#//i have like 8 different playlists for her. but paring it down to a particular song is hard as fuck

[eyesontheskyline]

(about the whole fic writer asks, except those answered now) the story specific ones have to be about 'but if you really hold me tight' - I love all your cxg fics and it's the longest one :D) it's just I'm thinking of getting back to writing and since you're of my favorites authors out there now i'd love to get some insight. kudos for being cool about it!

Hello!  Okay first of all thank you so much, that is a ridiculously big compliment and my face hurts.  And yes yes yes you should definitely write if you feel like writing - just go for it!  If you have any specific questions or you want a pep talk or whatever, message any time :) 

Okay I’m gonna put these under a Read More because wall of text.

2) What fandoms do you write for and do you have a particular favourite if you write for more than one?Right now only Crazy Ex Girlfriend.  I wrote for Criminal Minds under a different name then had a gap of several years.  I’m pretty far removed from CM now but I can safely say writing for CXG has been a nicer experience community wise (partly a smaller fandom thing and I suspect partly a demographic thing), and there’s more established character stuff to work with because all the character development isn’t like…  Crammed in the five minutes they have to work with either side of the crime solving.

3) Do you prefer writing OC’s or reader inserts? Explain your answer.I don’t really do either, but reader inserts are kind of a squick of mine honestly, so I’m gonna say OCs.  I’ve only written OC kids though.

4) What is your favourite genre to write for?I am not entirely sure what this means…  Fic genre?  Original media genre?  I have only ever written romance or friendship stuff for TV shows, an odd balance of fluff and angst?

5) If you had to choose a favourite out of all of your multi chaptered stories, which would it be and why?Mmm let the sun inside has a special place in my heart because it was the thing that got me back into writing after a really long gap and turned out pretty much how I wanted it to.  Writing it was just a very intense ‘I am writing again and my brain is on fire’ experience for me.

7) When is your preferred time to write?I would love to have a less dysfunctional answer to this, but probably between 1 and 4am unfortunately?  That can’t be a thing on work nights because I get up at 6.30.  If I can get myself on a roll early afternoon in a coffee shop though, that’s a better feeling.  Just… Less common than ‘the rest of the world around me is asleep and my brain just woke up’.

8) Where do you take your inspiration from?Oh everywhere.  The media I write fic about.  The stories I read.  My life, my friends.  The world.

9) In but if you really hold me tight, what’s your favourite scene that you wrote?Oh god I really don’t know.  This story is really hard for me to have perspective on because of the ridiculously time pressured way I wrote and published it.  I’m probably proudest of chapter 12, where they discuss the ‘do we want a baby’ question properly, because that just…  Is an important conversation that you don’t really see in media?  I’m not sure it’s the best writing in the story, but I’m glad I didn’t chicken out of it.  I also enjoyed writing Rebecca meeting Plimpton Senior in chapter 19, because that feels like an opportunity the show missed and I will never see enough versions of it in fic honestly.  (Do you have a favourite?)

10) In but if you really hold me tight, why did you decide to end it like that? Did you have an alternative ending in mind?That one was pretty much always going to end where it did – just because of the format, it was always going to end in a fluffy happy place around midnight on the 1st of January 2021. The last chapter was going to be longer originally, with more characters getting a moment, but it was just getting kind of unfocused – Rebecca POV can handle tone shifts pretty well I think because of the way her brain is wired, but at some point it all just got a bit messy so I pared it back.  I think I’m pleased with how it turned out, but the chaos of writing it is still fresh enough that it’s hard to tell!

11) Have you ever amended a story due to criticisms you’ve received after posting it?Nah, but I’ve fixed typos (thank you @what-the-elle-n!)

13) Who is your least favourite character to write for? Why?I find Valencia and Paula pretty difficult.  I love them, but I struggle.

14) How did you come up with the title - You can ask about multiple stories.(Since it says multiple and since I only have 3 currently…)  Everything I’ve published for CXG so far has had song lyric titles – mostly because I am not good at poetic turns of phrase, and I like lyricists who are.  (I’m also not a particularly romantic person, and I like lyricists who are!)

let the sun inside is from Ribcage by elbow.  The full line is ‘I wanted to explode – to pull my ribs apart and let the sun inside’, which feels to me like that feeling of having bottled everything up for so long that you just can’t feel anything anymore until you kind of break down and come out the other side?  And Rebecca = sunshine, so.  That is basically the premise of the story, so that was a stroke of luck.

the landing light is from K2 by elbow (I swear I listen to other music, they just have words that really lend themselves to fanfic titles lol).  I have a whole meta thing written to publish alongside the last chapter about why this song for this story, but basically the line is ‘Dickhead’s done a runner and he’s wondering if anyone cares – is the landing light on?’ which is just someone far from home feeling a bit stupid and homesick and wondering if there’s anybody waiting at home for him.  And of course Nathaniel comes home to a totally miserable situation and there Rebecca is.

but if you really hold me tight…  It had to be a lyric from a Christmas song, preferably one Frank Sinatra sang at some point, because that was the playlist I started listening to in mid-October while outlining this madness.  So it’s from Let It Snow, obviously, although that exact line is not in that version, ssshhhhhh (he sings ‘but if you’ll only hold me tight’).  I chose it because R&N being a team and getting through stuff together in a mostly-fluff-but-not-entirely way was kind of what I was aiming for, and it just felt like it fit.

15) If you write OC’s, how do you decide on their names?I kind of have an OC coming up in a story I’m writing now, and I just… Knew who named them, and tried to choose a name those people would choose.  I don’t really do OCs much in fic, but in not-fic (it’s been a while!) I try to go for a name that (1) means something, and importantly (2) I can imagine their parents having named them.

16) How did you come up with the idea for but if you really hold me tight?So a writer I used to read a lot from the Criminal Minds fandom did a Christmas fic a couple of years in a row – one short, mostly fluffy chapter for each day from the 1st-25th of December.  So that was the plan.  Except as soon as I started outlining it, I knew I couldn’t write an entire month fluffy and problem-free for these two (for anyone, but especially these two), so short and fluffy didn’t stick!

17) Post a line from a WIP that you’re working on.“I’ve gotten better at a lot of things since you’ve been away, but my self-deception skills have taken a real hit.”

18) Do you have any abandoned WIP’s? What made you abandon them?Yeah, I abandoned a few Criminal Minds fics.  I still feel bad about them actually – I get comments on them occasionally. (On the offchance anyone reading this is someone who feels nervous about commenting on old stories – these delight me in ways you cannot imagine.)  I ran out of steam in a lot of ways – I started them without any real idea where I was going and wrote myself into a corner, mostly, but also I was starting to really struggle to write unprompted.  I am not the most mentally well person, and I just got my brain into this spirally tangle where I thought nobody wanted to read anything they hadn’t asked for, so I filled a lot of prompts but couldn’t convince myself to write anything else.  It feels really weird to think about that now, which I guess is a good sign…

19) Are there any stories that you’ve written that you’d really love to do a sequel to?I toy with following the emotional arc of S4 but following let the sun inside sometimes – that was the plan, when I originally finished it and was panicking that I would never get another idea.  Also, but if you really hold me tight created a world of warm domesticity for R&N that I felt really sad leaving behind, so I would probably like to write in the timeline again.  And the landing light might get a oneshot sequel, depending on whether I end it the way I think I’m going to or the way I was originally planning to…

20) Are there any stories that you wished you’d ended differently?No, not in this fandom.  I’ve only written two endings though!  I’ve ended on some real cheeseball final lines in the past though.

21) Tell me about another writer(s) who you admire? What is it about them that you admire?@heartbash, who can do plot and slow-burn in a way my impatient ass will never be capable of.  @justwanted2dance who deserves a million flame emojis and writes BDSM stuff in a way that makes my anxious brain comfy enough to enjoy it (literally nobody else has achieved this).  @pictureofsoph1sticatedgrace who writes the loveliest fluff and is a badass individual.  @notbang and @anthropologicalhands and @catty-words and @akisazame and @romansuzume who write beautifully and can do those poetic turns of phrase I am not good at.  I’ve got to be forgetting someone but wowww there is so much talent and creativity in this lil room.  So many people to be inspired by.

22) Do you have a story that you look back on and cringe when you reread it?God yes, but not in this fandom.  It’s fine, 19 or 20 year old me, you were learning.

23) Do you prefer listening to music when you’re writing or do you need silence?Silence.  Or like white noise or the Hufflepuff Common Room 10 hour ASMR video on youtube or something lol.  Anything with words just ruins me – my attention span is laughable.

25) Have you ever cried whilst writing a story?Ha yes actually, but I’m really not entirely sure why.  Sometimes my brain is just a really weird place to be.

26) Which part of but if you really hold me tight was the hardest to write?It depends how you measure hardest, I guess.  Several of the smut scenes just said ‘[insert sex]’ for the longest time, sometimes with descriptions?  So like ‘[insert feelingsy sex]’ or whatever lol.  In terms of getting voices right (like to the point of still being unsure whether it’s any good), this gurl group chapter.  

27) Do you make a general outline for your stories or do you just go with the flow?It really depends.  Usually I know roughly where I’m going and how I’m getting there and that’s good enough for me, but my NaNo fic got an outline because of the format and timescale. And I’m planning a thing with an actual plot arc (gasp!) so that’s getting an outline, in the hope of making it look vaguely romance novel shaped.  Basically it depends on the length of the thing for me, and how plotty it is.

28) What is something you wished you’d known before you started posting fanfiction?Writing advice: if you’re struggling to move past a particular point, the thing you need to change is probably a few lines back.  It’s rarely the last line that painted you into the corner. If you think something needs to come out, paste it into an outtakes document – you might want to put it somewhere else later, or salvage lines from it or whatever, and it’s just easier to let go if you’re not actually hitting delete.

Posting advice: remember fandom is community – everyone is here because they love the thing you love.  They’re gonna be excited there’s a new story to read, and they’re rooting for you!  (Write the thing!)

29) Do you have a story that you feel doesn’t get as much love as you’d like?Nahh I mean, it’s a smaallll fandom.

30) In contrast to 29 is there a story which gets lots of love which you kinda eye roll at?Again, smaaalll.  (Also I try not to publicly eye roll at things other people love even if they are my things – there’s nothing quite like loving a song just for the band to be like ‘ugh I fucking hate that song’, so I always try to keep that in mind.)

31) Send me a fic recommendation and I’ll post it for my followers to see! (The asker is to send the rec not the answerer)You did not send me a rec!  Feel free to send me one now!  In fact, open call, everyone send me fic recs, even if I’ve definitely read them.

32) Are any of your characters based on real people?Mm no I don’t do OCs.

33) What’s the biggest compliment you’ve gotten?I mean, I enjoyed hearing that someone read my story in the corner at a party lol, especially because it was a chapter I was pretty pleased with and nervous about.  Also any time anybody says something I wrote is a headcanon or ‘this should have happened in the show’ is a glittery feeling. When somebody notices a little clue or detail that isn’t obvious, it makes me ridiculously happy.  Humans reading my thing then saying something about it is still crazy, so, yeah.

34) What’s the harshest criticism you’ve gotten?Story time: my old fandom has this one character who has a lot of pretty hardcore stans.  I mostly dislike the word stan but like…  Yeah.  So anyway, I got an email saying I had a new comment on my ficlet collection (keeping in mind I was in my ‘very unhealthy relationship with feedback’ stage at this point), and clicked on it all happy, and all it said was ‘I didn’t read this because another comment said it doesn’t contain enough *stanned character* and you really should warn people upfront that he isn’t gonna be in it, I’m glad I didn’t waste my time on it’.  Which was just…  A bizarre comment.  Like, commenting to say you didn’t read the thing is weird in itself, but also you list the characters who are in the thing, not all the ones who aren’t?? Anyway, I then went on my tumblr and I had several anon messages that were just straight up hate along the same lines and…  Yeah.  The Criminal Minds fandom was a strange place. On a related note, have I told you today that I love you, CXG people?  I love you.

35) Do you share your story ideas with anyone else or do you keep them close to your chest?I am basically always up with talking stuff through with people.

36) Can you give us a spoiler for one of your WIP’s?This is actually difficult to do right now.  There’s a baby?

37) What’s the funniest story you’ve written?I mean, I made myself laugh a couple of times in my festive fic, but I’m more of a ‘this one line is funny’ writer than a ‘this story is funny’ writer.  I’m too angsty!

38) If you could collab with any other writer on here, who would it be? (Perhaps this question will inspire some collabs!) If you’re shy, don’t tag the blog, just name it.This question is faaar too terrifying.  I’ve actually never collabed with anyone, I’d love to though.

39) Do you prefer first, second or third person?Third.  I think because I’ve only written for TV shows, no matter how closely you’re following one character, if you’re seeing them on a screen, you’re in third person.  So it’s just an extra struggle to make that jump to another POV for me.  I have written my not-fanfic mostly in first though, and I’ve read some lovely fic in first and second.  I’m just not good at it.

40) Do people know you write fanfiction?One person.

41) What’s your favourite minor character you’ve written?Hmmmm who is minor, really?  I find AJ difficult but fun.

43) Has anyone ever guessed the plot twist of one of your fics before you posted it?I don’t write anything plotty enough for this to be a thing!

44) What is the last line you wrote?“Mm, because you know how irresistible your weird old timey voices are.”

45) What spurs you on during the writing process?I want people to read the thing, honestly.  It’s a ‘reach out my lonely haaand’ moment with a little less melodrama.  I want it to be out in the world doing what it’s meant to do.  I also want it to be finished so I can read it – I get a very particular kind of happy feeling from reading a good sentence I wrote.

46) I really loved but if you really hold me tight. If you were ever to do a sequel, what do you think might happen in it?Lol it felt really weird to type that in there when you didn’t actually say it directly, but you said all so here we are!  I’m just gonna take that compliment even though I wrote it…  When I started coming to the end of writing that story, I started to feel really sad about leaving behind the warm domestic feel of it, so if I ever feel more domestic fluff coming on, probably it’ll be set after that.  

47) Here’s a fic title - insert a made up title. What would this story be about?You did not insert a made up title!  Although insert a made up title has potential for Rebecca hounding everyone she knows to help her title a song she wrote.

48) What’s your favourite trope to write?Is ‘let’s have an actual conversation about this’ a trope because that’s my brand so far!  I haven’t written anything particularly tropey, I don’t think, although the pull of ‘omg there was only one bed’ is strong right now!

49) Can you remember the first fic you read? What was it about?Yes!  It was a Criminal Minds fic, Hotch/Prentiss, canon compliant (ish) missing scenes kind of deal.  I can’t remember the first CXG fic I read, which is ridiculous because it was a lot more recent.  I started writing CXG fic before I started looking for it, because I hadn’t been inspired to write in so long that I didn’t want to scare myself away.  I read some before publishing, but I can’t remember where I started.

50) If you could write only angst, fluff or smut for the rest of your writing life, which would it be and why?I can only dream of being mentally stable enough to have a consistent answer to this lol.  Angst comes more naturally to me, but writing angsty characters into happy situations is one of the ways I make sense of the world, so…  Fluff, maybe, as long as I can keep the characters screwed up, because they just…  Are.  And like, same.

[thirstinmore-blog]

Best Albums of 2018

BEST ALBUMS 2018

20. Noname: Room 25

19. Jeremih & Ty Dolla $ign: Mih-Ty

18. Tierra Whack: Whack World

17. Parks Burton: Pare

16. Oneohtrix Point Never: Age Of

15. Angelique Kidjo: Remain in Light

14. Shannon Shaw: Shannon in Nashville

13. Curren$y & Freddie Gibbs: Fetti

12. Ariana Grande: Sweetener

11. Vince Staples: FM!

10. DJ Koze: Knock Knock

9. Mariah Carey: Caution

8. Courtney Barnett: Tell Me How You Really Feel

7. The Carters: Everything is Love

6. Snail Mail: Lush

5. Shannon & the Clams: Onion

4. Teyana Taylor: K.T.S.E.

3. Kacey Musgraves: Golden Hour

2. Blood Orange: Negro Swan

1. Dirty Projectors: Lamp Lit Prose

(Spotify playlist)

(Capsule reviews of Top 10 below) 

10. DJ Koze: Knock Knock.  The music writing trope of “a sounds like b + c” is as lazy as it is played, but sometimes you hear a record and those type of comparisons spring to mind, like when I first heard Saint Pepsi’s Hit Vibes and instantly thought of J Dilla making a disco record.  That was also my response to Knock Knock, which sounds like the Avalanches making a more patient update of Since I Left You for 2018 ears.  The record is long and lush, and draws from roughly nine billion different aesthetics, but its particular mélange still manages to sound fresh.  As with SILY, the album is best experienced as a complete piece of music (though several tracks, such as “Lord Knows” and “Scratch That” would sound great in a mix or DJ set).  Knock Knock takes the listener through ambling pathways that wrap around and revisit each other, like an evening stroll through the spacious Joshua Tree National Park depicted on its cover.  It’s nearly a two-hour journey, but it’s well worth the price of admission.

9. Mariah Carey: Caution.  Mariah got a dirty mouth and I’m here for it.  As mother, a twice-divorcée, a woman nearing 50, her work and her image are all her own; if she wants to include the word “fuck” in a bunch of songs on her new album (“GTFO,” “With You,” “The Distance”), then who the fuck are we to tell her no?   It’s a refreshing twist from someone whose public persona is often so curated, but I’m burying the lede.  The real story here is that Caution is a batch of excellent R&B songs from one of the genre’s all-time greats.  It’s not overwrought – by contrast, the album’s sultry blue cover art is indicative of the moods within.  The Ty Dolla $ign-featuring “The Distance” is laid extremely deep in the cut, assisted by some subtle production from Poo Bear, Lido and—holy shit, Skrillex?  Yup, and like Mariah herself, everyone involved uses an even hand and measured patience to let each song breathe.  

A personal highlight for me is “A No No,” which flips the Lil Kim/Lil Cease classic “Crush On You” on its head.  Here, where Biggie intones “he’s a slut, he’s a hoe, he’s a freak/got a different girl every day of the week,” there is no irony intended.  She gauges her suitors’ intent and responds simply: “that’s a no-no.”  In fact, the word “no” accounts for easily half the song’s lyrics, but it’s still a blast on subsequent listens.  But don’t get it twisted – highlights abound herein, from aforementioned singles “GTFO” and “The Distance” to the thoughtful, expansive, Dev Hynes-helmed “Giving Me Life,” which begins as a downtempo club hit and morphs into a surrealist dream.  Mariah Carey is one of the artists who’s been in my life the longest – I’m so happy she’s still killing it.

8. Courtney Barnett: Tell Me How You Really Feel.  Courtney Barnett is what I was raised to believe an indie rock star should be: an unassuming, smart slacker with regular clothes and the ability to unleash earthbound poetry and atmosphere-puncturing solos with equal aplomb.  That effortless cool permeates every facet of her work, from her casual half-singing style to her loose but proficient playing, a mighty guitar god in the body of a humble 31-year-old.  (That she recorded a collaborative record with renowned cool guy Kurt Vile should surprise no-one.)  But what’s really striking about Barnett’s work is her wryly observant lyrics; whether she’s describing the banalities of urban life (“City Looks Pretty”) or eviscerating toxic masculinity (“Nameless, Faceless”), her keen eye and incisive wit pervade every line.  Tell Me is the sound of a strong artist getting stronger.

7. The Carters: Everything is Love.  I often say that as I get older, my favorite elements of songwriting are editing and restraint.  That’s why I tend to hate double albums and love EPs.  I just believe that most double albums would be better if distilled down to one really strong record.  EPs, on the other hand, leave the listener wanting more.  Such is the case with Everything is Love, which reads like a Beyonce trap record with a number of guest verses from Jay. Regardless of speculation on who did the lion’s share of the writing on the record, both are in top form.  Bey’s signature vocal virtuosity is on display as ever, but the real delight is in her capable delivery as a rapper.  She glides effortlessly through triplets like “Poppin, I’m poppin, my bitches are poppin, we go to the dealer and cop it all.”  Big Sean could never.  Meanwhile, Jay turns in a few of my favorite bars of the year (and also a very slick Drake diss) on “Boss:”

“You not a boss, you got a boss. N*ggas gettin’ jerked, that shit hurts, I take it personaly.  N*ggas’d rather work for the man than to work for me.  Just so they can pretend they on my level, that shit is irkin’ to me.  Pride always goeth before the fall, almost certainly.  It’s disturbing what I gross.  Survey says: you not even close.  Everybody’s bosses till the time to pay for the office, till them invoices separate the men from the boys. Over here we measure success by how many people successful next to you.  Here, we say you broke if everybody is broke except for you. BAWSE.”

I don’t know if they intend to release more records as The Carters, but Everything is Love is a fun, successful experiment.

6. Snail Mail: Lush.  There’s no reason for a debut LP to be this good.  The record, from solo project-turnt-band of 19-year-old Lindsay Jordan is focused, clever, and sophisticated.  Every component of these songs appears exactly as it should.  Jordan’s songwriting is clean and incisive (“I hope whoever it is holds their breath around you/’cause I know I did,” she sings on album standout “Heat Wave”).  The arrangements are smartly simple; seldom do they deviate from the four-person rock lineup, so the embellishments that are included (the French horn on “Deep Sea,” the layered keys on “Speaking Terms”) really leap out.  The playing throughout is lovely, with Jordan’s beautiful guitar technique front and center (the finger-picking on “Let’s Find an Out” is a particular delight). Everything in its right place – only where Radiohead’s inward gaze can be mopey and self-indulgent, the core strength of Lush is its efficiency.  There’s no filler here – just the exact amount of support that each piece requires.  The drumming feels especially strong in this regard – there’s an economic directness in Ray Brown’s playing that prioritizes the backbeat over everything, including his ego. The fills that he does include are modest and workmanlike.

It’s right that the record would be released by Matador, because these songs are drenched in the influences of the 90s slacker rock of Yo La Tengo, Sonic Youth, Sleater-Kinney and Sebadoh.  And as with each of those bands, Snail Mail’s songs are buoyed by excellent lyrics.  Jordan doesn’t just sound wise beyond her years, she actually seems to have lived more in her 19 years than many folks twice her age.  There’s a subtext of sobriety in some of the songs (“It just feels like the same party every weekend, doesn’t it?” on “Pristine,” or “I’m so tired of moving on/spending every weekend so far gone” on “Heat Wave”).  Perhaps the self-reflection that’s required in recovery has helped to distill her worldview.  

And look, I don’t mean to be patronizing here – this album would be a major achievement from any person of any age.  But to hear an artistic vision this crystal clear and laser-focused from a 19-year-old is something truly special.  I can’t wait to hear what she does next.

5. Shannon & the Clams: Onion.  Upon first listen, Onion struck me as the best record the Clams have released to date.  Now, admittedly, I’m a sucker for keyboards, and the inclusion of organist Will Sprott is pure Patrick-bait.  But beyond my own tastes, the organ both fills out and anchors the Clams’ garage doo-wop sound.  There’s a welcome succinctness to Onion: the songwriting is tight, the guitar playing is melodic and utilitarian, and the vocal performances from both Cody and Shannon are more technically refined than in any of their previous outings.  One wonders if Shannon’s work on her own solo album (the very good, Dan Auerbach-produced Shannon in Nashville, which also came out this year) pushed her to improve her technique.  And don’t get it fucked up – this is still a Clams record.  It’s still shaggy and loud and rambunctious – but they’ve worked hard to reign in their wildest tendencies.  Some might say that it’s layered, just like-- *an oversized cane hooks around my throat and drags me offstage* ….Well…..let’s just say it’s good.

4. Teyana Taylor: KTSE.  Of all the seven-song mini-albums Kanye produced in Wyoming this year, KTSE is both the best and the least talked-about.  She arrives seemingly out of the blue, a fully-formed artist who knows her strengths exactly.  She has bars when she feels like spitting them, a beautiful husky alto when she feels like crooning, and a profound connection to multiple styles of club music that’s borne of her history as a dancer.  It’s become a bit trendy to nod to vogue & ballroom culture in the last few years, but while Drake’s Big Freedia feature on “Nice for What” feels a little forced, Taylor can walk it like she talks it.  A dancer by trade, her comfort in the ballroom is palpable. 

Ye keeps it simple, remaining comfortably in his wheelhouse and flipping excellent soul samples such as Billy Stewart’s “I Do Love You” (which he repurposes into a nostalgic 4/4 slapper on “Hold On”) and The Stylistics’ “Because I Love You, Girl” (which he expands into a melancholy mediation on the horn section of the original).  It’s a welcome return to form.

3. Kacey Musgraves: Golden Hour.  In her SNL performance earlier this year, Kacey Musgraves appeared as a flat-ironed, longhair disco queen.  As she slayed Golden Hour’s catchy lead single “High Horse,” I was reminded of Dolly Parton.  I’ve been spending a lot of time with Dolly’s mid-70s and early-80s catalogue this past year, having purchased vinyl copies of All I Can Do, New Harvest…First Gathering, and Dolly, Dolly, Dolly.  Parton is one of those artists whose discographies are so gigantic as to seem practically impenetrable, so I’ve been trying to hear as much as I can.  Dolly, Dolly, Dolly is an especially interesting entry: released in 1980, it was her 23rd album, and it represents a pretty clear swing for crossover success.  A handful of the tracks are straight-up disco, and these are what Musgraves called to mind.  I was thrilled – Dolly’s disco experiments were widely panned, but I think there’s a lot of good there, maybe Golden Hour would be an attempt to vindicate Parton’s vision?

Unfortunately or not, I was incorrect.  In total, Golden Hour bears more resemblance to Dolly’s friend & frequent collaborator Emmylou Harris (Kacey’s hair should’ve tipped me off, SMH).  It’s a beautiful, understated, and thoughtful set of songs that could fit as well on a folk radio station as a country one.  Like Harris, Musgraves has an innate sense of how to let a great song be great, hanging back in both arrangement and vocal performance.  She’s emotive when she needs to be (“Rainbow”), and contemplative as needed (“Golden Hour”), always letting her writing breathe.  Also, she has the confidence to bury the lead single so deep on Side B that you almost forget it’s there (and are thrilled when it is).  As a person who prefers the full album experience to that of a shuffled playlist, this is one of my very favorite tricks.

Quite simply: great songs + great arrangements = a surprising list-topper for me.

2. Blood Orange: Negro Swan.  For years, the roles of sexuality and gender in black identity have been foci of Dev Hynes’ work as Blood Orange.  He spent time with drag queens and sex workers while writing his debut album Coastal Grooves, and has often cited transgender icon Octavia St. Laurent as one of his primary influences.  But while these interests have colored his previous albums, on Negro Swan they’re the bedrock.  In a press release preceding the album, Hynes described the album as “an exploration into my own and many types of black depression, an honest look at the corners of black existence, and the ongoing anxieties of queer/people of color.  A reach back into childhood and modern traumas, and the things we do to get through it all.  The underlying thread through each piece on the album is the idea of hope, and the lights we can try to turn on within ourselves with a hopefully positive outcome of helping others out of their darkness.”

These ideas are fundamental to the songwriting, and they’re reinforced by snippets of conversations with Janet Mock and Kai the Black Angel (who adorns the cover in a durag and angel wings) peppered throughout the album’s 49 minutes.  On “Family,” Mock defines community as “the spaces where you don’t have to shrink yourself, where you don’t have to pretend or to perform, you can fully show up and be vulnerable in silence, completely empty, and that’s completely enough.”  That search for community, the desire to be seen and loved and supported as your whole self informs each of these beautiful songs.  Already a competent producer, Hynes continues to grow, selecting beautiful flourishes like the jangly, perfectly out-of-tune guitar on “Charcoal Baby” or the soft, echoing snare drum on “Dagenham Dream” to characterize the thematic content of each piece.  Negro Swan is a powerful and complete work of art.  It sounds like he’s finally found some answers to the questions he’s been asking. 

1. Dirty Projectors: Lamp Lit Prose.  On Lamp Lit Prose, David Longstreth appears to be having more fun making music than he has in years, probably because almost 100% of his band has turned over (kudos to longtime bassist Nat Baldwin, whose playing tethers him to his own beginnings).  Beyond the new Projectors themselves, Longstreth spent the months during the writing of the album making new friends in the LA music scene, and bringing them around the studio to record various parts.  Members of Haim contribute to album standout “That’s a Lifestyle,” Syd (of The Internet) anchors the refrain in “Right Now,” and Fleet Foxes’ Robin Pecknold and Vampire Weekend alumnus Rostam Batmanglij stack harmonies onto the swirling ballad “You’re The One.”

I see LLP as the second half of a diptych begun by the self-titled Dirty Projectors, released last year.  While that record wallowed in the pain of a broken relationship with former Projector Amber Coffman, LLP reveals a healed and newly in love protagonist.  Both records feature David Longstreth at his most vocally competent: he’s now able to truly execute the melismatic R&B runs he lovingly wrote and charmingly attempted in his earliest work, his diaphragm now supports his every leap and bound, and his croon is sweeter than ever before.  But furthermore, both albums expand on ideas that have popped up throughout his illustrious and impressive body of work.  Whether he’s reviving the Rise Above era blasts of noisy guitars on “Zombie Conqueror” or revisiting the orchestral ambitions of The Getty Address on the stunningly soulful “I Wanna Feel It All,” Longstreth sounds like a worker with a complete toolbox and a detailed blueprint.  He’s been working at honing his craft for years.

I saw the Projectors in June, at a time when only “Break-Thru” and “That’s a Lifestyle” had leaked.  I didn’t know what to expect, being among the seemingly small minority of fans who liked their previous record.  But their set was staggering.  Flanked by his group of mostly-new faces, Longstreth was bouncing all over the place, proudly showcasing each instrumentalist & vocalist (seemingly everyone had at least one moment in the spotlight), visibly excited about playing with this group of people.  And that makes sense: LLP is Longstreth relishing the fundamental glee of musical collaboration.  The joy is positively bubbling over in tracks like “Right Now,” “I Feel Energy,” and “I Found it in You.”  To see him play these songs live is to wonder if he’s talking about the act of musicmaking itself when he sings: “Ask now, I’m in love for the first time ever.”