souls of his friends reportedly took refuge in his body. One particular friend, Del the Funky Homosapien (a real rapper who is still alive), was his main mentor, and in the early years would occasionally manifest out of his body. (see the music video for Clint Eastwood below) The possession by his friends gave Russel "spirit eyes" which are totally whited out. Aside from that, Russel's style tends more towards Hip Hop and streetwear. He himself is a big guy, very capable of messing someone up - as we see in the aftermath of the Paula situation, when Russel breaks Murdoc's nose in 5 places- but he is usually a gentle giant.

Noodle is the fourth member, and she joined at the age of 10, after arriving on the doorstep of Kong Studios (the band's first home base) in a FedEx box the same day Murdoc put an ad in a magazine for a guitarist. She burst out of the box, said one word: Noodle, shredded a solo on the guitar she had with her, and the rest is history. Noodle is from Japan, and initially had amnesia, but during the break the band takes after their first album, she returns to Japan to learn about who she is. In short, she was originally part of super-soldier program that got scrapped, and the lead scientist didn't have the heart to kill her, though she is the only surviving member of that experiment. Noodle's style has changed considerably over the years, but tends to sit comfortably between tomboy and trendy, and very often pays homage in some way to her culture. She is spunky, and also not afraid to take on Murdoc when he's being particularly nasty or stupid. Again, I'll cite evidence from phase 5, when she freezes Murdoc's bank accounts while he's in jail because she believed he had been trafficking drugs. Noodle reportedly wrote most of the band's Sophomore album Demon Days, one of their most successful records, before reuniting with the rest of the group to finish it for release in 2005.

The band has always had an eclectic sound, but they tend to be described as some overlay of pop, rock, hip-hop, and electronica, in various measure depending on the album. And that's one of the things the virtual status of the band affords, there is always a narrative out for creating a completely different sound. First of all, the only human player that has been with the band since the beginning is Albarn. Every other performance has seen different musicians fill the required roles. Additionally, Gorillaz have collaborated with an extremely wide range of artists from all over the world including Snoop Dogg, De La Soul, Danger Mouse, Kalela, Carly Simon, Grace Jones, Jack Black, and Elton John to name a few. But beyond that, they can excuse wild variations in their music by adding more to the characters' saga.

For instance the very different, electronica-heavy sound of their third album, Plastic Beach, was explained by the MIA, presumed dead status of Noodle, her subsequent replacement with a cyborg clone of her created by Murdoc, and the replacement of a missing/absent Russel with a drum machine created from some of his equipment, also by Murdoc.

Though the band regrouped for 2017 album Humanz, the following 2018 album the Now Now's sound was explained by a switch in bassist, and a focus on 2-D. Why the switch in bassist? Simple, Murdoc was in jail (this time he was supposedly framed, which led to the start of #freethepickle). So, who played bass instead? Ace. Reportedly a friend of both Murdoc and Noodle, and brought onto the album by Noodle.

If he looks familiar, that's because he's the leader of the Gangreen Gang from the Powerpuff Girls. This is not the first time the worlds of Gorillaz and the PPG have been crossed, but it is the most deliberate. The human-world explanation for this likely has to do with the friendship between Hewlett and Craig McCracken, the animator for the PPG.

The effect of this is essentially the blurring of the lines of reality in a really interesting way. Human collaborators have appeared in the otherwise animated world of the videos, and vice versa. They appeared on Mtv Cribs. The live tours have been performed with holograms, screens, and costumes, all in various measure to include the members with the people on stage. There is an implication that, for better or for worse, the worlds humans have created are not that far removed from our own.

Outside of that, it blurs the line between what Gorillaz comment on in their songs. On the one hand, it seems they refer to the fantastical happenings in their world, but it often crosses over allegorically or metaphorically to things going on in ours. This likely comes from the hip-hop and rock/punk influences and collaborators. For instance, Fire Coming Out of a Monkey's Head is an almost entirely narrated song that is very clearly a commentary on colonialism and global climate extorsion. But it still takes place in a fictional setting, with abstracted groups as characters. It is blatant, unusual in form and sound, and yet is still very Gorillaz.

Pac-Man on the other hand, from their most recent album, Sound Machine, is less overt. 2-D appears to be singing about the new Pac-Man machine Murdoc bought for him, and how he relates to the main character. Yet it still functions as an abstract social commentary. Additionally, guest artist ScHoolboy Q's rap is full of a mix of fun wordplay and further social commentary.

I'll leave you with the first single off their new album with the same title: Cracker Island. Which appears to show the band in some kind of trouble, and the re-emerging of Murdoc as a priest of a new cult, because, of course.

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A Sit-down with Speakeasy: New Brunswick Up & Comers Changing up the Scene

Instagram: @speakeasy_nb

Souncloud: speakeasy_nb

Some constructive conversation between songs during practice for their 11/11 set.

Unfortunately, Tumblr won't let me upload more than one video, so I might post some more separately. But I highly encourage y'all to check out Speakeasy.

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Grunge: Putting Seattle's Alternative Scene on the map

The name of this blog comes from 2 main places. The first being that I wanted to discuss a broad scope of the extremely varied music that falls within the alternative genre. The second is that I generally refer to myself as being a part of the larger alternative scene as opposed to any of the specific subcultures, because I'm familiar with, and draw from quite a few of them. With that however comes a lack of full immersion in any of the subcultures I draw from, which, yes, has always bothered me. As such, I invite you to join me as I dive deeper into the history and evolution of one of those scenes: Grunge, or grunge-punk.

The scene started in Seattle, Washington in the 80s, with bands like Mr. Epp and the Calculations, Green River, the Melvins, and Soundgarden. Eventual "face" of the genre, Nirvana, started in the late 80's too, but they and the rest of the bands initially had a different sound than what became popular in the 90s. At its conception, the sound was a more direct fusion of first wave punk and metal sounds, featuring lots of "distortion, feedback, and fuzz effects". Lyrically too, these artists (mostly) pulled from the counter-culture themes in punk and in the city itself. (Seattle was very involved in the hippie movement of the preceding decades, as well as other "outside the norm" groups.) This can be seen especially well in Mr. Epp and the Calculations' Wild Youth On Money.

This sound would begin to change in the 90s as some bands dissolved and others took an interest in going in different directions or became more focused on "making it big", which many of their older fans would probably call "selling out." Nirvana's breakout Nevermind in 1991 was actually a shift towards pop for them. Compare Nirvana's Anorexorcist from 1987 to songs like Come As You Are from 1991.

The origin and attitude surrounding the term "grunge" is debated. Some argue that it started with Mark Arm of Mr. Epp, prior to the band's actual existence, stating that the band was "Pure grunge! Pure noise! Pure shit!" Others claim it came from the record labels like SubPop promoting the music of bands like Green River and Mudhoney, though it still possessed a similar tongue-in-cheek, snarky, self-deprecating essence. While it was likely originally a cheeky inside joke-descriptor that was proudly used by the bands, with the shift in sound and increasing popularity that occurred in the 90s, the attitude towards the term changed. According to some, many bands saw it shift from "descriptor to ultimate promotor," while others saw it as a term used in popular media to codify and incorrectly group basically all the young bands from Seattle at the time without much regard for actual sound or culture. Given the history popular media has with oversimplifying and/or misnaming counter-culture/underground movements that gained traction (see bboying/breaking to break dancing, etc.), I'm more inclined to believe the latter was the majority, particularly among those involved in making the music from the beginning.

Still, as it so often does, the short, popular name stuck, and is still being used. And, whether intentional or not, the promotional aspect of the term took root. The practical, "just what we were wearing anyway" clothes that many of the bands wore became the 'look' or the style associated with the genre. The combat boots, flannels, old clothes, beanies, and longer, kinda greasy hair were not meant to be a statement like the attire of many punk and metal bands had been, but it became one anyway as bands like Nirvana and Pearl Jam gained popularity.

Many of the original artists involved in the scene collaborated and regrouped when bands dissolved or individuals found their interests aligned. For example, Green River (one of the first bands in the scene) split into Mudhoney and Mother Love Bone due to goal differences. In the split, Mother Love Bone picked up Andrew Wood from Malfunkshun, who's unfortunate passing led roommate and Soundgarden vocalist (and rhythm guitarist) Chris Cornell to join them & recruit backup vocalist Eddie Vedder to pay tribute to Wood. The product of that collaboration (known as a supergroup) was called Temple of the Dog, and although Cornell returned to Soundgarden, Vedder ended up joining Mother Love Band which became Mookie Blaylock, and then Pearl Jam. Credit to Jacklyn Grambush at culturetrip.com for detailing that chronology. The point of me sharing all that is 1) I think its a wild ride of events, and 2) it illustrates both the supportive, collaborative side of grunge, and the uneasy pull between fame/success and staying "counter"/"underground" that existed in the scene.

Today, the genre has been expanded to include a variety of artists from the same time, and with a vaguely similar vibe from all over. Bands from outside of Seattle like Stone Temple Pilots and Bush received especially harsh criticism. This does feel rather 'gatekeepy' to me, which I tend to take issue with. However, given how far abstracted the music was and how commodified the term had already become by that point, I do kind of understand the frustration.

In essence, grunge is not necessarily dead, but it has been mutated into something only tangentially related to the original. Whether that is a problem or not I leave for you to decide.

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They're Coming To Take Me Away: The Difference a Cover Can Make

First released in 1966 as a novelty song by Napoleon XIV (Jerry Samuels), They're Coming To Take Me Away shot quickly up and then fell off the charts. It was banned after 5 weeks on the radio, when doctors and mental institutions called in saying it "hurt their image" (Mastropolo, The Riff, 2021). Samuels never intended the song to be serious, and knew from it's conception that it was "a sick joke," (Mastropolo, The Riff, 2021). Indeed it is, the song reads as the raving of a spurned ex-lover who was sent to a mental institution post break-up, presumably for the lyrics that indicate he poses a potential danger to himself and/or this other person.

In 2014, American, female-fronted metal band Butcher Babies released a cover of the song on their Sophomore EP, Uncovered. This cover was performed in their own style of thrash metal, rather than seeking to emulate the original (Scavieli, Classic Rock History, 2016). What's so fascinating to me about this, is how drastically different the cover is from the original, and how that changes the air and mood of the song, while still conveying the core feeling of a dangerous ex-lover.

For reference, the original song has no melody at all. There is a cadence to the phrasing of the lyrics, but they are spoken. Samuels did also use a Variable Frequency Oscillator (VFO) to change the pitch and resonance of his voice, and add an echo to punctuate the end of certain lines (Mastropolo, The Riff, 2021). Other than the vocal line, the only instruments are a steady, looped snare drum, tambourine hits, and a siren effect. This extremely bare bones track feels like Napoleon XIV is talking to you, the listener as if you were the ex. It is personal and creepy, like he left a distorted voicemail on your phone. The tone of voice used in this version also has a Joker-like calmness to it. It's sing-songy and oddly punctuated, but he's not yelling at you (mostly). It's not anger, it's a quiet possessiveness and hatred.

The Butcher Babies cover could not be sonically more different. Thrash metal (or thrash) as a subgenre is typically defined by quick tempos and heavy, repetitive drum patterns (Metal Fandom Wiki). It is generally described within the scene as "heavy", which honestly is probably the best word for it. It tends to be aggressive sounding and loud, with visceral lyrics, pounding musical underlines, and harsh vocals. Butcher Babies are no exception in general and on this record. Where the original has no melody, and sparse instrumentation, this version has a full metal band, with drums, bass guitar, electric guitar, and two vocalists.

Interestingly, vocalists Heidi Shepherd and Carla Harvey still avoid true singing, opting to speak and scream the lyrics. Though this decision is in line with the Napoleon XIV track, the tone of voice used by Shepherd and Harvey when whispering or speaking, and the inclusion of harsh vocals conveys an entirely different energy. In this version, there it is no longer the detached, vaguely ominous, creepy clown smiling at you while they threaten your life vibe. This oscillates between giddy, Harley Quinn-type madness and anger. But its still personal, it's still a threat, just now in a more "grab you by the throat and listen to me" way, to use Scavieli's phrasing. In a way though, it does feel less personal, less directed at the listener, and more directed at some undefined "you" as is the case in other songs. The presence of a full band makes it feel more like a song or a performance than a creepy voicemail.

While there is (to my knowledge) no mechanical vocal oscillation, in the Butcher Babies' version, Shepherd and Harvey do make use of different tones of voice, dynamics, and pitches to similar effect. However, instead of being used to enhance the sense of madness, here it feels like it is used to detail the progression of the narrative. It starts as a whisper, like it's a secret or spoken to themselves, then it builds to a normal volume, and eventually they are screaming at the top of their lungs. At this point they are impassioned, angry, and completely off the rails. Tonally, they switch between accusatory, pointed speech, sarcasm, and drawn out, almost whiny notes. There is a range of emotions the speaker is experiencing, and they can't control them. It's like they can't make up their mind about how they feel towards the ex-lover, and everything is crashing over them at once.

Additionally in this version, there is the isolation of the line "To the fucking funny farm," which does not exist in the original. While it is a lyrical moment, it being singled out forces the listener to focus on that one phrase. All of the underlying music cuts out too, and it is abrupt coming off of the whirlwind chaos of the preceding bridge, and immediately followed by the full band coming back in full swing. I can almost see the big wind up of people in the mosh pit getting ready to jump and headbang as soon as the beat drops.

Speaking of the bridge, there is another break in the music preceding it, which is filled in by laughs and heavy breaths punctuated by rapid triplets of chord and drum hits that could be akin to rapid-fire gunshots. It tells the listener there's a big drop coming. It builds to this with a series of 3 on-beat chords followed by another 3 chords played all on the last beat (as a triplet I think), which reads as 1, 2, 3, 4&a. This leads nicely into the next measure/line, because that "a" is a very unstable place to be, and as such leaves the listener waiting, itching for the drop that starts the bridge.

Butcher Babies keep the steady, driving rhythm in their cover, but give it to the guitar instead of a snare drum, and punctuate the down beats with the bass drum. The instruments change pattern and dynamics to better emphasize various aspects of the vocals, like suspending the riff at the end of certain lines and holding out a note/chord instead, or ramping up during the chorus and bridge. Where the original is unrelenting with the exception of a few pauses, regardless of what the lyrics or sirens are doing, the cover interrupts the steady "dun, da da da da dun, da da da da dun,..." with down stroked power chords, and a full switch in strumming pattern and chords at the bridge.

It's fascinating to me how much difference a few decisions can make in the vibe and reception of a song. And perhaps more fascinating how despite those differences it is a) still recognizable as a cover of the original and b) carries some of the same emotions and sense of peril. Whether you prefer the original calm uneasiness, or the Butcher Babies' full throttle break, I hope you can appreciate the sonic qualities of both, as I do. A Happy Halloween to you all!

[altmusicposting]

Arcane: Intersection of Vibes and Meaning

In 2021, Netflix released an absolute bombshell of an animated show that fleshed out the backstories of some of the Champions (playable characters) of League of Legends from Riot games. As someone who's never played the game, I still enjoyed the show immensely. First of all, the art style is beautiful, and each character is well-crafted in appearance and mannerisms. With a 100% critic score on Rotten Tomatoes, a record sweep of 9 Annies (awards for animated shows), and being the only gaming series to win an Emmy, Arcane shattered expectations. The thing that I loved about it though, was how much there was to it. On the surface, the two main plotlines follow sisters Powder & Vi and inventors/scientists Jayce & Viktor. There is an overall comparison between Piltover, the ridiculously wealthy City of Progress, and its undercity, which has taken on its own name, Zaun. Beyond the obvious though, there is a strong sense of political commentary on wealth, policing, war, economics, and morality. There's so many moral gray areas, and the attention to detail is fantastic. But, this is a post about music.

Needless to say, I was very inspired by the show. In addition to the deeper connotations of the show, the aesthetics and general "vibes" of the show, it's cities, and characters were very strong. I decided to make a playlist that incorporated that duality. One that got you pumped but also got you thinking, as is my style I'm learning. For this assignment, I have linked an abridged version of that playlist (which is about 30 or so songs at this point) that I think gets the bulk of the jist across. I will say, the soundtrack used in the actual show is pretty solid in and of itself, and I recommend you listen to it as well. I did include two of the "official" songs in this mix, but most are just other songs that speak to both the surface and deeper levels of the show. I will say now though, I do focus more on the overall vibes, and the aesthetic of Zaun than of Piltover.

First up is Enemy, by Imagine Dragons ft. JID. This song was used as the title song for the show and honestly covers the feelings of the main characters, Jinx in particular, pretty well. The version used in the intro is the one linked above, and the official music video is linked below (spoiler alert for the video, if you don't know the show). There is also a version done without JID, where his rap is replaced by a bridge, but I personally prefer the version with him. Many of the characters in the show either are forced into, or willingly make decisions that turn them into the enemy in the eyes of someone else, even if they started on the same side. It is upbeat and high energy, but lonely and heartbreaking when you think about it too long, which is honestly fitting.

The second song on the list is Blood//Water by grandson. I don't really remember how I first found this song. It was most likely from one of the mixes Spotify makes for you based on what you listen to. I've listened to a few more of grandson's song since, and I like them all so far. In an interview with Audacity, grandson said "I think as we're confronted with more and more alarming headlines, and more and more of a sense of urgency, I think we all get more tribal." That idea comes through clearly in Arcane, the lines are so clearly drawn, too many mistakes have been made, too many people betrayed, promises broken, and damage done. There are people who still walk those lines and blur them though, which is interesting. The title, of course, also calls to mind the old saying "blood is thicker than water" and the arguments that go with it. Additionally, this song also keeps a high energy, headbangy musicality behind the seriousness of the lyrics (you'll notice a trend here).

Third is Go To War by Nothing More. The lyrics deal with war, obviously, but also trust and love, futility, and why people fight. Yes, this is another upbeat, heavy rock song with hard-hitting lyrics. I promise they're not all like this, but I like that kind of music a lot, and it fits. This fits with the show for reasons previously stated, which I will not repeat for the sake of keeping this moving.

Next is Enough by Ra ft. Dustin Bates of Starset. I found this song because Starset is a favorite band of mine, and I'm pretty sure I listened to their whole discography when I was on my last kick. This one is less energetic, and sounds more tired, like its carrying the weight of its lyrics. There is still passion and energy behind it though, especially during the chorus, because it is an outcry. There is a wondering of when and what will be enough that is mirrored somewhat in the show. However, I think this is moreso supposed to be a sentiment we have as a viewer, something we are brought to by seeing the individual and large-scale struggles in Arcane.

Following that is Mad Hatter by Melanie Martinez. And honestly, it just gave me such intense Jinx vibes I couldn't not include it. Jinx, one of the main characters, goes through a number of traumatic incidents, and suffers a lot of mental and emotional damage from it. She is what would be colloquially referred to as a "crazy" or "insane" character akin possibly to Harley Quinn. With Jinx though it exists in this weird back and forth state where she seems to question or reject her new persona sometimes and fully embrace it in others. This song seems to have that dilemma as well, with the lyrics switching between, "I'm not alarmed/so what if I'm crazy?/All the best people are," and "Doctor, doctor, please listen." There is also the line "poppin' poppin' balloons with guns," which is so very Jinx. The whole song has this very dark, creepy undertone hidden behind a sweet/fun melody, which is also, very Jinx.

Sixth is Daddy Issues by The Neighborhood. Honestly, this is mostly just in there because so many of the characters have trauma and/or problems, especially with regards to their parental/father figures. The refrain of "go ahead and cry little girl...I know that you got daddy issues," is also particularly fitting with Jinx and Vi.

The seventh song is Insane by Black Gryph0n and Baasik. This is actually a fan-made song about the character Alastor from Hazbin Hotel arriving in Hell. I chose to include it though, because I think the way the friendly/jazzy tune contrasts with the rather violent lyrics fits with the energy of the show, especially Jinx. Also, again, the reference to possible insanity. I am also realizing as I write this that a lot of the songs are vibes based on Jinx, which, as she's central to the show is probably fair.

The eighth song is Brittle by Icon for Higher. Oh look, another Jinx song. We are back to high energy rock/alternative songs, this time with lyrics about mental health. There are several moments in the show when Jinx is fighting against being perceived as weak, physically and mentally/emotionally. The lines "Maybe I have a tendency to snap on people telling me/"You fit inside this box we built, we know you better than yourself"/they're lying, they're lying, they're lying," especially evoke Jinx for me. There is also a distinct electronic, staticky element to the music itself that fits with both the steampunk vibe of both halves of the city and the glitchy, dissociative moments Jinx has.

Ninth is W.D.Y.W.F.M by The Neighborhood. The strange acronym stands for What Do You Want From Me, and I can see quite a few of the characters asking that, namely Jinx, Vi, and Jayce, as they are the most displaced in the show, trying to find out what the people in their lives want them to do/be. There is also a questioning of "maybe this is all that I can be," which fits with the themes of identity and station/class, and following lines question who's at fault for what has happened between the subjects in the song. This is another slower (relatively), pleading song. Emotions are at the forefront for this one.

However, in terms of emotional songs, number ten probably has W.D.Y.W.F.M. beat. Ten is It's Alright by Mother Mother. It's a song of reassurance, and understanding that sometimes people make mistakes, big and small. Pretty much all of the main characters need this. Like I said earlier, there is so much trauma, almost everyone needs a hug.

The last song in this abridged playlist is Misfit Toys by Pusha T and Mako. This is the other song from the soundtrack I've included. It is used to properly introduce one of my favorite characters (who I've not talked about yet) Ekko, The Boy Savior. He is working outside of the main adversaries, Piltover and Zaun, to create a more equal and safe community in the undercity. He is from and very much directly affected by the injustices imposed on the citizens of the undercity by Piltover and the heirarchy in Zaun. This song really encapsulates his third-party, justice at all costs angle, and is honestly just a bop.

As a collection, this (and the full playlist) will have you nodding, headbanging, in your feelings, and wanting to tear down the establishment. At least, that's how it makes me feel most of the time. If you find none of those options favorable, it makes a great playlist for working out or just feeling like a badass walking down the street. I hope this made you think about how music often blends making statements with creating a mood.

[altmusicposting]

Chasing Lanternflies: Voices of New Brunswick's Youth

Last Sunday, local non-profit Hidden Gems Literary Emporium (which also doubles as an art gallery) hosted an open mic night that doubled as a launch party for the locally curated zine Chasing Lanternflies. 12 people total performed, mostly people sharing poetry, rap, or short story excerpts they had contributed to the zine.

For those unaware, zines (pronounced "zeens") are small-circulated, self-published works that include writing, art, and sometimes other activity/information/interview pages. They are typically made for and/or by a particular group. They originated among the geek (science & science-fiction) and punk communities, and are traditionally low-budget, and DIY in production and appearance. This zine was a bit more professional looking, but still stayed true to the roots of being of and to a particular audience. The contributor and coordinator, Kenia Hale (seen below on the right) described it as "a love letter or an artifact to the people [she] met here," and wanted to capture what its like to be a young person in this place and time.

In the next few paragraphs, I will review each of the performances, referred to as "acts"; however, I would like to note that regardless of any criticisms I may have, I acknowledge that it takes a rather large amount of chutzpah (courage) to present your work live, especially if you have little experience with it. On the whole the performers did quite well, and the environment was extremely supportive, with loud applause after every act, no matter how short or apprehensive. Additionally, I would like to note that one of the owners and co-founder of Hidden Gems, Kaila Boulware Sykes (seen below on the left), made a point to give each performer a book she specifically chose for them at the end of their reading. Not only do I love this idea, but I think it well illustrates the environment and community that they cultivate at Hidden Gems.

*Note: All name spellings and pronouns are the best I could surmise from introductions, as I did not get to talk with all of the artists*

Act 1: Vivian- Going first for anything can be daunting, and on top of that it appeared that she didn't have much experience reading live. She sped through her piece and was somewhat difficult to understand at times. That being said, her piece was humorous and heartfelt, and I quite enjoyed listening to it.

Act 2: Sydney, stage name: Anja Muse- A very confident speaker, she performed 2 powerful and punchy spoken word/rap style pieces. Themes included black bodies and their relation to themself, self-love and acceptance, and taking back power/voice/love. The pieces themselves made use of rhyme, dry humor, consonance, assonance, and some double entendre. Sydney's delivery was clear, and showed intentional phrasing. Apparently a seasoned performer, she held the audience captive, and even earned a few outbursts of agreement for some lines, which they left space for.

Act 3: Trevon- Performed a spoken word piece that was very solidly grounded in location (New Brunswick) and vivid, concrete imagery. In contrast to this, there is a strong sense of pondering and mental wandering. The performance was good, but not particularly unusual/noteworthy. The writing itself was beautifully aware of sound, with alliteration, consonance, and assonance being prevalent.

Act 4: Gianni- This was more of a quick bit of info about the piece of art she submitted. It was a picture of a mosaic tray she made for her mom's birthday. She mentioned how she wanted to take inspiration from her Hispanic heritage, and shared amusing imagery of having to hide it from her mom while living in the same house. Timid in public speaking and discussing her work, she didn't go into too much detail.

Act 5: Shelly- Wrote a piece for the zine entitled "Flora and the Lanternflies" that was inspired by the zine itself and her friends. She read an abridged version of sorts, but did not give away the whole story. There were sharp transitions between locales that gave the impression of flashing vivid memories interrupting the main character's view of the forest in front of them. There was also an intriguing bit of tension between the innocent/dreamy quality of one setting with the sad and imperfect/harsh quality of the other. Shelly seemed fairly confident in her performance, and made an effort to distinguish this as a live experience by playing a forest soundscape in the background as she read.

Act 0/5.5: Truth, the young toddler son of Kaila was drawing throughout the show, on himself and paper apparently. His on-paper art was shared with us. Mostly abstract scribbles, which makes sense as I think he's about 2-3, but they showed an affinity for color fields that would probably make some abstract artists proud.

Act 6: Isa- The only musical performance of the night. She was going to sing with a backing track, and when it failed opted to just do it acapella. She did so wonderfully, with remarkably accurate pitch and a beautiful natural rasp to her voice. Her vocal style seemed to include some short clipped ends to lines. One of the people who was vocal in her encouragement throughout the night, and someone who spoke loud and clear on stage, it was evident performing was not new to her. This was unsurprising as it was mentioned that she was the singer for the local band Speak Easy. She also had 2 short poems that she shared, one personal and one about climate change. Both were visceral and gritty like her singing, and I personally loved them.

Act 7: Suzie- She read 2 poems, both of which were full of tactile imagery and unusual similes and metaphors. There were clear but dueling narrative voices, one cute/innocent, and one more adult/serious. What I really enjoyed though was that she altered her spoken voice to match the switches in narrative tone, resulting in a sense of embodiment that added greatly to the reading. On a separate note, she also unintentionally/subconsciously dressed like a lanternfly, which didn't really have much bearing on her performance, but was a fun little detail.

Act 8: Fatua- Also read 2 poems, both emotional poems about love and hardships, and assigning meaning to things in life. I regrettably was not able to get down the full first line for her poem "Don't Give Me Flowers", but I remember hearing it and just going "damn that was a good line." For her first time reading her work to a live audience, she did very well. She spoke mostly clearly, and didn't rush through her pieces, taking time to explain a little before reading them.

Act 9: Ianna- She shared a single piece entitled "Ode to Body", and took the time to explain some of her history with the piece, and how it was something she had tattooed onto herself as a physical reminder/manifestation of it. She also asked the audience to close our eyes for her reading so as to pay more attention to our own physicality and presence throughout the performance. She put a lot of passion into her reading, and she had a tendency to draw out the length of some words to emphasize them. It was a clear ode to oneself, one's body, and to owning one's power.

Act 10: Ashambue- A published author, and 3rd generation New Brunswick resident, he read a couple poems/raps from his book "Am I a pessimist?" There was a clear emphasis on rhyme and flow and feeling, with themes focusing on day-to-day struggles of life in America nowadays. The second poem he read had a clear and apt extended metaphor of racism in America as an abusive relationship. Clearly comfortable speaking/performing, he was intentional in his phrasing, and unafraid to talk about his history and experiences.

Act 11: Karim- His pieces focused on themes of masculinity and femininity, life as a queer black man, and loss. He seemed a bit unsure of himself/anxious about performing, but spoke well. His performance voice differed from his normal speaking voice, and had a round, full quality to it that emphasized the gravity of his writing. That combined with his use of even, almost hypnotic cantor, and direct but beautiful language legitimately gave me chills at one point.

Act 12: Kenia- Closing the night, the curator of this whole endeavor shared an excerpt of the short story she submitted to the zine. A speculative fiction piece that centered queer love and the idea of both separated and found families/community, it blended imagination and science beautifully. The general premise seemed simple but interesting, and the scientific aspects seemed well-researched. She was another person who seemed mostly comfortable performing.

Overall, it was a pretty cool night, full of lots of different perspectives and voices of young people in a true Hidden Gem (pun absolutely intended) of a location here in New Brunswick.

[altmusicposting]

Heroes or Cons? Breaking down 21st Century Breakdown

Released on May 15th, 2009, 21st Century Breakdown was Green Day's 8th Studio album, and proof that they had no intention of slowing down or shutting up anytime soon. An 18 track album full of (mostly) under 5-minute bangers that carry a combination of Green Day's tried and true socio-political criticism and their more recent story-driven angle, this disc deserved way more credit than it got.

Unfairly overshadowed by and nearly always discussed in the context of the band's previous album, American Idiot, especially now that we are more than a decade out from its release, Breakdown doesn't get the opportunity to stand on its own, the way it absolutely can. While the concept-album, rock opera style angle was inspired by its predecessor, Breakdown does plenty on its own to differentiate itself and thus I will be speaking in the context of Idiot no further.

Rolling Stone's Rob Sheffield describes the overarching concept of the album as "a Seventies-style epic, telling the story of two young punk lovers [Christian and Gloria, songs according to Rolling Stone] on the run in the wreckage of post-Bush America," who take care of each other because "no one else will." Included and beyond this are themes of technology, stagnation, complacency, disenchantment, hope, and defiance. This can be heard throughout the album through literal means, like the scratchy radio and technical glitch sounds, and both literally and figuratively through Green Day's iconic biting lyricism. As Alternative Press's Scott Heisel says, "Armstrong [front-man, singer, and guitarist] isn't afraid to spit out exactly what he's thinking."

Many of the band's fans cite this album or songs from it as favorites despite its relative underdog status. However, it was not as well received by some critics, like Pitchfork's Jess Harvell, who can, in the nicest way possible, fuck off. How could anyone who listened to songs like East Jesus Nowhere and Peacemaker call Green Day's efforts here "pompous and dumb"? With lyrics like "Don't test me/second guess me/protest me you will disappear," and one of my personal favorites of all time "this is a stand-off/a molotov cocktail/on the house," it should be more than clear that Green Day has by no means lost their desire or ability to speak their mind and revolt. Furthermore, the specific references like the name drop of Beretta (an arms dealership used for private, police, and military supply), nuclear disputes, climate change, and more show they are not just spewing generalist political outrage. There is nothing empty or hollow to suggest that Green Day is merely trying to recreate previous successes.

One concession I will make is that there are a few areas where the typical up-front message is detoured to further the "plot" of the characters, as in Last Night on Earth, and that can be a bit confusing. The main thing I suppose, is that there is a lot happening all at once, which can be hard to follow. Even still, this is one of the things I personally enjoy about the album. It makes it fun to listen through and to more than once, and putting the disparate parts together forces you to be an active listener.

What creases me about this review though, almost more so than the ignorance in regards to the album's finer points, is that Harvell makes snide comments about each of the band members and their musical/artistic prowess in turn. Criticisms of this kind always bother me a bit because, while it's fine to have a negative opinion of something, particularly when it comes to art, that's not necessarily a reason to insult the artist who created it. Furthermore, despite a proclaimed love of the band, and punk and alternative music in general, Harvell seems to focus on the simplicity and repetition of the musical techniques, phrases, and chord progressions used in this album and by the band in general. Not only is this claim at least partially baseless, given the diversity in instruments (including strings, tympani, and piano), tempos, time signatures(4/4 to 7/4), and moods of these songs, but also ignores the fundamental punk idea that its anyone's game. Yes, much of Green Day's music relies heavily on a few power chords, but its accessible. Which I think, is the point. You don't have to be a musical genius, you just have to say something, and say it loud.

I mean, just listen to !Viva La Gloria! and ?Viva La Gloria? [Little Girl] and tell me you don't get excited by the tempo changes, genre mixing, and impassioned lyrics.

For further proof that Harvell's claims that Green Day are just concerned with "reinforcing their own stature," or "could shit this stuff out in their sleep," are false, one need only turn to the source. In an interview with the Sunday Times newspaper, Billie Joe Armstrong described the aftereffects of leaving the record as akin to post-partum depression. Could this have been a publicity stunt? Sure, I guess. Though I am more inclined to believe it was perhaps exaggerated, but genuine.

One other commonly critiqued part of the album is the Song Know Your Enemy, which appears early on (track 3), and in all honesty does not have much substance. Alternative Press calls it more of "an interstitial piece than a stand-alone song," which I can understand. In all honesty, it has never been a favorite of mine, but I still believe there is a place for it in the track list and in the genre. It serves as a call to the classic angry, repetitive, head-bangy short songs of the "Clash-sized bootboy chants," as Sheffield puts it.

Another critique I have, is with the choice to include the n-word in the lyrics of the second to last track, American Eulogy: Mass Hysteria/Modern World. It is not the first time the band has done this, and though it is (in this case) used as something the martyr, who is described as a compulsive liar, says to insight more chaos and hysteria, it's use by a non-black individual has always made me feel a bit uncomfortable. Given the band (and Billie in particular)'s political activism and stances outside of their music, I find its use especially confusing.

My final issue with the album is that there appears to be little to no songs from the perspective of Gloria. This is disappointing because I love that the songs switch perspectives between in the story (through Christian's eyes), and a narrative third party (Billie/Green Day). This shifting makes the absence of Gloria's perspective in all but Murder City all the more apparent. Whether this absence is for any particular reason, i.e. the band wanted to mainly draw parallels between Christian and Billie, or not, it is still frustrating to have the female "main character" largely as an observed/addressed party rather than an active story-teller.

To return to positives for the end here, the individual songs throughout this album provide some of my favorite examples of high-energy socio-political commentary. For its part, the album as a whole employs fantastic transitions between tracks, with the ending of one leading seamlessly into the next, and so I highly recommend listening to this album all the way through.

[altmusicposting]

Hayloft I & II: Inversions and Continuity

Prior to the pandemic, the Canadian indie rock band Mother Mother had a relatively small cult following. Admittedly, at the time I had only heard a few of their most popular songs. However, during the lockdown, several of their songs from their early albums Touch Up and O My Heart went viral on TikTok. Embraced especially strongly by the queer community, the band now boasts an impressive 7.38 million monthly spotify listeners.

One song that particularly took off was Hayloft, a short track with a bouncy riff and punchy drums and vocals. This combination plus the repeating lyrics make the song incredibly catchy and fun to jump and shout along to. Reportedly, the band had to fight to keep the song on the record when O My Heart came out in 2008. But, it's overwhelming success following its use on TikTok earned it a sequel, Hayloft II, in the deluxe edition of their 2021 release Inside. This decision was not entirely well-received by some older fans who felt the sequel was pandering. But the band didn't make the decision lightly either. There wasn't even a plan to make another Hayloft initially, just something with a similar energy. Eventually this turned into the second song though, and I'm going to tell you why I'm so glad it did.

When writing Hayloft, Ryan Guldemond, guitarist, vocalist, and songwriter, has spoken on how there wasn't initially any meaning to the words. At the time, he was more focused on the phonetics, what sounds could be built around that central guitar riff. This idea is emphasized by the original video Mother Mother put out for this song (see link on "Hayloft"). There are multiple references to the gun mentioned in the lyrics, but aside from that, it is pretty abstract and seems to take heavy influence from pop art. Most of the focus is on the mouth movements of the singers, and on the physicality of the members' interactions with their instruments. Guldemond was quoted saying, "Not until (the song) was brought to a greater public consciousness did we ever really consider what it meant or if there was more to the story."

What's so interesting about this is that it still sets Hayloft II up perfectly. The same fast tempo and simplicity and repetition in the lyrics that lend Hayloft (since renamed Hayloft I) it's earwormy, almost poppy quality, are what give it a sense of foreboding. It invokes the rapid repeating of simple phrases endemic to an anxious mind. The speaker in this song is frantic, and we feel it. This notion is once again emphasized by the music video that was released with the retitling. In this version, we see inside the mind of the girl while also seeing the events unfold in real-time. The quick flashing back and forth between her and her lover in the hayloft, the chase presently happening, and the sense of panic and dread. Finally, in this version, there is an addition of a gunshot, which confirms that she was too late, and sets the listener up for the recap in the first lyrics of Hayloft II.

Hayloft II takes this frantic energy and slows it down. The underlying riff is still there, but augmented slightly to mainly half steps instead of whole (which I'll discuss more later), and there's more variety to the lyrics. The inclusion of the riff provides the main connection between the songs, while the changes to the notes and the tempo set the listener up for a different part of the story. This is the aftermath, a few years in the future. To me, the increase in lyrics and the verses and bridge being relayed in third person give the impression of exposition, either as a rationalization for what the girl did or as a retelling of a cautionary tale. The chorus however, returns to the repetitive, frantic nature of the first song, but now from the father's perspective. The lyrics switch from "my daddy's got a gun" to "my baby's got a gun", as now the daughter is inflicting that same fear she felt back onto her dad.

But Hayloft II isn't just a continuation of this particular story, it also raises deeper questions through both its lyrics and music video. The second verse opens with one of my favorite sets of lyrics: "An eye for an eye, a leg for a leg, a shot in the heart doesn't make it unbreak." These lyrics are coupled with (and followed by) visuals in the music video that show the girl doubting her decision to enact revenge on her father, being distraught by it, and turning to his old coping mechanisms: anger and alcohol. With this, the notions of trauma and the cycle of violence, and the question of "is revenge worth it?" are raised. These conversations are raised because there was a push from the fanbase to address the story behind the initial song's lyrics.

This pair of songs is not only lyrically and thematically interesting however. As I have mentioned earlier, Mother Mother has done a wonderful job of underlining the tones musically. Beyond 'vibe', there is an excellent use of music theory relationships. First, both songs are primarily in the key of A minor, and as previously mentioned, the riff in Hayloft I makes use of whole steps initially, and keeps pretty much all of the notes in key, with sharps/flats only included for accent or to lead into the next round of the riff. Additionally, the first note and thus the "home" for this riff is A, or the first/home note of the key. The riff in Hayloft II however starts of with a series of half steps, immediately breaking out of the key to make use of flats/sharps, then returning to in-key notes, and then breaking away again. This, combined with the fact that the first note in this riff is E, or the 5th, makes this riff feel edgier and unstable, which, very much fits with the second song.

Second, the choice of key fits extremely well, as minor keys are often used (in Western music) to convey a sense of unease or emotionality. Still, Hayloft I makes use of this in the conventional sense, with "home" placed properly at the I or Am chord. They also made the choice to have the same chord progression persisting throughout both the verses and the chorus. So even though there is an edge to it, there is a sort of comfort. Until, the very end, where it ends abruptly on an unsettled chord (G# maj). Hayloft II however, toggles almost exclusively between the I and V chords, which is not unsettling per se, but never really feels settled either, and the bridge changes key entirely. The key changes here to C major (which also has no sharps or flats naturally), but contains non of the joy or triumph typically associated with major keys. This is especially emphasized when the entire song ends, for one, without another chorus, and for another on an Am chord, which in this new key is not a solid "home" chord, but a very unsettled sixth.

All of this essentially, is my very long-winded way of saying that pandering claims aside, this pair of songs is one of the best examples of sequels done right. Both the behind the scenes process and final products are interesting and worthy of attention. Each on its own is great to listen, bop, and headbang along to, and together they make for a fascinating story and musical journey. My final suggestion to you, readers, is to listen to them in sequence.

Whatever you listen to, may it bring you emotion and passion.