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#'a band that only had one radio hit (in a particular part of the world)' or something
depoteka · 1 year
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i hate the phrase "one hit wonder" so much fr......
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underthecitysky · 4 months
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I finally watched the Rupert and the Frog song (We all Stand Together). I still see people (mostly older, mostly on Facebook) dunking on “the frog chorus” and it’s just so clearly an outdated notion for it to be lame for a musician to make content explicitly for children. It’s so common now for artists who’ve become parents to make something their kids will enjoy. Jack White sang a song with the muppets on Sesame Street because he loves his fucking kids. It’s so normal now.
I get where Mary Had a Little Lamb released as single by a rock band went down wrong .. but this is creative, whimsical content explicitly *for* kids. The SONG, in particular, is beautifully composed, imaginative. Lovely! I keep listening to it.
He was 20 years into his career. The Beatles were never Led Zeppelin. It’s hard for me to wrap my head around people still being so weird about this. He such a well rounded musician; it’s all like an exploration in another part of his creativity. There are elements of the classical composing that would come later… and the playful, experimenter who made Robber’s Ball (my beloved), McCartney II, the Fireman records.
But anyway, watching this today reminded me of this moment from Behind the Scenes of BBC Radio where someone presented Paul and Mike with their childhood Rupert book. The title page filled in by their parents reads “This book belongs to Paul McCartney and Michael McCartney”.
It was either Paul or Mike who said they didn’t get many gifts as kids and for Christmas they’d usually get one toy addressed to Paul and Michael from Father Christmas. It makes me really consider why this Rupert project was so important for him that he held onto it for 15 years, always sort of considering ideas for it. There were those RAM era songs that were specifically for the “Rupert project”. It comes up so much in the McCartney legacy book.
Then there’s the element of the frogs and his history with frogs, from growing the tadpoles in his own hand made frog pond in the backyard and checking on them every day until one day they were frogs that hopped away. Then there was the dark, frog killing episode that shocked his brother and he probably felt some shame about.
But here, in this story, there are guard frogs on duty protecting their mostly undisturbed world. Happy and content, it’s the frogs that create this magical chorus.
There’s even a father and son frog pair who’ve come to see this event that only happens every couple of hundred years.
The father is rather Jim McCartney-esque with his pipe and 1940s style hat and manner. There’s a moment where the son inadvertently annoys his father and instantly recoils like he’s about to get hit and momentarily it looks like the father is considering it but gets a hold of himself.
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But later, wrapped up in the music together, the father hugs his son.
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I don’t know what I’m saying exactly but I think there’s some exploration of his childhood here and something about Rupert and the frog chorus that’s particularly meaningful to him.
Maybe he’s reconciling the dark, frog killing episode of childhood with the vegetarian, animal lover he’d become by giving the frogs their own hero’s story. Rupert, Jim, the threat of violence, the presence of love, the frogs he loved but also was violent toward.. and music at the center of everything. Unifying, healing. We all stand together.
For anyone interested, the full BBC clip is here
The full Rupert short is here
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freddiemercurydaily · 2 years
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Gallery update 8 November 1974, Queen released their third studio album, “𝐒𝐡𝐞𝐞𝐫 𝐇𝐞𝐚𝐫𝐭 𝐀𝐭𝐭𝐚𝐜𝐤“ in their native UK by EMI records.  It was produced by the band and Roy Thomas Baker and launched Queen to mainstream popularity in the UK and throughout the world. It peaked at the #2 spot in the UK and stayed on the charts for 42 weeks!The album was recorded between July and September 1974 at four different studios, there were considerable challenges during the making of Sheer Heart Attack. Mid-way through Queen’s first North American Tour, one that started in April 1974 (as a support band for Mott The Hoople), Brian fell ill with hepatitis.When May recovered, the work continued in the studio before he fell ill again, this time with a duodenal ulcer. Brian’s health meant that all gigs were cancelled following th
eir return from America and before the UK tour in autumn 1974 got underway.  Freddie, Roger and John overcame the issues of Brian’s absence during the recording by leaving spaces in the songs for his solos. When he felt well enough, May returned and completed the tracks, adding his guitar solos and backing vocals.Thirteen songs were written and recorded, with Freddie taking on the lion's share: six were written by him, while four were penned by Brian. John and Roger each wrote one, and Stone Cold Crazy was credited as a four-way composition, though it had started off as a Wreckage song, written by Freddie.For this album, Queen experimented with a variety of musical genres, including music hall, heavy metal, ballads and ragtime. At this point Queen started to move away from the progressive tendencies of their first two releases into a more radio-friendly, song-orientated style, illustrated by ‘Killer Queen’, which was their biggest hit at that point reaching No 2 in the UK.  It was the bands first international hit, peaking at No 12 in the US Billboard Charts, the first of many hits there. Freddie knew how important this album was to be for the band, saying at the time, “The album is very varied, we took it to extreme I suppose, but we are very interested in studio techniques and wanted to use what was available. We learned a lot about technique while we were making the first two albums. Of course, there has been some criticism, and the constructive criticism has been very good for us.” It’s hard to believe now, but misconceptions remained according to Freddie – “We’ve been called a supermarket hype. But if you see us up on a stage, that’s what we’re all about. We are basically a rock band.”  
Freddie also said, “Nobody knew we were going to be told we had two weeks to write “Sheer Heart Attack.”  And we had to — it was only thing we could do.  Brian was in hospital." Sheer Heart Attack proved that Queen was far from just any old rock band. This album took the band to a whole new level, helping to propel them from a support band on a US tour to a headliner.As the album went platinum, it was proof that this was a band that was “even greater than the sum of their considerable parts.”Roger Taylor has said ‘Sheer Heart Attack’ is his favourite album.  The Winnipeg Free Press stated in July of 1975:The more I listen to Sheer Heart Attack, the third album from Queen, the more I realize bow much I under-rated it a few months back when it was first released. Side one in particular is a delight, with Brian May’s multi-tracked guitar, Freddie Mercury’s stunning vocalizing and Roy Thomas Baker’s dynamic production work teaming up in a no-holds barred, full-scale attack on the senses.The album cover was shot by renowned photographer, Mick Rock and was Freddie’s idea.  “God, the agony we went through to have the pictures taken, dear.  Can you imagine trying to convince the others to cover themselves in Vaseline and then have a hose water turned on them?!  Sheer agony!”76Katherine R Davis, Eileen Roether en 74 anderen13 opmerkingen8 keer gedeeldLeukOpmerking plaatsenDelen
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d-criss-news · 3 years
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Nine Songs: Darren Criss
When Disney, Phantom Planet and Mr Hudson collide: Glee star, Emmy and Golden Globe winner and musician Darren Criss talks Andrew Wright through the pivotal songs in his life and the unexpected ways they found him.
“When we are younger, our gateway drugs to a lot of popular things don’t come from the sexiest of places. It’s up to you how proactive you want to be with your curiosity from there, and how far down the rabbit hole you want to go, if you go down at all.”
Choosing the songs that define you is a tricky business to say the least, especially when the power of song has provided an ongoing soundtrack to your life. “When you’re as avid a music consumer as musical artists are, trying to pin down Nine Songs is difficult,” Darren Criss laughs. So much so, his final choices only really crystallise as our conversation draws to its close. “It’s hard for me not to see the value and joy in literally everything,” he explains. “The curse of the creative person is that your ideas and your interests always move way faster than your body can execute.”
Criss is a creative par excellence. As well as his Emmy and Golden Globe winning performance in The Assassination of Gianni Versace, where he played serial killer Andrew Cunanan, to his upcoming role in Muppets Haunted Mansion Halloween special as The Caretaker, he’s also a prolific musician. Criss enjoyed a decadent musical consumption since childhood, so “this was a bit of an archaeological dig,” he admits. As such, everything from jazz standards, to 808s, punk rock, ‘90s teen pop, and musical numbers are excavated in the course of our extemporaneous journey through the music he loves.
Equally on his mind is how to go about approaching the task of creating his Nine Songs, full stop. “The interesting social experiment is: Are my answers going to be songs that actually shaped my life and were formative to me as an artist? Are they songs that were formative to me as a human being? Or am I picking songs that I think represent who I am to people that do not know me? All three of those things aren’t necessarily the same thing.”
He reaches a conclusion of sorts. “For the purposes of making some kind of decision, I’m gonna lean less into trying to look cool to your very cool readership, and more into the literal, ‘What made me think about music in a different way? And hit me in a very emotional way?’ I think that’s probably the healthiest route.”
Embracing the accessibility that characterises Criss’ picks - or at times the initial touchpoints that led him to them - are something he vacillates over during our chat. “I’ve seen a lot of other people’s Nine Songs and they’re super cool. It’s like Leonard Cohen B-sides and old opera records and stuff. I’m gonna be pretty honest with the pop culture zeitgeist of how I grew up but explain why there is so much value in those moments.” His contemplation continues into the next day, Criss’s publicist passes on his regrets at being tentative to admit how he encountered one of his song choices via the Shrek soundtrack.
A yearning to reinterpret accessibility and the value attached to it drives Criss, however. He tells me that a festival performance that applied the anarchic verve of punk rock to a more refined Great American Songbook number remoulded his perception of music entirely. His love of the fusion of these two genres in particular symbolises the salient musical backdrops of his childhood - the guitar bands he played in with friends, and his musical theatre endeavours that led him to Broadway and multiple Ryan Murphy juggernauts, including his breakthrough playing Blaine Anderson in Glee.
Criss employs these contrasting musical lexicons, and other areas in between, on Masquerade, his new EP. Comprising five stand-alone “character-driven” singles, it sees Criss donning different musical personas. “I’m leaning into people that might know me as an actor,” he explains. “Because if actors can do Shakespeare, romantic comedy, and then do a horror movie and wear a prosthetic nose and a wig, I didn’t understand why I couldn’t just do that with music.” The song “walk of shame” draws on jazz-standard chords interlaced with hip-hop production, “i can’t dance” looks to new-wave, and “for a night like this” is the product of Criss’ goal to create the ultimate end-of-the-night crowd-pleaser for a new-year bash, wedding or bar mitzvah. “This is all of the parts of me as a lifelong fan of these genres, trying my hand at servicing the pieces of them that I love.”
“I really love all styles of music and understanding what makes them unique and special and what makes them really pop. There are so many things that really make things sing - for lack of a better verb - and I like acknowledging those things and celebrating those things.”
“So, let’s begin. I have runners up and shit, and I have artists, I don’t just have the songs, so we might have to pick them as we go.”
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“Part of Your World” by Jodi Benson
“When people read this, they’ll go ‘That’s cute, he likes Disney songs’, but it’s more profound than that. Some of the most formative pieces of music to hit me at a very early age would have been any of the songs that were coming from ‘The Disney renaissance.’ The early-mid ‘90s explosion of The Little Mermaid, Aladdin and Beauty and The Beast.
"One of the through lines between the three of those musicals was Howard Ashman, who is one of my all-time heroes. Dramaturg, songwriter - he really was the voice behind what made those songs great. I have always loved Howard’s lyrical sensibility and also Alan Menken, his partner who wrote these songs with him. There was a musical structure to a lot of the songs which I would unconsciously pick up in my own songwriting, not just musically, but the idea that not only did somebody make these songs, but they wrote them for a story.
“There’s a clip of Howard Ashman vocal directing Jodi Benson, who was the original voice of Ariel. It’s a wonderful example of his genius, where not only was he songwriting but he was storytelling in the way he would tell her how to perform it, and you can really see the song coming to life in that clip. That’s when you cross the street from ‘It’s a song’ to ‘This is an experience.’
"There are certain ingredients that are required to elevate music that goes beyond just a nice melody, a beautiful orchestration and a good voice. There are things that are required to really give a performance a characterisation, context and a vulnerability, that he architects in real-time with Jodi Benson. You see that what he’s doing is what makes the record so special, and that’s something that’s always been inspiring to me.”
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“MMMBop” by Hanson
“I think my love of Hanson was because some people didn’t like it, so I was like ‘Fuck you, I like this, how do you feel about it?’ But this is difficult for me, because you know, I’m speaking to The Line of Best Fit and we’re trying to be cool! Although, do you know what’s cool? Being accessible! Writing a pop hit when you are 10 years old. Being in a band with your brothers and you’re all below the age of 15, you have a record contract where you are writing, producing and performing songs that are doing well.
“I was 10 years old when their first album Middle of Nowhere came out, and I remember reading somewhere that there were these kids that had a record. At the time, I was playing guitar and I was writing songs, but in my mind I was a kid, and that was it. I couldn’t be on the radio; you had to be a grown up to do this.
"This was the first time where I realised ‘Holy shit, kids can do stuff!’ It’s the value of seeing yourself in the media - that’s a whole other conversation to talk about - but there’s an immense value in feeling like there’s a piece of you out in the zeitgeist and doing well because it’s encouraging. You go, ‘Holy shit, maybe I can do this as well.'
“When you see children doing things, you’re ‘Wow, this is so cute and fabulous’, but then when you actually look at it you go, ‘This is miles above what most people in this age group are capable of,’ and that’s all I saw, because I was in the same age group and I was so inspired by that. This whole album was really a turning point for me, where I was like, ‘I can do this, I can do music too, because these guys can.'
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“Ooh La La” by Faces
“This song really blew my mind. It became my own theme. It’s that ‘Make your heart sing’, nostalgic moment when you’re a teenager, driving in the car listening to it, playing guitar with your friends and you’re singing “I wish that I knew what I know now / When I was younger.” You’re like, ‘because I’m an adult now, I’m 15-years-old. If I only knew what I know now.’
“I was doing theatre from a young age and I was part of a young conservatory called A.C.T. in San Francisco. By way of somebody who knew somebody, I had an audition for a movie. As a kid not being near New York or Los Angeles it was really exciting, and this audition was for a film called ‘Max Fischer’, which would become the movie Rushmore, which would become one of my favourite movies of all time by the now very distinguished Wes Anderson.
“Separate from my own objective love of Wes Anderson, when this movie came out I was just around the age of getting into my own sort of identity with music, but also movies - indie movies - and trying to assert who I was. So, I see this movie Rushmore and I love it. I love the soundtrack, I love it so much, it’s one of my favourite albums ever. This song is the end sequence, and the way it made me feel - the vocals on it, I could play it on guitar and it was part of a cool movie - it really represented a lot in my life.
“And because of the acting thing, and Rushmore being great - it’s about this kid in high-school who's misunderstood but has his own agenda - everything about it was just so fucking cool to me. To this day, I cite that song as one of my favourite records of all time.”
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“Recently Distressed” by Phantom Planet
“A guy that really formed the way I would sing and write songs is Alex Greenwald, the frontman of Phantom Planet. I went to see Phantom Planet because I loved Rushmore and I found out that Jason Schwartzman [who had been cast as Max Fischer] was also the drummer for a band called Phantom Planet.
"So, when I saw their name on the bill I went, but I didn't know their music. I was barely 14, but their set blew my mind. It was Rock and Roll, but I loved Alex Greenwald’s voice. I loved everything, and I would follow their career from there. I always tell people that my voice is a combination of me trying to be Alex Greenwald, Paul McCartney and Rufus Wainwright, but failing. Alex was incredibly formative for me.
“One of their biggest records was a little while after I first saw them, which was the song for The O.C., "California." That was more of an Elvis Costello thing, and they employed a lot of stuff that sounded to me like The Beatles and a lot of ‘60s mod/pop-rock. But later they would employ things from Fugazi, Radiohead and harder shit, and that eclecticism, again, only accelerated my love for Phantom Planet.
“Recently Distressed” is from their 1998 album Phantom Planet Is Missing. This was a cool rock song that employed these George [Harrison] and Paul [McCartney] background vocals and included all of the things that I loved. It was harder but melodic and employed minor 4th chords and more complicated chords than I was used to. I had grown up with power chords - which are very Gregorian - on a lot of alt. punk rock, like Green Day or Nirvana, and if Kurt Cobain was using power chords then that’s how I was playing guitar. Hearing this music was like ‘Oh, I’m using full chords, not sevenths, minor 4th chords, diminished chords’, shit that I would learn to use more and more.
“When you haven’t experienced much, anything that gives a hint towards possibility, even though it’s probably always been there, you’re like, ‘I like this, I’ve always kind of liked this, but it’s very encouraging to hear somebody else do it and it’s gonna make me reconsider my possibilities.’ That was literally the moment that my power chords turned into full barre chords.”
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“Cigarettes and Chocolate Milk” by Rufus Wainwright
“I forgot the other day how I got into Rufus Wainwright, because all of this stuff I was getting into quite young. It’s like when I talk to 11-13 year olds, it’s funny to think that this was when I was really starting to build my musical identity. But then I remembered, and I didn’t want to say because I didn’t want to sound uncool, because he is such a revered artist who exists in a much cooler place than what I’m about to say.
“I loved soundtracks and I would always buy soundtracks for movies that had cool playlists. I had the Shrek soundtrack, and there’s a cover of Leonard Cohen’s seminal “Hallelujah” that Rufus does and he smashes it, and I’m like, ‘Who the fuck is Rufus Wainwright? What a beautiful voice.’ Then I saw that he was going to be at the Virgin Megastore in San Francisco one week, so I go and he’s there promoting his new album Poses. I remember I didn’t have enough money to buy the album that day, so I had him sign my sneaker and I saved that shoe.
“The first song on Poses was “Cigarettes and Chocolate Milk”, which is a very dark and reflective song about his own battles with addiction, but he’s singing it over this really beautiful, whimsical song that has a lot of really great wordplay. I always love when artists, especially lyricists, can encapsulate an idea with not exactly what they’re talking about. The song’s called “Cigarettes and Chocolate Milk”, it’s not called “Addiction”. Its talking about things that he craved and how that’s representative of other things that he’s gone through. There was a sophistication and elegance to that that I really gravitated towards, that I didn’t possess but wanted to shoot for. So when I saw him, that was a big one for me and he would also continue to influence me later in my life.
“I’ve become friends with Rufus since. I’ve performed with him and we’ve made records together, which is crazy. His songwriting was very complex and punk-rock, but he had this classic cabaret voice, the kind of voice that I don’t have. I was fascinated that there was somebody that could write this really dark material but have such elegance on top of it. He was virtuosic on the piano, which I thought was very cool because musicianship is always the thing that gets me going the most about artists.
“You know what? People say, ‘Don’t meet your heroes.' I completely disagree. Chase the living fuck out of your heroes. I’ve spent a lifetime doing so, it’s made me a better artist, and I’ve sometimes got to meet them and work with them. I’ve worked on music with Alex Greenwald of Phantom Planet. I’ve performed with Hanson. I’ve performed those Disney songs with Alan Menken at The Hollywood Bowl.
"This is all because there are people that I love who I have put on my vision board, and the things that they have done are the things that are bringing me to them. So it is nuts, but at the same time you’re like, ‘Well, what else did you think would happen?’ They did stuff that some part of me connected with, so obviously there’s a magnetic pull towards that person.
“Rufus Wainwright is one of my absolute favourite artists of all time and like I said, me trying to sing like him and failing is a big part of my own journey as an artist.”
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“3x5” by John Mayer
“John Mayer’s another guy that came around when I was 15. I heard a song of his on a middle-of-the-night, singer/songwriter college radio show. This is where I used to get music. You would listen to these carefully curated playlists that you wouldn’t be able to hear anywhere else, and the host played “No Such Thing”, a new song by this young kid who had just dropped out of Berklee College of Music - John Mayer.
“I’m listening to this song and I’m like, ‘Not only is this guitar playing really interesting, but the lyrical value and everything that is going on here ticks all the boxes.' It was jazz, but it was pop. And he did something that all these other guys and girls I’ve mentioned did. They made something very unique and very accessible.
“I immediately went out to buy this album, Room For Squares, and I listened to it over and over again. It was an album that was really formative for me. "3x5” is a really beautiful song that employs a lot of chord structures and melodies that blew my fucking mind at the time, and it made me wish that I could write songs like that.
“That album was a huge turning point in the way I played the guitar, because it was the first time in my life where I would look up tabs. Up until this point in my life, if I heard a song I could play it instantly. It was like a party trick, I would get how it worked if I heard it, because most of the songs I would hear on the radio - especially those that involved a guitar - were [centred around] power chords. And now I’m hearing all of these ninth chords and thirteenths, and I’m like, ‘What the fuck is this?’ So I’d have to look up tabs.
“I think any young artist can attest to this - when you try and learn other people’s shit, it’s the best tool for educating yourself. Playing other people’s music really helps you lock in what your own style is. Trying to learn these songs - and sometimes pulling it off and sometimes not - really changed the way that my hands moved around the guitar and considered chords and voicings that I’d never really thought of.
“There’s another tie to musical theatre here, where I remember seeing Audra McDonald, who is a very venerated theatre actor, and she did a cabaret. If you’re familiar with cabaret culture, it’s more about performing the story of the songs – ‘Life is a cabaret’. She did a John Mayer song because she thought it was from a musical theatre show, and I was so tickled by this, because I was like ‘Yeah, if you really think about it, I don’t think he knows this and I don’t think his fan base even thinks about this, but there’s a number of his songs that feel very theatrical in the way that the lyrics play with each other and the way the chords move’.
"When I saw this I thought, ‘That is why I like John Mayer’, because yes, he’s an amazing guitar player, but he’s also a really strong songwriter.”
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“Cabaret” by Me First and the Gimme Gimmes
“Also, around this time growing up in San Francisco, as a guitar player playing music with your buddies, the number one thing that you play is punk rock. There are different parts of the spectrum of punk rock, there's the NOFX, Swingin’ Utters, like real punk, punk. And then there’s the pop-punk thing that was happening at the same time, which was also equally influential - blink-182 and Green Day.
“Fat Mike was the frontman of NOFX. I loved NOFX, and Me First and the Gimme Gimmes were a supergroup of different members from different punk bands, of which Fat Mike was one of the main architects. They would cover songs and turn them into punk rock songs. They have an album of hits from the ‘60s, and they also have an album called Me First and the Gimme Gimmes: Are a Drag, and that record is just a tonne of musical theatre covers that are done through punk rock.
“That was completely in line with everything I loved at this time of my life but didn’t really know how to articulate. I loved punk rock but I also really loved musical theatre. Not only the performative element of it, but there was a real musicality to musical theatre that wasn’t as present in some of the other shit that was popular at the time, just harmonically, or where chords would go. There was a sophistication I loved that seemed to not exist in punk rock.
“Then hearing Fat Mike at The Warped Tour going ‘Alright, which one of you Motherfuckers loves Julie Andrews?’ and hearing a mixed bag of reactions, because people were ‘What? I was not expecting that from you, sir?’ And then they start playing “My Favourite Things”, a classic Rodgers and Hammerstein song which is very accessible, but sophisticated nonetheless. And I am just living. I’m like, ‘This has got the attitude and simplicity of punk rock, but the sophistication of a beautiful song.’
“That was the first time in my life where I went, ‘It’s just all music. All these categories and boxes are completely arbitrary.’ So I thought, ‘I can do that.' I was playing power chords in punk bands but I realised that you can take chords and make them into other rhythms and voicings and have the same song. I could take a punk song and make it jazz. I could take a jazz song and make it country. So, quite providentially, I would end up on Glee, where they took popular songs and would sometimes do their own versions.
“By that point, I had been doing this my whole life. The first time this ever became a possibility for me was seeing Me First and the Gimme Gimmes, and that way of thinking about music and genre. I’ve put that into Masquerade, and it’s all born from that moment of ‘Oh my God, nothing has to be one thing. It’s just about how you look at it.'
“Cabaret” is from a pretty famous musical that I would’ve probably heard about later in life, but I first heard that song as a punk song and then I went back and heard the original. It doesn’t matter how these things happen, the inspiration happens and then you can go from there. But Me First and The Gimme Gimmes were a huge gateway drug and I play “Cabaret” now every year at my festival. That’s why the festival is called Elsie Fest, because it covers the song.”
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“Modern Nature” by Sondre Lerche
“One of the great joys of being a younger brother is that you get to inherit the music of your elders. My brother and I were both really proactive consumers of music, so we would share stuff with each other all the time. But then he would come home from college, which is like coming home from a music festival essentially, right? He was in a new time zone with new people, so he’d bring home these mix CDs that he’d made from people that he’d heard about, and he brings home this guy named Sondre Lerche.
“Hearing this guy blew my mind, because he also was using jazz chords and drawing on musical theatre. Musical theatre’s a massive category, so I can’t just say that musical theatre sounds like one thing, but when I say this, I’m referring to The American Songbook, the jazz standard songbook. “Modern Nature” was a duet that I would go on to play many times with one of my oldest musical collaborators, Charlene Kaye. When we got to college and we both found out that we loved this guy.
“There was a much more whimsical way to how he wrote these songs. And what’s crazy is that loving this guy meant that we also loved Rufus Wainwright, that we also loved these other artists. But Sondre was the first time I considered that I loved that type of music, but I didn’t know that you could be a singer/songwriter and put out music that sounded like it.
“I don’t know if ‘twee’ is the right word to use, but with “Modern Nature” there was a playfulness about it, and again, a musicality that I really gravitated towards. There is a through line - there was a sophistication that was accessible, and me trying to learn those songs did make me rethink the way that I was writing music. The structures were weird and different and I liked that.
“To this day, I find myself writing songs that I think might be difficult for people to ingest, because they’re a little too left of centre, and I realise that I’m trying to write like Sondre Lerche, or I’m unconsciously just copying him.”
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“Everything Happens to Me” by Mr Hudson & The Library
“I was in an H&M in Stockholm when I was 21, and I heard this really cool groove and the lyric was “Why must I always play the clown?” It was sung with a really thick British accent, had an 808 feel on it, and lyrically it had an attitude. Who would say something that sounds so like you’re in a Gilbert & Sullivan musical, but it feels hard? It was cool.
“I went home and looked this up and it was off the record A Tale of Two Cities by Mr Hudson and the Library, which would really, really fuck me up. I bought the album immediately because I loved this song. I had to order it on the internet because I couldn’t find it. It was doing well in England and he was on the festival circuit in the early-mid 2000s, but the first song on the album was a musical theatre cover with 808s.
“It was a pared-down, sort of a hip-hop version of “On The Street Where You Live” from My Fair Lady, and I’m like ‘No fucking way, this guy gets where my head is.’ I’d thought about punk rock musical theatre, but I never thought about 808s and 909s scoring these beautiful songs. I go down the track list and he has “Everything Happens to Me”, which is another very famous standard, and he had this really cool, what we would now call chill-hop, ‘study beats’ version of this song. I was like, ‘This is it. This guy gets that good music is good music and you can reinterpret it to offer it as a new song.’
“I would later become great friends with Mr Hudson. I got to meet him years later when I was with Columbia Records, and they said to me ‘Who do you want to meet?’ He was at the top of my list. I went to London and we’ve been friends ever since and have created all kinds of music together.
“He told me a story where Tyler the Creator went up to him once at Coachella and said, ‘Oh man, “Everything Happens To Me”, that’s like my song.’ We both wondered if Tyler the Creator knew that it was a Chet Baker cover. And we were thinking how cool it is that you can offer these songs to a new audience through a different lens. Tyler’s a smart guy, he’s very cultured, and I’m sure he did know. But it’s more the idea that if someone experienced this song and didn’t know that it was a cover, and this is like the first time they ever get to experience it.
“Mr Hudson would go on to do his own thing with Kanye and was on 808s & Heartbreak and has had his own career. I think “Supernova” was a hit in the UK, it didn’t really cross over here to The States, but before that moment for him, that Mr Hudson and The Library album changed my life. People use that phrase willy-nilly, but this literally was a turning point in my life. It all had to do with the same thing that happened with these other songs, where I saw someone do what I always wanted to do but didn’t really know how to pull off. Where he had this fusing of old songs delivered through a contemporary lens, but also laced it with his own original material that also employed the things that made that old songwriting interesting.
“It’s like changing the font of a great essay but finding the font and figuring out that that font is its own art form. He really displayed that marvellously on this.”
The Masquerade EP is out now
106 notes · View notes
dingdonghyvck · 3 years
Text
The Only Exception || Lee Haechan x Reader
Summary: You finally realize that Haechan’s the only exception to the one rule you gave yourself.
Genre: Angst and a little bit of Fluff  
Pairing/s: Drummer!Haechan x Lead Vocalist!Reader, Minor College Student!Mark x Reader
Warnings: Explicit content, mentions of suicide, suicidal thoughts, implications of sex, sex jokes, use of drugs, cigarettes and alcohol, verbal and physical abuse, divorce, and a few others I probably forgot to mention
Word Count: 5.4k words
So this is part two of the Drummer!Haechan AU I wrote: Still Into You
 Please do give feedback, it’s greatly appreciated! Thank you and enjoy :)
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"When I was younger I saw my daddy cry and curse at the wind.
He broke his own heart and I watched as he tried to reassemble it.
And my momma swore that she would never let herself forget”
It all started with hushed arguments, hidden whispers of disappointment behind closed doors, afraid of breaking the perfect image your family had, afraid of the neighbors to talk. From hushed arguments to daily endeavors of avoiding each other everyday, it was like a ticking bomb inside your home. A ticking bomb you had tip-toed over each morning past your parents' bedroom, hearing the muffled crying. You knew it was only a matter of time before the bomb would finally explode, imploding your house from inside-out.
You hoped and you prayed to any god willing to listen that the rumors were not true. The neighbors started talking and the news had somehow got out. And that was when everything started breaking down. The hushed arguments turned to wars of screaming and crying, sharp words that cut through you like a knife. That was when the walls of your home began to talk, they spoke to you too, they echoed the hatred your parents had for each other. They made you feel unwanted, unloved and useless, since of course the sole foundation of your life was crumbling. You were the scars, bruises, and pain they brought into the world, you were once proof of their love that turned into a ghost wandering the halls, desperately clawing against the wallpaper to make it all stop.
It didn't end with words, it seemed as if words weren't hurtful enough. You were caught in the crossfire, desperately trying to raise the white flag between the two, but you ended up becoming their stress ball. They would sometimes drown you, lock you up in the basement or straight up hit you. They kept squeezing you and throwing you around like a stress ball bound to burst, the people at school began noticing the bruises and cuts. In the end they left you alone, vacant and ignored since you began bringing your friends over your house.
And for the first time in a while you felt safe, you felt safe in Jeno's comforting smile when he tried to teach you guitar. You felt safe with Hendery's little pranks and teasing during practices. You felt safe in Donghyuck's presence whenever you two would head out after band practice, in his car with no particular destination in mind. The nights were long, but somehow it always ended too quickly for you. You wished you could stay for an eternity inside Donghyuck's car, it was a place where you didn't bother to be someone else except yourself.
It was a space where you weren't either the whore's daughter or the useless excuse of a student. You were just authentically you and Donghyuck openly accepted you, he didn't say it but you knew he did. He didn't talk whenever you didn't feel like it, he opened the car window when you wanted to watch the stoplights and streetlight wiz by. That's what made those nights perfect, it was Donghyuck's soft humming along the mediocre pop song on the radio. His weirdly specific defensive monologue whenever you brought up his tacky lavender car scent. Donghyuck's presence in general as he would sometimes just hold your hand while you thought to yourself.
One of those nights where you thought to yourself that life should always be like this, you didn't know how, but you knew that Donghyuck has to be apart of it. You decided that the world may go to shit, your parents may end up getting a divorce, you may end up living the rest of your life as a deadbeat. But you no longer cared as long as you had this place, in a worn out car seat next to him; well that was what you thought at least.
"And that was the day that I promised,
I'd never sing of love if it does not exist"
Donghyuck's sudden departure from the band shocked both Jeno and Hendery, they took it considerably well in all honesty. They still wanted to continue on with the band, partly because they needed the money from the gigs and mostly because they worried for you as a friend. You tried your best in trying to continue with your life and look for another drummer, for another Donghyuck in your life. As silly as it sounded since you were the one that pushed him away, you would think of him most days. You were only realizing how important Donghyuck was in your life.
He was always the one who took care of you, reminded you to eat and rest whenever you forgot. He would show up at your dorm to bring you breakfast or make you coffee, remind you that some of the books you borrowed from the library was due tomorrow, or even just chat you to check on how your day was going. Now that you had changed your number and avoided him like a plague you were starting to realize how much you lost.
And you had thought of calling him, or maybe reaching out to ask how his day was going, the same way he used to check on you. You were so tempted that you showed up at his place, a second away from buzzing his doorbell, but you remembered. You remembered how awful you were to him, you were reminded of the pain and misery you've caused him all through out your lives so far. You were being selfish yet again, so you stopped yourself. You immediately turned around that day and called up Hendery and Jeno to tell them that the band was over, you didn't have the guts to face them anymore.
The guilt was eating you alive, they had tried to convince you otherwise but you pushed them away too. The only person who you kept in your life was Mark. You still felt happy to be around him, although you didn't feel comfortable since you felt like you had to keep a facade around him. He seemed glad to see you more often, you'd cling onto him like a flee for days. But there came a time when he finally asked why you were so vacant these days, and where were your other friends; it was an argument caused by Mark's growing irritation for being required to see you everyday and almost having to babysit you like child, all the while trying to keep up with other activities going on his life. You had left him without a single word and returned the next day like nothing happened.
He genuinely did like you, he wished things were different but he couldn't handle the nonstop texts and calls that came from you every minute of the hour, he was beginning to get sick of it. And you immediately notice his distaste, the way he would dryly reply to your messages or not talk to you whenever he did have time to see you. You knew you were becoming a bit too much for him, desperate for company that you became too overbearing, a bit too possessive and selfish when it came to his time.
And for the first time, you felt it. You felt how your heart sunk everytime Mark chose to answer a call from a friend when you were talking to him, the way he would look anywhere else but you whenever you tried to start conversations. You were usually on the other end of the stick, careless of other people’s emotions and too busy living in your own world. You finally knew what it felt when Donghyuck dated you, and what horrible thoughts that came with it. In the end, you knew that Mark was too kind to end it with you, he obviously knew you were having issues in your personal life, but he couldn't be bothered anymore; he's tried talking to you about it, but you'd always change the topic.
So you told yourself that it was better if you would be alone for now, this is the tenfold of misery and hurt you've caused everyone around you, especially Donghyuck, your world was falling apart as more and more people left.  You eventually ended things with Mark, and he gave you a simple okay and left.  He didn't seem to notice you anymore, he continued to live his university life unscathed, it was as if you two never spoke in the first place.
He would sometimes smile at you or give you a small nod of his head whenever you saw each other around campus, but that was the most you've gotten from him. You didn't blame him, he didn't have time to waste with people like you. Being alone with your thoughts truly was eating you alive, you were beginning to go insane. Everytime you were about to reach out to anyone, either Jeno, Hendery, or Donghyuck, you'd always stop yourself to remind you that you deserved this.
You deserved to be alone, you cannot be loved. You were a heartless monster just as Donghyuck said and you lived most of your days alone while trying to survive with the little funds your new part time provided. You didn't know how, but you somehow lived as days went by. You watched the leaves and flowers bloom from the branches outside of your dorm till they wilted. It was now winter, and you freely wandered the streets. No other human could be seen outside, everyone was probably spending time with loved ones, since of course it was the holidays.
Days you should be spending with the people you cherish and loved the most, you could see the warm lights from within some of the homes, laughter resonates through the walls, probably the lovers and families enjoying their own company. Playing dumb board games and cuddled up by the fire, watching the grinch movies with eggnog and warm cups of hot choco. You never really understood the joys of the holidays, probably because the only other person you had spent it was with Donghyuck, and there you go thinking of him again.
As if thinking of him in everything you do wasn't enough, he began appearing in your dreams. You didn't know if it was pleasant to revisit old memories or did it hurt to reminisce what was lost between you two. And as much as it hurt you chose to remember him as someone you loved, perhaps not romantically, but he was someone you truly cherished. You thought that he'd comment on how cheesy you've become, so melodramatic that you'd give William Shakespear a run for his money when he's already in his grave.
You bitterly laugh at the thought, the cold makes your throat dry and eyes watery but you look up to the moon while standing next to a lamp post near the frozen river.  You could almost feel his presence, you truly were going insane that you started imagining things he'd say to you at times like this. The snarky comments and cute pet names he'd give you whenever you dragged him along for whatever adventure you had in mind. You remembered how he'd first complain about it to no end, but he always ends up coming with you. He always does, of course, he's Donghyuck, the person who stuck with you through thick and thin; the person you've hurt the most.
You begin humming a small tune, you didn't recognize it at first, but you ended up humming a paramore song. The song you both listened to during class the first day you two met, the same song that you sang here, with tears streaming down you cheeks. You didn't know you were crying until you felt the cold gust of wind brushing against your cheeks, a chill running down your spine as you sniffled.
"I hope you're happy now Hyuck, wherever you are," it felt weird to speak, you couldn't remember the last time you opened your mouth to say anything. it's been months since you've last said a word to anyone, you throat was dry and you could barely recognize your own voice, it was raspier than you last remembered.
"I'm happy enough to know we're looking at the same moon tonight at least." you laughed, your throat hurts like hell, the laugh came as a croak and you tried to gasp in air to try and stop yourself from breaking down.
It felt weird to listen to your own voice, everything felt unreal. These past few months were like a fever dream to you, you even wondered if you were dead and this was some cruel purgatory you served for the shit you pulled back then. You've thought about jumping into the frozen river, maybe the cold would at least wake you up if this was truly some cruel nightmare. If not it could also finally end all the suffering and pain you know you caused yourself, what hurt most was you cannot blame anyone else for what is happening now. You shakily let out a breath, hands gripping the metal railing. You were about to jump over it when the street's fairy lights were suddenly turned on and it reflected off the thin layer of ice of the lake.
You wake up from your daze, what the hell were you thinking? The pretty lights distracted you for a moment, you pace your breathing with the consistent flicker of the warm glow of the tiny lights, trying to calm down.
"And I've always lived like this,
keeping a comfortable distance"
senior year, prom.
You bit your lip while watching the fairy lights flicker, whose idea was it to have tiny light bulbs as decoration for the photo booth, and god you wanted to give them a kiss now. It was such a hazard that you couldn't stop thinking of the endless possible drama it could cause, the prom queen could end up stepping on it and light her dress on fire, that would at least make the night interesting. You blew the tiny patch of fake snow off the table while you grumpily waited for someone, anyone, to step on one of the fairy lights, but you were dragged out of your reverie when you hear Donghyuck's voice behind you.
"Hey ugly,"
"Hey stupid," you replied, eyes shifting away from the photo booth for a second to look at him. He stuck out like a sore thumb, he wasn't wearing a tuxedo like the rest, or even a tie to at least try and be formal. He was sporting his favorite leather jacket with a green untucked button up underneath, he looked underdressed, the only effort he made to his appearance was the way he styled his hair to showcase his forehead.
"That's not a nice way to speak to your boyfriend" Donghyuck faked a gasp, dragging a chair to sit down beside you, you raised an eyebrow at him. The stupid crease on his jacket annoyed you to no end, so you fixed it for him, it was his turn to raise an eyebrow at you.
"Boyfriend? I thought boyfriends put in extra efforts for prom? You know like in the movies, they give the girl a cute corsage and tell them how pretty they look and end up fucking in the bathroom or something?"
"You're beautiful." He says it blatantly, you stop to look him in the eyes, and it seemed genuine. You pursed your lips while trying to hide your smile, boyfriend Donghyuck was different from best friend Donghyuck, he was a lot... sweeter.
"Let's fuck in the bathroom later?" he added, to which you groaned and slapped his thigh. He only laughed at you while gently fitting his hand into yours, gently kissing your knuckles when you swore you were gonna bite his dick someday, just he wait.
Well you'll  give him credit, he at least made an effort to look nice for you. You didn't even bother to blow dry your hair today and you were wearing what you'd usually wear whenever you went out with him, just with a bit more grunge added, like black fishnet stockings. He wasn't complaining at all, he knew that whatever you were wearing tonight would end up ripped anyway, probably somewhere on his bedroom floor. And plus, you two didn't really attend prom, the only reason you bothered to this year was for the battle of the bands.
You were already done with the performance so you were all simply waiting for the announcement of the winner. You knew Jeno was probably out on the dance floor dancing with his date in a proper suit and tie like a gentleman, but you had no idea where Hendery went. One second he said he was going to get you a drink, the next he's disappeared before you into thin air. So you were left with Donghyuck, who was currently playing with your rings. As weird as it felt to have a label between you two, nothing's changed. You thought that you'd feel more awkward towards him, but the only thing that changed was the label, and you were happy in a way.
"Wanna dance?"
You perk up at his question, you finally realize that a slow song was playing. Everyone was paired off in front of you, even some of the teachers were dancing. You almost let out a laugh at the sight of some of couples who were trying their best to keep it in their pants. You thought he was joking until you looked over at him, he was shyly fiddling with his own hands now, not able to look you in the eyes. You would laugh if it weren't for the way he seemed so shy to ask, he looked like he was about to combust.
"I don't dance," you laughed, he looks up at you. You didn't know it was possible but he looked much more embarrassed now, it was cute it in a way.
"Let's get out of here?"
"Now that's more like it" you smirk, taking his hand to lead him outside of the gymnasium and to his car.  He didn't bother to fight it, he just simply let you drag him out to the parking lot.
He opens the car door for you and you played along, deciding to not tease him just this once since, of course, he was already red enough. He turns on the engine and you switch through different channels on the radio, finally settling on one when he pulls out of the driveway.
“And up until now I had sworn to myself that I'm content with loneliness.
Because none of it was ever worth the risk.”
The song on the radio hummed in the background as he drove as carefully as he could, the roads were iced and it wasn't very safe to drive right now. He was about to take the turn to his house but you stop him and told him to bring you to the center of town, he was unsure why the sudden request, but he follows your directions anyway. For the moment, you stared at his face. The way the streetlights lit up his skin, you rarely saw his forehead and it did make him look attractive. Well he was already attractive in the first place but you couldn’t help but observe the way he drummed his fingers against the steering wheel to the song’s beat, it looked instinctive and natural to him.
"So are you finally going to murder me and take my intestines to sell on the black market?" he spoke, and you laughed, throwing your head back; he was finally starting to look handsome to you, and he opens that damned mouth of his.
"Kidneys my darling! Your kidneys will be worth a fortune!" you giggled while leaning over the center console to kiss his cheek, he smiled at the sound of your laughter.
He takes you exactly where you asked him, the center of the town. The exact intersection that’s considered as the heart of your buzzing neighborhood. The exact intersection that usually had so many cars, always the cause of traffic and delay, was now completely empty. All the stores near the intersect were closed, no other person in sight but the stoplights continued to operate. The colors red, yellow, and green appearing in an ordered sequence, proportionally timed. Although there wasn't a single car in sight, Donghyuck stopped when the light turned red.
"What are you waiting for?" you asked in confusion, he shrugs.
"Can you tell me why we're here?"
You didn't bother to speak, you simply got out of the car and stood at the center of the intersection. You opened your arms up to him and he watched you curiously, you let out a boisterous laugh, spinning around your heel. You forgot that the road was slippery so you fell flat on your back, still laughing. Donghyuck runs out of his car to kneel beside you, he had a worried look to him but it immediately faded away when you looked at him with joy in your eyes.
He scoffed, not forgetting to comment on how stupid you looked before offering his hand to help you stand up. You take his hand but instead of sitting up, you pull him towards you and he slips, ending up toppled over you. His breathing was uneven as it brushed cooly against your cheek, you close your eyes at the feeling. He gently kissed your cheek after a minute, finally standing up to brush himself off. You were still lying down on the ground, flailing your arms around to try and form a snow angel.
"Are you dumb? Get up before we get run over" Donghyuck tried to sound angry, but he couldn't stop the lilt in his voice, a tiny chuckles escapes his mouth.
"Shut up already and just lie down! Why do you always ruin the moment?” you whined looking up at him, still spread eagle at the center of the intersect, he raised an eyebrow at you, it was becoming a habit to him.
“Don’t you feel it too? The world’s stopped, they’ve finally shut up! So enjoy it and come lie down with me.”
“And if we get run over?”
“Then so be it” You shrugged, Donghyuck lets out a heavy sigh before taking his seat beside you. He doesn’t lie down, so you sit up to lean against his shoulder.
And the world stops, like what you said. For a moment the only thing you two could hear was the sound of your breathing and the beating of your hearts, he held your hand in his while you both watched the stoplight change colors. It felt like you two were the only people on earth, and it was the best. There was nothing but the moon, your thoughts, the stoplight, and him. And as peaceful as it was you couldn’t stop the thought from spilling from your mouth.
“Someday I’ll burn this town to the ground” you comment, and he snorts.
“Gee, it sure sounds like a solid plan” he says it sarcastically, and you turn to look at him.
“I’m serious! You better not get in my way or anything or else I’ll have to set you on fire” you say it with the most serious tone that he’s taken aback, well that was one weird thought he thought.
His face makes you laugh and he wasn’t sure if he was supposed to laugh with you. He shook his head when he realized you were joking, probably. You felt content and happy that you decided to grant him one wish. He once again has the confused face he had earlier, just when he was finally settled you suddenly move. He tries to stand up to follow you, but you told him that you’ll be back.
He watched you open the driver’s side of the car, he thought you were about to drive away and leave him here but he was abruptly stopped mid-thought when the speakers of the radio of his car boomed throughout the empty streets. His eyes widened, he was worried that it might wake the whole street up. Then he remembered that the residential homes were located near the outskirts of town, so it was unlikely that anyone would hear. Most of this area had shops and stores, so the people are probably back at home, you both aren’t technically disturbing anyone hopefully. He relaxes back into his seat to watch you waltz back towards him.
“So?” you asked, the smile on your face was infectious.
“So?” he mimicked dumbly and you rolled your eyes in annoyance, was he always this dumb?
“May I have this dance?” you groaned, turning red yourself. You blamed it on the cold, but he couldn’t help but laugh at you. At first it sounded like he was mocking you, but when you met his eyes to smack him on the head you were only met with eyes filled with so much endearment and affection that you could only pull back your hand.
He takes your hand to stand up, you complain of course, he was heavy. But he hushed you when he placed his fingers to your chapped lips, he smiled so widely that it looked like it hurt. You pursed your lips, wrapping your arms around his neck and he securely holds your waist. Although the atmosphere was supposed to be romantic, your terrible sense of rhythm in dancing ruined it. You would think that you’d be good at following the rhythm when dancing being a couple of musicians, but you both always missed a beat by a second. And he could only laugh while you cursed, finally remembering why you never danced.
You were muttering something under you breath, but your voice hitched when he brushes his fingers against your hair. He placed a sweet kiss to your temple and you freeze, you felt your heart clench at the action. He begins whispering the lyrics to your ear, you swallow thickly. This was one of the rare times he’d sing to you, you tried to tell him countless times that his voice was beautiful, but he had always denied saying yours was better. But hearing him now, whispering softly against your ear while he nuzzled his nose to your neck affectionately made your heart throb. You take in a deep breath, this feeling in your chest, it was your heart clenching. You didn’t know if he was hurting you but you were so overwhelmed that you suddenly pushed him away.
“Did I do something wrong?” his eyes spoke, trying to reach out to you again but you take another step backward.
“This was a stupid idea” You were shocked to hear your voice crack, Donghyuck frowns at your comment.
“What do you mean?”
“Take me home.... now.”
He tried to take a step towards you but you run back towards his car, closing the door to wait for him. You lower the volume of the radio and try to gather your thoughts, what the fuck was that? You watched him walk back towards the car and swore to yourself, whatever the hell you felt earlier, whatever he did to you, he will never be able to do again. It was too much of a risk, and you swore to yourself to never let yourself be that vulnerable again.
He tries to talk to you on the way home, but your replies were dry. You were busy fiddling with your fingers while looking outside the window. He tried his best to make you tell him what he did wrong but he couldn’t get another word out from you the moment he pulled up in front of your house. You were about to leave but you decided to try and turn things around, you tried to get back to what you two were used to.
You kissed him, hauling yourself over the center console to sit on his lap. He tries to pull away but you continued to kiss, hastily lifting his shirt to try and remove it. In the end he was weak to your touch, he could never deny you of anything. He hoped that you two could talk it out in the morning but you were unavailable the next few weeks after that, busy fooling around with Johnny.
“I've got a tight grip on reality but I can't let go of what's in front of me here.
I know you're leaving in the morning when you wake up, leave me with some kind of proof it's not a dream”
Present day.
The next day you decided to visit your home town. Although you didn’t have any family left to visit, you had volunteered to play at an orphanage, it was the least you could do for the holidays. If you couldn’t be happy, you could at least make others feel it. Who knew that Jeno’s stupid guitar lessons would end up becoming an asset to you, you could at least spread a little joy to the children who didn’t have parents, you somehow understood how they felt, in a weird way.
It was a joy to finally sing with a purpose again, hearing them laugh and sing along with you made your heart sore. Well at least you didn’t feel as useless after playing with a few of the kids and chatting with the caretakers and other volunteers. It felt freeing, to finally do something right. You fucked up this year for the most of it but you felt a bit less burdened when the children asked you to braid their hair or took your hand to dance with them. After serving your purpose at the orphanage you find yourself at the intersection. You don’t know what you wanted to accomplish, but your feet ended up taking you here.
And as expected it was filled with bustling life, people going in and out of shops to buy late christmas presents, children building snowmen and riding the tiny slopes made by the snow. The traffic as usual was heavy, the cars were honking and the streets were so noisy that no one could bearly hear themselves think. You sat by a bench near the park, the intersect still in your sight. You were eating a bagel mindlessly when a little kid sat beside you, he was eyeing your guitar.
“You play?” the little kid asked and you nodded, giving him a small smile to not scare him away, you probably looked like a walking corpse; you can’t remember the last time you slept properly.
“A little bit, like five songs?” you smiled and he instantly asks you to play, there was this urgency in his voice that you couldn’t help but immediately do what he was asking.
You bite into the bagel while tuning your guitar, thinking of a song to play, well out of the five you knew how to play. You began strumming the guitar to Paramore’s The Only Exception, humming the tune as best as you could with the bagel in your mouth. You end your humming after the first chorus to be met with a grimace, the little kid laughed at you.
“You’re no good”
“Hey!” you take out the bagel from your mouth to yell jokingly at him, he scrunches his nose up when you ruffle his hair and you laugh at his annoyed face, he somehow looked familiar, was he one of the kids from the orphanage? Wait were they even allowed to leave the orphanage?
“So what’s your name?” You ask, putting the guitar back into its case. The voice that meets your ears wasn’t the little boy’s, it was a voice you haven’t heard in a long time, a voice you thought you’d never hear again.
“Dongsuk,”
This has to be a dream, it couldn’t be real. You blink a few times before pinching yourself, you were probably hallucinating. Because there is no way, not a chance the Lee Donghyuck was now standing in front of you. That shit only happens in movies, this can’t be real. But you could only rub your eyes so much, he looked real, like real enough that he was getting closer to you. And he finally speaks, and you finally realize it really is him in the flesh.
“Where have you been?” he speaks, you first thought that he was talking to you but he grabs the little boy’s arm. He glances at you and you try to speak and he simply turns his nose away from you, you feel your world crack in half.
To his defense you were the one who moved dorms, changed your number, and avoided him like a plague. So his reaction was expected, you don’t know why you were so surprised. He was about to walk away when you finally speak, he stops cold in his steps when he hears your voice.
“Donghyuck...” He turns to look at you, and his eyes were still the same. It still had the same hurt and sadness you’d usually see when he looked at you, but he looked much more angrier than you remembered.
“Let’s... talk”
“You are the only exception, oh and I'm on my way to believing.”
195 notes · View notes
maxismatchccworld · 4 years
Text
Patch Notes
Update 11/10/2020 PC: 1.68.154.1020 / Mac: 1.68.154.1220 Console: Version: 1.33
Welcome, Simmers! A relaxing getaway sure sounds nice right about now. We’re inviting you to take a trip with your Sims to your favorite destination with the newly added ability to vacation anywhere within The Sims 4! Here at Maxis, we’ll be hitting the slopes of Mt. Komorebi with the release of The Sims 4 Snowy Escape in just a few short days. Curious how it works? Read on! We’ve got a big haul of new features and requested fixes in this major update to The Sims 4.
-SimGuruGraham and SimGuruRusskii
NEW & IMPROVED FEATURES Platforms
Platforms enable you to build rooms at varying heights within a story level. As much as we’d love to sit here and go on and on about how incredible platforms are and how they completely revolutionize Build Mode, you’ll see that for yourself as soon as you try them out in-game! Here are some basics for how they function and how you start building with them.
You either can use the new
Platform Tool
directly in or you can place preset platforms that come in various shapes and sizes. You’ll find both of these within the “Walls and Empty Rooms” section of Build Mode.
You easily can add or adjust the height of a platform in any room. Simply click on a room to select it, and the new up & down arrows in the widget that appears will allow you to add or adjust the height of a platform within that space.
Because platforms can have their height adjusted up or down, you can even create platforms that sink down beneath ground… like, really,
really
deep down. I don’t know why anyone would want to do that *
cough
* devious players *
cough
*, but the option’s there! This ability to go deep is reserved for the ground level and basements.
You can stack platforms on top of platforms, on top of platforms, on top of platforms, on top of platforms, on top of platforms… Seriously, go nuts. Get creative. Make something nobody has ever seen in The Sims before!... On top of platforms…
When a platform’s height is a single step higher or lower than the adjacent floor, Sims are able to step onto it. For anything higher than a single step, connecting a set of stairs or a ladder between the different surfaces will allow Sims to reach them. Here’s your first advanced lesson in platforming: Remember that callout about stacking platforms on top of each other? If each stacked platform is a single step in height, you could certainly make some interesting custom staircases…
One notable exception - platforms can’t connect across multiple levels. If you build a stack of platforms all the way to the ceiling, the very last step will need to be a staircase or ladder to connect two separate floors of a building together.
Platforms can be utilized as fully functional space or be purely decorative areas - the choice is yours! As you adjust the height of a platform, your Sims will intelligently adapt to that space. For example, you could create a platform with only enough head clearance for a child to enter. The possibilities are endless!
The visual look of platforms can be customized in a variety of ways. The “Walls and Empty Rooms” section of Build Mode now has a “Platform Trims” subcategory. Here you’ll find trims that match all of our foundations as well as some new trims with basic materials that look perfect in the interior of a building. Want to go even further? Try wrapping the edge of a platform with half walls and then customize the edge with any wall material. Mix and match these methods for creative results!
Even More Half-Walls
Speaking of Half-Walls, we’re pleased to share that we’ve created 12 additional Half-Wall heights to choose from, adding to the 7 heights previously available. One could factually say this is our most sizable Half-Wall update ever! Pity the poor person who was tasked with writing uniquely descriptive names for each of these 19 height variations.
Sentiments
Sentiments are those special fuzzy feelings that form between Sims when they share a memorable moment together. Shared experiences between Sims now offer the opportunity for Sims to develop long-lasting sentiments between each other, which in turn affects how they feel and act in the presence of (or the absence of) another particular Sim. Unlike relationships between Sims, Sentiments can be a one-sided affair. When two or more Sims share an experience together, you may find that all, some, or none of them walk away from that moment having formed a lasting impression of the other Sims that were involved. The base game includes a wide variety of these Sentiments and Snowy Escape has additional ones tied to experiences within that pack.
Sentiments that have formed between Sims can be viewed in two locations. When socializing with another Sim, click on the heart-covered notebook that appears in the social UI at the top of your screen. Alternatively, you can view the Sentiments that exist between two Sims at any time within the new Sim Profile within the Relationship Panel. Read on for more information on this new Sim Profile ...
Sim Profiles
Have you ever gone to check out the other Sims in your Sims’ life, only to be greeted with an overwhelmingly large tooltip that extended from the tippy top all the way to the bottom of your screen? We certainly have, and we weren’t happy with it.
There has to be a better way!
...And there is! Introducing:
Sim Profiles
! Within the Relationship Panel, you can now click on the portrait of any Sim and select “Open Sim Profile” for a full breakdown of all the info the active Sim knows about that Sim. It even includes those nifty new Sentiments everyone’s been talking about!
Skin Tone Update Console & Community Identified Issues
We saw your feedback about the October skin tones update and, to improve clarity and transparency, we shared a first look on Twitter of the fix in progress.
With this patch, the Console game gets the October fixes for texture compression, resolving the banding on the cheeks and foreheads as well as discoloration on the tip of the nose.
In addition, this patch addresses the two community-identified issues of red dots around the lips and a dark blotch between the eyes. The red dots around the lips should be completely resolved at this time. The dark blotch between the eyes was softened to remove the hard edge, but the darkening is expected as part of the shadowing around the nose.
Vacation Anywhere
Couldn’t we all use a good vacation right about now? Your Sims certainly could, and now they can go anywhere! The ability to go on a vacation to any of your worlds has been added to the game for all players along with the “Rental” lot type.
To vacation to a world, a rental lot must exist within it. Should you purchase Snowy Escape, you’ll find the residential world of Mt. Komorebi includes some pre-built rental lots - a ready getaway awaiting your Sims. If you prefer to vacation in another world (Sulani, anyone?), you’ll first need to enter Manage Worlds mode and update at least one of the lots within the desired world to become a rental lot.
During a vacation, if your Sims are lacking any necessities, they now can “Order Supplies Now” from the rental’s mailbox or from their phone. Happy travels!
Toddler Slippers
We figured it’d be nice to give toddlers a pair of slippers to wear. So we did. Cozy feet!
S-Pop Radio Station
You may remember S-Pop (short for “Sim-Pop”) as a radio station in the City Living expansion pack. While the music tracks that originally came with that station will remain exclusive to City Living, the station itself is now available for all players with five new songs for all players to enjoy:
“keep on rocking” Performed by CHAI Written by Yuki Mizutani (p/k/a/ Yuki), Kanae Obata (p/k/a Kana) and Manami Obata (p/k/a Mana) Published by Sony Music Publishing (Japan) (JASRAC) Recording courtesy of Sony Music Japan by arrangement with Sony Music Entertainment “Kanzen Houki Sengen (Simlish Version)” Performed by Nanawoakari Written by Nanawoakari & Tamaya2060 Published by Sony/ATV Music Publishing Recording courtesy of Sony Music Japan by arrangement with Sony Music Entertainment “Part. 2” Performed by SASUKE Written by SASUKE Published by Warner Chappell Publishing Recording courtesy of Warner Music Japan Inc. by arrangement with Warner Music Group Video Game Licensing “Ninhursag’s Tone” Performed by Unite Satisfy Written by Shintaro Aoki Published by Syn Songs Recording courtesy of NNN Records & Cross Groove/Syn Songs “Harujion” Performed by YOASOBI Written by Takuya Shimizu (p/k/a Takuya) and Akira Tsubono (p/k/a Akira) Published by Sony Music Publishing (Japan) (JASRAC) Recording courtesy of Sony Music Japan by arrangement with Sony Music Entertainment
And now, onto the fixes:
The Sims 4
Freelancer Sims now can complete Gigs they have signed up for and harvest the fruits of their labor. Simoleons, Simoleons, Simoooleons… SIMOOOLEOOONS.
Does your Sim look bored all the time? Even when you think they are having fun, they look bored to you? Not a problem anymore. It’s been… taken care of.
Calls Dropping? Is your Cell Phone behaving like a certain network is just not up to snuff? We have upgraded all Sims to Simgular - Llama’s Choice Network that does not allow Off-the-Grid shenanigans when your Sims are not Off-the-Grid.
The NanoCan Touchless Trash Can has been recalled and fixed so now all your trash can be cash in a flash.
Did you ever experience the Honey I Shrunk the Basil and Sage Plants issue in-game? No longer! *No Sage or Basil Plants were harmed in the fixing of this issue*.
Ever had Sims show up looking like a product of a bad makeover? Did your Debate Judge just show up to the debate wearing a mascot hat when they're not the mascot? Did your fellow Spellcasters show up in the Magic Realm wearing not so magical clothes? Say no more… We have applied a fix so that non-playable Sims can be a bit more appropriately coordinated in their outfits and per occasion.
Door lock settings now persist when Sims travel. That’s right! If I disallow everybody, it should stay that way when I travel… or when I exit the game… and the occasional restart, too... hmpf!
Sims who have passed away no longer sometimes disappear from their Genealogy. This is not retroactive, so any Sims that already disappeared will not return.
Sims no longer ignore the kitchen sink and dishwasher to wash their dishes in the bathroom sink. Okay.
Oasis Springs’ World Map now shows lots in the correct locations. I see you, Yuma Heights - don’t be sneaky now.
Sims now can propose to their beloved without rejection (congratulations!). On the same note, Sims with multiple romantic partners now can propose and marry one of them and not get sabotaged by their partners’ predicament of not being able to get married because they are employed together, even when they are not.
Sims who have finished their workday now get back to things sooner instead of sometimes staring off into space.
Ever wished your delicious food just never… ended? We thought we did until our Sims were unable to finish their meals. Now they are able to finish Eating Leftovers. They are leftovers, not leftFOREVERS.
Sims sharing double beds now can Nap or Sleep in any combination. Sim A can nap and Sim B can Sleep… or Sim A can Sleep and Sim B can nap… or they can both Sleep… or nap… well, you get the picture.
Shower Tubs now can be cleaned enough to be visibly squeaky-clean.
Another one bites the dust. The issue that generated Error Code: 110:c875d8ff on game load has been fixed.
Style Influencer Sims now perform Quick Sketch Impression without breaking the Digital Sketchpad. Be kind with your tools and toys.
Removed incorrect Moodlets such as “Awkward Hug” when Unflirty Sims hugged kids. In the same fashion, we made sure Unflirty Sims no longer receive the “Witnessed Crass Act” Moodlet when parents and children hug or kiss cheeks.
Adult Sims now Teach Blocks to their Toddlers. Learning in early life is important!
Sims on vacation now can hire a Nanny and/or a Butler to take care of things while they are away.
Toddlers no longer will show as “At Daycare” when they are taken back home via the “Care for Self” option. No Toddler clones here... you can’t be two places at once!
Toddlers left at home while the rest of the household goes on Vacation now receive proper care and otherwise can join the Vacation. THINK OF THE CHILDREN. Toddlers deserve fun and relaxation in new places, too!
Toddlers no longer get the “Silly Ocean” Moodlet from playing in rivers.
Children once again can earn Adult skills. *sniff* They grow up so fast!
Simmers in social events now get a warning when switching to a Sim in another neighborhood rather than the event cancelling automatically.
Sims with enough Simoleons now can move into empty lots.
Splitting households and then moving no longer causes an infinite load.
We told Sims that they should probably not take 45 minutes to drink a single cup of Coffee. As you guys know, I am a coffee fiend, but nursing the same cup for that long is not in the coffee lover’s manual for enjoying fresh coffee.
We met with our wonderful Sim Firefighters and came to the agreement that they now also will extinguish fires on wall objects such as paintings.
Action progress bars no longer are interrupted when a new action is added to a Sim's queue.
Sometimes items could disappear from your Sim's inventory after travelling. This should no longer happen. Where is my cup of coffee? Oh, okay, it is here….
Sims no longer have Clay Blobs, Future Cubes, and/or Sketch Pads spawn infinitely in their Inventory. This felt like grabbing something out of Felix the Cat’s bag… just a never-ending bag of Clay Blobs, Future Cubes, and Sketch Pads… what did it all mean!? We may never know.
Opening a stack of Inventory items and then going back now highlights the correct item.
In reviewing items in Inventory, we realized that some item stacks were showing the number 99+ incorrectly on Multiselect. What’s the number? - Stomp, Stomp! - What’s the number? - Stomp, Stomp! - The number of the day… you’re about to see the number is the actual number of items you have! Ah ha ha. That’s the number of the day!
Sims no longer endlessly play games such as Chess, Sabacc (if you own Journey to Batuu), Voidcritter Cards (if you own Kids Stuff), and your regular Card games. I could play with Meduso forever though… #Meduso4ever.
Page Up/Page Down and Home/End Keys now work in Free Cam Mode.
The Aspiration Panel now shows the gender of Sims regardless of whether they are active.
Now only Gardeners autonomously remove wild plants. Sims with Green Fiend Trait (if you own Eco Lifestyle) were being a bit overly eager in removing plants everywhere, so the professionals will handle it from now on.
“Listen To Together” on a Stereo no longer resets Sims.
Sims no longer get “Poorly Decorated” and “Dismally Decorated” Moodlets when decorations are in the room. This applies to new Saves as it is not retroactive, but, my, how judgemental Lots were….
Columns now can rotate 45 degrees and in Free Rotation. Spin them right round, Simmers, right round.
The liveeditobjects cheat no longer surfaces items with broken thumbnails that were not meant to be part of that cheat. Pardon our dust.
Shower descriptions in the catalog said they were “Uncomfortable.” Showers are meant to relax and be a place of meditation, so the catalog now says they provide “Discomfort Relief” unless the specific shower really is uncomfortable.
The Subtle Saucer and the Super Subtle Saucer now have images that are more distinct from each other in the catalog. Super Subtle, Super Saucer.
Removed the “Player Feats” door because it wasn’t really a door…
Dishwashers The Professional Dish Laborer, Washer Pro Free-Standing Dishwasher (from Dine Out), and Industrial Dishwasher Unit (from Parenthood) no longer have a gap between counters.
Digital World wall tiles have been polished. Shiny and new!
Career-unlockable outfits no longer show up when filtering for Custom Content.
Toddlers no longer have bald spots when zoomed out on Low Graphics Settings.
Frayed jean ymBottom_EF13JeansFrayedCrop_Black no longer clips with several tops.
Anniversary t-shirts yfTop_EF05ShirtTeeAnniversary and ymTop_EF05ShirtTeeAnniversary fit better on more body types.
Sims with certain feminine frames now look better when wearing Pants or Full Body outfits.
Fixed some Create a Sim item backgrounds.
Selecting what you want to do next at the end of the tutorial on console no longer has the mysterious word "Label" in the background.
Gallery filters no longer cut off some venue type names in some languages. This was particularly egregious for French and Brazilian Portuguese text.
Game fonts got some spiffing up to keep all characters looking their best.
As with every update, the localization team has tweaked, improved, and fixed text across all Packs and previous updates.
To explain a bit further, we created a much more robust set of internal tools that allows us to have greater control over the outfits that the Sims choose to wear in unique situations. We’ve improved a lot of the wacky townie fashion you’ve seen previously (it’s called fashion sweaty - look it up), but if you still see oddities - let us know. It’ll be an easier issue for us to “iron out” moving forward! Together, we can defeat the dreaded eyeball ring.
Get to Work
Scientist Sims placing collected crystals and metals in their Laboratory no longer crash the game. Do you ever science so hard, the simulation crashes?
The “Test Serum” action on a Scientist co-worker no longer causes an error.
Get Together
Stone Frame Window (window1x1_EP02TUDstoneFrame2Tile_set1), Holey Geometry (window1x1_EP02TUDLow_03_2Tile_set1), and King of Diamonds Classical Door (doorSingle2x1_EP02TUDHigh3Tile_set1) now place properly.
Sims in Clubs with a Read rule now finish the books they choose to read. No cheating, my friends.
Wearing their Earbuds (if you own Fitness Stuff) and participating in Club Gatherings no longer causes an error.
Club affiliation on University Housing (if you own Discover University) now persists after entering Build/Buy Mode.
City Living
Ultra Speed now works while Festivals are in progress. Some conspiracy can be said about Festivals wanting Simmers to enjoy them in all their glory… at a normal speed at every speed, but these are just conjectures… yes.
Sims no longer read their mail aloud while conversing with their apartment neighbors. Talk about rude, right?
“Read about Festival” now consistently displays festival information.
Sims from specific San Myshuno neighborhoods now have more variety on their appearance.
Cats and Dogs
Stencils in Create a Sim (Pet) now consistently paint your furry friends without crashing.
Seasons
The holiday tradition New Skill Day now focuses on starting new skills and improving low level skills so skills that are maxed out don’t count.
Toddlers who are inside during a blizzard and in a high chair no longer want to Run Inside, so their caretakers won’t take them out of the chair prematurely. You are safe little one; you are safe.
Now all onions, carrots, mushrooms, potatoes, apples, tomatoes, and growfruits can be planted indoors during freezing weather.
Plants no longer change their quality or evolve on their own after Sims traveling.
Some Outdoor Plants that were stuck in summer/fall now turn brown and lose their flowers when winter starts.
Sims now can book Vacations on the computer during holidays.
Simmers who have disabled Rain and Snow no longer should see them during Mysterious Weather. Mysterious indeed.
Male Sims now wear appropriate shoes when working as a Floral Designer or Botanist.
The beanie hat cuHat_EP05BeaniePom now looks a bit better.
Sims scheduling an event in the Calendar for a Rental Lot no longer end up in a Lot where they have not been greeted.
Get Famous
Stans (“stalker fans”) and Kleptomaniac Sims no longer steal Pet food bowls or Cat litter. I have no words for this one. I have nothing.
Sims with maxed out Atrocious Reputation now maintain their reputation when traveling. Atrocious you shall be forever.
Island Living
Conservationist Sims now Write Conservation Articles at the appropriate career level (level 4). On the same note, the task for Research Conservation now can be completed.
Odd Jobs no longer get stuck in a state where Inventory and Build Mode cannot be accessed.
We had long conversations with Island Celebration Participants and agreed that no random Sims should enter a Sim’s home without permission, barging in as if they owned the place. Excuse you, privacy, and property are a thing, you know?
Discover University
We chatted with the registrar at Britechester University and got them to agree that students should receive class time reminders before class instead of after. You’re welcome. Now, make sure you go on time, alright?
School Spirit Day no longer schedules multiple instances at the same time. But… Did you know it is Spirit Day?
Club gatherings no longer have Sims with their bikes indoors in a disruptive manner.
Sims traveling long distances including stairs now properly walk the stairs and then hop their bikes and they don’t leave their bike behind. You can’t just abandon your bicycle - what about the poor bike’s feelings?
Sims now properly get off bikes while on a slope.
Lawyer Sims now File Court Documents as their tasks dictate at levels after 5. Just because you move up doesn’t mean you stop filing docs.
Students in a different neighborhood from their University now go to school instead of work when choosing “Go to Class” from the Career Panel.
Students now can receive only one merit scholarship per term.
Sims no longer are listed as being at University when they are at home.
The game no longer sometimes freezes when Sims enroll in University. We get that attending University is life-changing, but freezing a game is taking it a bit to extremes.
Students now return to Campuses in their leisure time to cloud gaze and play Soccer in the surrounding areas of Britechester University and Foxbury Institute respectively.
Sims jogging in an Exo-Mech suit no longer get fatigue-related Moodlets.
For Eco Lifestyle Simmers, “Throw Away” and “Compost” now are available on piles of discarded food. The consequences of not having these were especially egregious at University Dorms.
Sweatpants yfBottom_EP08LooseSweatpants now look better when paired with scarf yfTop_EP08SweaterScarf in Create a Sim.
Eco Lifestyle
Recycle Disciple Sims without the Kleptomaniac Trait now swipe household objects less often. We get it, we are all trying to do our best for the environment, but going after your Dumpster was a bit too far… we kinda need that.
Eco Footprints no longer change very quickly from “Green” to “Neutral.” Knox rejoices.
Eco Footprints in Worlds no longer become Neutral when entering Manage Worlds.
We had a chat with Eco Inspectors and they agreed that they should display the correct occupation from now on. And they shall be known as Eco Inspectors… forever.
Bulldozing Pinecrest Apartments now is possible without damaging the lot.
Harvestables obtained via a Dumpster no longer disappear from Inventory a few minutes later. Easy come, easy go… would you not disappear, though?
Recycling is a wonderful thing. Recycling for Inventory exposed missing text on some Grand Meals, so we filled in those names.
Toddlers living in Lots with the Reduce and Recycle Lot Trait mayyyybe were taking it a bit too far generating trash piles in their inventories. Put that down - No more trash in your pockets.
Did your floor patterns experience a glow that never went away after selecting all of them? That’s not a problem anymore.
The Wallpaper formerly known as sheetStandingSeam01GEN has been renamed to Corrugated Metal.
The Fabricator’s Fabricated Couch (no dye) recipe now creates the correct item.
Residential Wall Speaker is renamed to Venue Wall Speaker: Americana to accurately reflect its function and music.
Venue Wall Speaker: Americana now looks correct with the neutral wood option.
Women’s sandals yfShoes_EP09PlatformSandals now look better when paired with jumpsuit yfBody_EP09JumpsuitUtility.
Men’s hairstyles ymHair_EP09CurlyBun_Black and ymHair_EP09CrimpedLong_Black have cleaner hairlines now.
Dine Out
Sims no longer get up from their seats at restaurants randomly and create chaos by speaking to other patrons, grabbing food from their table, putting it somewhere else, and taking over the place by playing the piano or singing. But it was quite the show, wasn’t it?
Xbox One Simmers now can edit Restaurant Staff Uniforms in Build Mode along with other Simmers.
Vampires
Vampire Spar no longer negatively affects Conflict resolution for Simmers with Parenthood.
Realm of Magic
Spellcasters with all spells learned and maxed out no longer lose those when downloaded from the Library/Gallery Muscle memory perhaps?
Create a Sim no longer has the less-than-attractive skin type that was intended only for cursed Sims as an option.
Spellcasters have reviewed the terms of their “Always Transportalate” Spell and now can actually teleport anywhere, even places with stairs.
Journey To Batuu
Sims now are able to complete First Order or Resistance missions and then choose the Hope vs Order - First Steps Aspiration and complete all goals.
The Lightsaber Collection plaque now has a proper name and description so you can display it with pride.
The First Order sent a memo stating to change the First Order Blast Door to not accept any decals or wall decorations.
Create a Sim asset yfBottom_GP09VillagerPatchVertical now goes better with different styles of shoes across multiple Packs.
The Career Panel now displays the active Mission chosen from the Mission Panel.
The game no longer freezes when Sims “Freshen up at the Dwelling” at Black Spire Outpost.
Luxury Party
Create a Sim asset yfBody_SP01SleevesFlutter_SolidBrown fits better when wearing Get to Work’s ymHair_EP01LongWavySwept_Platinum hairstyle.
Movie Hangout
Movie night has been reclaimed! Sims now can watch complete films from start to finish without getting stuck in a never-ending loop… or I should say not in a Neverending Story? STTOOooooryyyyyYYYY.
Knifty Knitting
Create a Sim boots cuShoes_SP17BootsBuckled_SolidRedPin work better with jeans cfBottom_SP07JeansPrint_FloralBlueLt.
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argumentl · 3 years
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The Freedom of Expression, radio version - Ep 47, August 2016 - Hierarchy in groups/bands, the language barrier overseas.
Kaoru starts by commenting on how the Summer is getting towards the end, and Joe asks him what type of things he considers typical Summer stuff, for example swimming in the sea etc. Kaoru says he did actually go to Okinawa recently, and went to take a look at the beach, but thats it, he didn't go in the sea. When he got there, he could smell the stench of tanning oil coming from the other beach goers, so he left pretty soon. He says he didn't go in the sea because he always thinks, 'If I go in, what am i gonna do about my wet feet after I come out?'.
Tasai joins them for the Tokyo Sports corner next, with some news from the comedy world for his first story. This relates to the comedy duo Nippon Elekitel Rengo (Joe has no idea who they are, not owning a tv, but Kaoru knows of them). The duo originally lived together in the city of Higashiyamurayama before getting their big break, due to not having a lot of money. But they have now moved into separate places after making it big, due to the danger of disbanding if the continued living together. The duo, Nakano and Hashimoto, had followed a specific lifestyle at home. Nakano, being the one who wrote all the comedy skits, imposed the rule that because she did all the writing, Hashimoto had to do all the house work. Not just cooking and cleaning etc, but even as far as laying out Nakano's futon each night, and passing her the tv remote. It was as if there was a hierarchy in their relationship. Tasai asks what Kaoru thinks of the arrangement. Does he see any similarities when writing music? Kaoru says it depends on the amount of people involved. With just 2 people its too easy for one of them to end up feeling like they are the brains. He doesn't really feel this in music, because the people who play the song also put their feelings into it/leave their mark on it. Tasai says that this should apply to Hashimoto too, because she was playing the parts that Nakano wrote. Kaoru repeats that for a group with only two members living together, its too easy to fall into this cycle. If two more members entered the group, it might throw this pattern off course a bit.
Joe says he once interviewed a particular band which had one member who wrote the songs (whereas the other members did no writing). The song writer said that although he may sometimes feel like he leads the band, he also sometimes gets into song-writing slumps. It is at these 'slump' times that he realises that although he writes the songs, it is the other members who complete them. Its easy to feel like you are the brains behind the whole thing when you are having a good day, but its those slump days that remind you how much you depend on the other members. Kaoru responds to this by saying 'I'm forever in slump mode'. The others laugh, Tasai exclaiming, 'What are you talking about?!'. Returning to serious mode, they agree that this is what being in a band is all about. Joe says a comedy duo should have more of a left/right relationship as opposed to a hierarchical one. Tasai says he wants to ask Nippon Elekitel Rengo about this directly, and hopes they make up.
Tasai's next news story is that the anime school, Yoyogi Animation Academy has recruited as its producers: Akimoto Yasushi (hugely influened record producer for AKB48 etc,), Komuro Tetsuya (also hugely influencial producer for many artists, including TRF etc), Tsunku (producer of Morning Musume), and Sashihara Rino (of the AKB and HKT groups). Each producer explained in an interview that they each have different methods of sensing a spark in someone, or finding a diamond in the rough etc. Tasai asks Kaoru if he has any experience with this from a producer's standpoint. Kaoru says he hasn't, but upon hearing that these 4 producers had been hired by Yoyogi Animation Academy, he felt no spark at all (the others laugh at this). He doesn't quite understand the point of hiring these 4 people.
Tasai explains that Tsunku in particular had expressed his envy that anime was able to  transcend the language barrier and make it big overseas so easily, whereas a lot of his hit songs in Japan could not. Tasai mentions that Dir en grey are very active overseas, and asks Kaoru how he copes with the language barrier. Kaoru says he doesn't think about it. Although communication is important, the purity of what the band wants to express gets a bit lost if they deliberately make songs in a different language. They can express themselves best in Japanese. He says using English is best if you want to make it big overseas, but he didn't start a band with the sole intention of 'making it big'.
Joe brings up the Tokyo based band 'Roth Bart Baron', who do a lot of shows around Europe and Asia, but sing entirely in Japanese. The vocalist/writer for the group speaks fluent English, but uses Japanese to sing because he can most easily express his true emotions in Japanese. In this day and age, people can easily translate lyrics on their computers anyway. Kaoru thinks that if you can easily express your emotions in English, its best to do that overseas, but Japanese has a lot of small nuances, which may be quite difficult to express clearly in English. On the other hand, says Joe, a lot of people who sing in English will tell you that English fits better with the tempo and sound of rock music than Japanese does.
Kaoru brings up his memories of singing along to English songs when he was a school kid, despite not knowing what it meant, so he doesn't really think its such a barrier these days.
They realise this conversation has taken a sharp turn away from the story about the anime school hiring music producers, but then they remember that anime has been massively successful at breaking international barriers, and could hold some lessons for the producers.
Kaoru finishes by reading out a few tour dates from the next two tours. Both tours will end with shows at Namba Hatch. This is because someone who helped Dir en grey out a lot in the early days works there, so they liked to finish in Osaka for that reason.
Songs - Dir en grey/Revelation of Mankind, The Crown/Face of Destruction, Dir en grey/Kyuukoku no kyouon ft. Sugizo.
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thesims4blogger · 4 years
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The Sims 4: New Game Patch (November 10th, 2020)
There’s a new Sims 4 update available for PC/Mac and Consoles.
Remove all MODS and Custom Content before updating your game
Update 11/10/2020 PC: 1.68.154.1020 / Mac: 1.68.154.1220 Console: Version: 1.33
Welcome, Simmers! A relaxing getaway sure sounds nice right about now. We’re inviting you to take a trip with your Sims to your favorite destination with the newly added ability to vacation anywhere within The Sims 4! Here at Maxis, we’ll be hitting the slopes of Mt. Komorebi with the release of The Sims 4 Snowy Escape in just a few short days. Curious how it works? Read on! We’ve got a big haul of new features and requested fixes in this major update to The Sims 4.
-SimGuruGraham and SimGuruRusskii
NEW & IMPROVED FEATURES
Platforms
Platforms enable you to build rooms at varying heights within a story level. As much as we’d love to sit here and go on and on about how incredible platforms are and how they completely revolutionize Build Mode, you’ll see that for yourself as soon as you try them out in-game! Here are some basics for how they function and how you start building with them.
You either can use the new Platform Tool directly in or you can place preset platforms that come in various shapes and sizes. You’ll find both of these within the “Walls and Empty Rooms” section of Build Mode.
You easily can add or adjust the height of a platform in any room. Simply click on a room to select it, and the new up & down arrows in the widget that appears will allow you to add or adjust the height of a platform within that space.
Because platforms can have their height adjusted up or down, you can even create platforms that sink down beneath ground… like, really, really deep down. I don’t know why anyone would want to do that *cough* devious players *cough*, but the option’s there! This ability to go deep is reserved for the ground level and basements.
You can stack platforms on top of platforms, on top of platforms, on top of platforms, on top of platforms, on top of platforms… Seriously, go nuts. Get creative. Make something nobody has ever seen in The Sims before!… On top of platforms…
When a platform’s height is a single step higher or lower than the adjacent floor, Sims are able to step onto it. For anything higher than a single step, connecting a set of stairs or a ladder between the different surfaces will allow Sims to reach them. Here’s your first advanced lesson in platforming: Remember that callout about stacking platforms on top of each other? If each stacked platform is a single step in height, you could certainly make some interesting custom staircases…
One notable exception – platforms can’t connect across multiple levels. If you build a stack of platforms all the way to the ceiling, the very last step will need to be a staircase or ladder to connect two separate floors of a building together.
Platforms can be utilized as fully functional space or be purely decorative areas – the choice is yours! As you adjust the height of a platform, your Sims will intelligently adapt to that space. For example, you could create a platform with only enough head clearance for a child to enter. The possibilities are endless!
The visual look of platforms can be customized in a variety of ways. The “Walls and Empty Rooms” section of Build Mode now has a “Platform Trims” subcategory. Here you’ll find trims that match all of our foundations as well as some new trims with basic materials that look perfect in the interior of a building. Want to go even further? Try wrapping the edge of a platform with half walls and then customize the edge with any wall material. Mix and match these methods for creative results!
Even More Half-Walls
Speaking of Half-Walls, we’re pleased to share that we’ve created 12 additional Half-Wall heights to choose from, adding to the 7 heights previously available. One could factually say this is our most sizable Half-Wall update ever! Pity the poor person who was tasked with writing uniquely descriptive names for each of these 19 height variations.
Sentiments
Sentiments are those special fuzzy feelings that form between Sims when they share a memorable moment together. Shared experiences between Sims now offer the opportunity for Sims to develop long-lasting sentiments between each other, which in turn affects how they feel and act in the presence of (or the absence of) another particular Sim. Unlike relationships between Sims, Sentiments can be a one-sided affair. When two or more Sims share an experience together, you may find that all, some, or none of them walk away from that moment having formed a lasting impression of the other Sims that were involved. The base game includes a wide variety of these Sentiments and Snowy Escape has additional ones tied to experiences within that pack.
Sentiments that have formed between Sims can be viewed in two locations. When socializing with another Sim, click on the heart-covered notebook that appears in the social UI at the top of your screen. Alternatively, you can view the Sentiments that exist between two Sims at any time within the new Sim Profile within the Relationship Panel. Read on for more information on this new Sim Profile …
Sim Profiles
Have you ever gone to check out the other Sims in your Sims’ life, only to be greeted with an overwhelmingly large tooltip that extended from the tippy top all the way to the bottom of your screen? We certainly have, and we weren’t happy with it. There has to be a better way! …And there is! Introducing: Sim Profiles! Within the Relationship Panel, you can now click on the portrait of any Sim and select “Open Sim Profile” for a full breakdown of all the info the active Sim knows about that Sim. It even includes those nifty new Sentiments everyone’s been talking about!
Skin Tone Update Console & Community Identified Issues
We saw your feedback about the October skin tones update and, to improve clarity and transparency, we shared a first look on Twitter of the fix in progress.
With this patch, the Console game gets the October fixes for texture compression, resolving the banding on the cheeks and foreheads as well as discoloration on the tip of the nose.
In addition, this patch addresses the two community-identified issues of red dots around the lips and a dark blotch between the eyes. The red dots around the lips should be completely resolved at this time. The dark blotch between the eyes was softened to remove the hard edge, but the darkening is expected as part of the shadowing around the nose.
Vacation Anywhere
Couldn’t we all use a good vacation right about now? Your Sims certainly could, and now they can go anywhere! The ability to go on a vacation to any of your worlds has been added to the game for all players along with the “Rental” lot type.
To vacation to a world, a rental lot must exist within it. Should you purchase Snowy Escape, you’ll find the residential world of Mt. Komorebi includes some pre-built rental lots – a ready getaway awaiting your Sims. If you prefer to vacation in another world (Sulani, anyone?), you’ll first need to enter Manage Worlds mode and update at least one of the lots within the desired world to become a rental lot.
During a vacation, if your Sims are lacking any necessities, they now can “Order Supplies Now” from the rental’s mailbox or from their phone. Happy travels!
Toddler Slippers
We figured it’d be nice to give toddlers a pair of slippers to wear. So we did. Cozy feet!
S-Pop Radio Station
You may remember S-Pop (short for “Sim-Pop”) as a radio station in the City Living expansion pack. While the music tracks that originally came with that station will remain exclusive to City Living, the station itself is now available for all players with five new songs for all players to enjoy:
“keep on rocking” Performed by CHAI Written by Yuki Mizutani (p/k/a/ Yuki), Kanae Obata (p/k/a Kana) and Manami Obata (p/k/a Mana) Published by Sony Music Publishing (Japan) (JASRAC) Recording courtesy of Sony Music Japan by arrangement with Sony Music Entertainment
“Kanzen Houki Sengen (Simlish Version)” Performed by Nanawoakari Written by Nanawoakari & Tamaya2060 Published by Sony/ATV Music Publishing Recording courtesy of Sony Music Japan by arrangement with Sony Music Entertainment
“Part. 2” Performed by SASUKE Written by SASUKE Published by Warner Chappell Publishing Recording courtesy of Warner Music Japan Inc. by arrangement with Warner Music Group Video Game Licensing
“Ninhursag��s Tone” Performed by Unite Satisfy Written by Shintaro Aoki Published by Syn Songs Recording courtesy of NNN Records & Cross Groove/Syn Songs
“Harujion” Performed by YOASOBI Written by Takuya Shimizu (p/k/a Takuya) and Akira Tsubono (p/k/a Akira) Published by Sony Music Publishing (Japan) (JASRAC) Recording courtesy of Sony Music Japan by arrangement with Sony Music Entertainment
And now, onto the fixes:
The Sims 4
Freelancer Sims now can complete Gigs they have signed up for and harvest the fruits of their labor. Simoleons, Simoleons, Simoooleons… SIMOOOLEOOONS.
Does your Sim look bored all the time? Even when you think they are having fun, they look bored to you? Not a problem anymore. It’s been… taken care of.
Calls Dropping? Is your Cell Phone behaving like a certain network is just not up to snuff? We have upgraded all Sims to Simgular – Llama’s Choice Network that does not allow Off-the-Grid shenanigans when your Sims are not Off-the-Grid.
The NanoCan Touchless Trash Can has been recalled and fixed so now all your trash can be cash in a flash.
Did you ever experience the Honey I Shrunk the Basil and Sage Plants issue in-game? No longer! *No Sage or Basil Plants were harmed in the fixing of this issue*.
Ever had Sims show up looking like a product of a bad makeover? Did your Debate Judge just show up to the debate wearing a mascot hat when they’re not the mascot? Did your fellow Spellcasters show up in the Magic Realm wearing not so magical clothes? Say no more… We have applied a fix so that non-playable Sims can be a bit more appropriately coordinated in their outfits and per occasion.
Door lock settings now persist when Sims travel. That’s right! If I disallow everybody, it should stay that way when I travel… or when I exit the game… and the occasional restart, too… hmpf!
Sims who have passed away no longer sometimes disappear from their Genealogy. This is not retroactive, so any Sims that already disappeared will not return.
Sims no longer ignore the kitchen sink and dishwasher to wash their dishes in the bathroom sink. Okay.
Oasis Springs’ World Map now shows lots in the correct locations. I see you, Yuma Heights – don’t be sneaky now.
Sims now can propose to their beloved without rejection (congratulations!). On the same note, Sims with multiple romantic partners now can propose and marry one of them and not get sabotaged by their partners’ predicament of not being able to get married because they are employed together, even when they are not.
Sims who have finished their workday now get back to things sooner instead of sometimes staring off into space.
Ever wished your delicious food just never… ended? We thought we did until our Sims were unable to finish their meals. Now they are able to finish Eating Leftovers. They are leftovers, not leftFOREVERS.
Sims sharing double beds now can Nap or Sleep in any combination. Sim A can nap and Sim B can Sleep… or Sim A can Sleep and Sim B can nap… or they can both Sleep… or nap… well, you get the picture.
Shower Tubs now can be cleaned enough to be visibly squeaky-clean.
Another one bites the dust. The issue that generated Error Code: 110:c875d8ff on game load has been fixed.
Style Influencer Sims now perform Quick Sketch Impression without breaking the Digital Sketchpad. Be kind with your tools and toys.
Removed incorrect Moodlets such as “Awkward Hug” when Unflirty Sims hugged kids. In the same fashion, we made sure Unflirty Sims no longer receive the “Witnessed Crass Act” Moodlet when parents and children hug or kiss cheeks.
Adult Sims now Teach Blocks to their Toddlers. Learning in early life is important!
Sims on vacation now can hire a Nanny and/or a Butler to take care of things while they are away.
Toddlers no longer will show as “At Daycare” when they are taken back home via the “Care for Self” option. No Toddler clones here… you can’t be two places at once!
Toddlers left at home while the rest of the household goes on Vacation now receive proper care and otherwise can join the Vacation. THINK OF THE CHILDREN. Toddlers deserve fun and relaxation in new places, too!
Toddlers no longer get the “Silly Ocean” Moodlet from playing in rivers.
Children once again can earn Adult skills. *sniff* They grow up so fast!
Simmers in social events now get a warning when switching to a Sim in another neighborhood rather than the event cancelling automatically.
Sims with enough Simoleons now can move into empty lots.
Splitting households and then moving no longer causes an infinite load.
We told Sims that they should probably not take 45 minutes to drink a single cup of Coffee. As you guys know, I am a coffee fiend, but nursing the same cup for that long is not in the coffee lover’s manual for enjoying fresh coffee.
We met with our wonderful Sim Firefighters and came to the agreement that they now also will extinguish fires on wall objects such as paintings.
Action progress bars no longer are interrupted when a new action is added to a Sim’s queue.
Sometimes items could disappear from your Sim’s inventory after travelling. This should no longer happen. Where is my cup of coffee? Oh, okay, it is here….
Sims no longer have Clay Blobs, Future Cubes, and/or Sketch Pads spawn infinitely in their Inventory. This felt like grabbing something out of Felix the Cat’s bag… just a never-ending bag of Clay Blobs, Future Cubes, and Sketch Pads… what did it all mean!? We may never know.
Opening a stack of Inventory items and then going back now highlights the correct item.
In reviewing items in Inventory, we realized that some item stacks were showing the number 99+ incorrectly on Multiselect. What’s the number? – Stomp, Stomp! – What’s the number? – Stomp, Stomp! – The number of the day… you’re about to see the number is the actual number of items you have! Ah ha ha. That’s the number of the day!
Sims no longer endlessly play games such as Chess, Sabacc (if you own Journey to Batuu), Voidcritter Cards (if you own Kids Stuff), and your regular Card games. I could play with Meduso forever though… #Meduso4ever.
Page Up/Page Down and Home/End Keys now work in Free Cam Mode.
The Aspiration Panel now shows the gender of Sims regardless of whether they are active.
Now only Gardeners autonomously remove wild plants. Sims with Green Fiend Trait (if you own Eco Lifestyle) were being a bit overly eager in removing plants everywhere, so the professionals will handle it from now on.
“Listen To Together” on a Stereo no longer resets Sims.
Sims no longer get “Poorly Decorated” and “Dismally Decorated” Moodlets when decorations are in the room. This applies to new Saves as it is not retroactive, but, my, how judgemental Lots were….
Columns now can rotate 45 degrees and in Free Rotation. Spin them right round, Simmers, right round.
The liveeditobjects cheat no longer surfaces items with broken thumbnails that were not meant to be part of that cheat. Pardon our dust.
Shower descriptions in the catalog said they were “Uncomfortable.” Showers are meant to relax and be a place of meditation, so the catalog now says they provide “Discomfort Relief” unless the specific shower really is uncomfortable.
The Subtle Saucer and the Super Subtle Saucer now have images that are more distinct from each other in the catalog. Super Subtle, Super Saucer.
Removed the “Player Feats” door because it wasn’t really a door…
Dishwashers The Professional Dish Laborer, Washer Pro Free-Standing Dishwasher (from Dine Out), and Industrial Dishwasher Unit (from Parenthood) no longer have a gap between counters.
Digital World wall tiles have been polished. Shiny and new!
Career-unlockable outfits no longer show up when filtering for Custom Content.
Toddlers no longer have bald spots when zoomed out on Low Graphics Settings.
Frayed jean ymBottom_EF13JeansFrayedCrop_Black no longer clips with several tops.
Anniversary t-shirts yfTop_EF05ShirtTeeAnniversary and ymTop_EF05ShirtTeeAnniversary fit better on more body types.
Sims with certain feminine frames now look better when wearing Pants or Full Body outfits.
Fixed some Create a Sim item backgrounds.
Selecting what you want to do next at the end of the tutorial on console no longer has the mysterious word “Label” in the background.
Gallery filters no longer cut off some venue type names in some languages. This was particularly egregious for French and Brazilian Portuguese text.
Game fonts got some spiffing up to keep all characters looking their best.
As with every update, the localization team has tweaked, improved, and fixed text across all Packs and previous updates.
To explain a bit further, we created a much more robust set of internal tools that allows us to have greater control over the outfits that the Sims choose to wear in unique situations. We’ve improved a lot of the wacky townie fashion you’ve seen previously (it’s called fashion sweaty – look it up), but if you still see oddities – let us know. It’ll be an easier issue for us to “iron out” moving forward! Together, we can defeat the dreaded eyeball ring.
Get to Work
Scientist Sims placing collected crystals and metals in their Laboratory no longer crash the game. Do you ever science so hard, the simulation crashes?
The “Test Serum” action on a Scientist co-worker no longer causes an error.
Get Together
Stone Frame Window (window1x1_EP02TUDstoneFrame2Tile_set1), Holey Geometry (window1x1_EP02TUDLow_03_2Tile_set1), and King of Diamonds Classical Door (doorSingle2x1_EP02TUDHigh3Tile_set1) now place properly.
Sims in Clubs with a Read rule now finish the books they choose to read. No cheating, my friends.
Wearing their Earbuds (if you own Fitness Stuff) and participating in Club Gatherings no longer causes an error.
Club affiliation on University Housing (if you own Discover University) now persists after entering Build/Buy Mode.
City Living
Ultra Speed now works while Festivals are in progress. Some conspiracy can be said about Festivals wanting Simmers to enjoy them in all their glory… at a normal speed at every speed, but these are just conjectures… yes.
Sims no longer read their mail aloud while conversing with their apartment neighbors. Talk about rude, right?
“Read about Festival” now consistently displays festival information.
Sims from specific San Myshuno neighborhoods now have more variety on their appearance.
Cats and Dogs
Stencils in Create a Sim (Pet) now consistently paint your furry friends without crashing.
Seasons
The holiday tradition New Skill Day now focuses on starting new skills and improving low level skills so skills that are maxed out don’t count.
Toddlers who are inside during a blizzard and in a high chair no longer want to Run Inside, so their caretakers won’t take them out of the chair prematurely. You are safe little one; you are safe.
Now all onions, carrots, mushrooms, potatoes, apples, tomatoes, and growfruits can be planted indoors during freezing weather.
Plants no longer change their quality or evolve on their own after Sims traveling.
Some Outdoor Plants that were stuck in summer/fall now turn brown and lose their flowers when winter starts.
Sims now can book Vacations on the computer during holidays.
Simmers who have disabled Rain and Snow no longer should see them during Mysterious Weather. Mysterious indeed.
Male Sims now wear appropriate shoes when working as a Floral Designer or Botanist.
The beanie hat cuHat_EP05BeaniePom now looks a bit better.
Sims scheduling an event in the Calendar for a Rental Lot no longer end up in a Lot where they have not been greeted.
Get Famous
Stans (“stalker fans”) and Kleptomaniac Sims no longer steal Pet food bowls or Cat litter. I have no words for this one. I have nothing.
Sims with maxed out Atrocious Reputation now maintain their reputation when traveling. Atrocious you shall be forever.
Island Living
Conservationist Sims now Write Conservation Articles at the appropriate career level (level 4). On the same note, the task for Research Conservation now can be completed.
Odd Jobs no longer get stuck in a state where Inventory and Build Mode cannot be accessed.
We had long conversations with Island Celebration Participants and agreed that no random Sims should enter a Sim’s home without permission, barging in as if they owned the place. Excuse you, privacy, and property are a thing, you know?
Discover University
We chatted with the registrar at Britechester University and got them to agree that students should receive class time reminders before class instead of after. You’re welcome. Now, make sure you go on time, alright?
School Spirit Day no longer schedules multiple instances at the same time. But… Did you know it is Spirit Day?
Club gatherings no longer have Sims with their bikes indoors in a disruptive manner.
Sims traveling long distances including stairs now properly walk the stairs and then hop their bikes and they don’t leave their bike behind. You can’t just abandon your bicycle – what about the poor bike’s feelings?
Sims now properly get off bikes while on a slope.
Lawyer Sims now File Court Documents as their tasks dictate at levels after 5. Just because you move up doesn’t mean you stop filing docs.
Students in a different neighborhood from their University now go to school instead of work when choosing “Go to Class” from the Career Panel.
Students now can receive only one merit scholarship per term.
Sims no longer are listed as being at University when they are at home.
The game no longer sometimes freezes when Sims enroll in University. We get that attending University is life-changing, but freezing a game is taking it a bit to extremes.
Students now return to Campuses in their leisure time to cloud gaze and play Soccer in the surrounding areas of Britechester University and Foxbury Institute respectively.
Sims jogging in an Exo-Mech suit no longer get fatigue-related Moodlets.
For Eco Lifestyle Simmers, “Throw Away” and “Compost” now are available on piles of discarded food. The consequences of not having these were especially egregious at University Dorms.
Sweatpants yfBottom_EP08LooseSweatpants now look better when paired with scarf yfTop_EP08SweaterScarf in Create a Sim.
Eco Lifestyle
Recycle Disciple Sims without the Kleptomaniac Trait now swipe household objects less often. We get it, we are all trying to do our best for the environment, but going after your Dumpster was a bit too far… we kinda need that.
Eco Footprints no longer change very quickly from “Green” to “Neutral.” Knox rejoices.
Eco Footprints in Worlds no longer become Neutral when entering Manage Worlds.
We had a chat with Eco Inspectors and they agreed that they should display the correct occupation from now on. And they shall be known as Eco Inspectors… forever.
Bulldozing Pinecrest Apartments now is possible without damaging the lot.
Harvestables obtained via a Dumpster no longer disappear from Inventory a few minutes later. Easy come, easy go… would you not disappear, though?
Recycling is a wonderful thing. Recycling for Inventory exposed missing text on some Grand Meals, so we filled in those names.
Toddlers living in Lots with the Reduce and Recycle Lot Trait mayyyybe were taking it a bit too far generating trash piles in their inventories. Put that down – No more trash in your pockets.
Did your floor patterns experience a glow that never went away after selecting all of them? That’s not a problem anymore.
The Wallpaper formerly known as sheetStandingSeam01GEN has been renamed to Corrugated Metal.
The Fabricator’s Fabricated Couch (no dye) recipe now creates the correct item.
Residential Wall Speaker is renamed to Venue Wall Speaker: Americana to accurately reflect its function and music.
Venue Wall Speaker: Americana now looks correct with the neutral wood option.
Women’s sandals yfShoes_EP09PlatformSandals now look better when paired with jumpsuit yfBody_EP09JumpsuitUtility.
Men’s hairstyles ymHair_EP09CurlyBun_Black and ymHair_EP09CrimpedLong_Black have cleaner hairlines now.
Dine Out
Sims no longer get up from their seats at restaurants randomly and create chaos by speaking to other patrons, grabbing food from their table, putting it somewhere else, and taking over the place by playing the piano or singing. But it was quite the show, wasn’t it?
Xbox One Simmers now can edit Restaurant Staff Uniforms in Build Mode along with other Simmers.
Vampires
Vampire Spar no longer negatively affects Conflict resolution for Simmers with Parenthood.
Realm of Magic
Spellcasters with all spells learned and maxed out no longer lose those when downloaded from the Library/Gallery Muscle memory perhaps?
Create a Sim no longer has the less-than-attractive skin type that was intended only for cursed Sims as an option.
Spellcasters have reviewed the terms of their “Always Transportalate” Spell and now can actually teleport anywhere, even places with stairs.
Journey To Batuu
Sims now are able to complete First Order or Resistance missions and then choose the Hope vs Order – First Steps Aspiration and complete all goals.
The Lightsaber Collection plaque now has a proper name and description so you can display it with pride.
The First Order sent a memo stating to change the First Order Blast Door to not accept any decals or wall decorations.
Create a Sim asset yfBottom_GP09VillagerPatchVertical now goes better with different styles of shoes across multiple Packs.
The Career Panel now displays the active Mission chosen from the Mission Panel.
The game no longer freezes when Sims “Freshen up at the Dwelling” at Black Spire Outpost.
Luxury Party
Create a Sim asset yfBody_SP01SleevesFlutter_SolidBrown fits better when wearing Get to Work’s ymHair_EP01LongWavySwept_Platinum hairstyle.
Movie Hangout
Movie night has been reclaimed! Sims now can watch complete films from start to finish without getting stuck in a never-ending loop… or I should say not in a Neverending Story? STTOOooooryyyyyYYYY.
Knifty Knitting
Create a Sim boots cuShoes_SP17BootsBuckled_SolidRedPin work better with jeans cfBottom_SP07JeansPrint_FloralBlueLt.
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1962dude420-blog · 3 years
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Today we remember the passing of Mick Ronson who Died: April 29, 1993, London, England
Michael Ronson (26 May 1946 – 29 April 1993) was an English guitarist, songwriter, multi-instrumentalist, arranger, and producer. He achieved critical and commercial success working with David Bowie as one of the Spiders from Mars. He was a session musician who recorded five studio albums with Bowie followed by four with Ian Hunter, and also worked as a sideman in touring bands with Van Morrison and Bob Dylan.
Ronson and Bowie also produced Lou Reed's Transformer with Ronson playing lead guitar and piano and writing string arrangements, and brought mainstream recognition. The album is considered an influential landmark of the glam rock genre, anchored by Reed's most successful single, "Walk on the Wild Side".
Ronson also recorded five solo studio albums, the most popular being Slaughter on 10th Avenue, which reached No. 9 on the UK Albums Chart. He played with various bands after his time with Bowie. A classically trained musician, Ronson was known for his melodic approach to guitar playing. He was named the 64th-greatest guitarist of all time by Rolling Stone in 2003 and 41st in 2012 by the same magazine.
Early in 1970, John Cambridge came back to Hull in search of Ronson, intent upon recruiting him for a new David Bowie backing band called The Hype. He found Ronson marking out a rugby pitch, one of his duties as a Parks Department gardener for Hull City Council. Having failed in his earlier attempts in London, Ronson was reluctant, but eventually agreed to accompany Cambridge to a meeting with Bowie. Two days later, on 5 February, Ronson made his debut with Bowie on John Peel's national BBC Radio 1 show.
The Hype played their first gig at The Roundhouse on 22 February with a line-up that included Bowie, Ronson, Cambridge, and producer/bassist Tony Visconti. The group dressed up in superhero costumes, with Bowie as Rainbowman, Visconti as Hypeman, Ronson as Gangsterman, and Cambridge as Cowboyman. Also on the bill that day were Bachdenkel, The Groundhogs and Caravan. The following day they performed at the Streatham Arms in London under the pseudonym of 'Harry The Butcher'. They also performed on 28 February at the Basildon Arts Lab experimental music club at the Basildon Arts Centre in Essex, billed as 'David Bowie's New Electric Band'. Also on the bill were High Tide, Overson and Iron Butterfly. Strawbs were due to perform but were replaced by Bowie's New Electric Band. John Cambridge left in March, again replaced by Woody Woodmansey. In April 1970, Ronson, Woodmansey, and Visconti started recording Bowie's The Man Who Sold the World album.
During the sessions for The Man Who Sold the World, the trio of Ronson, Visconti, and Woodmansey – still under The Hype moniker – signed to Vertigo Records. The group recruited Benny Marshall from The Rats as vocalist, and entered the studio to record an album. By the time a single appeared, The Hype had been renamed Ronno. "4th Hour of My Sleep" was released on Vertigo to an indifferent reception in January 1971. The song was written by Tucker Zimmerman. The B-side was a Ronson/Marshall composition called "Powers of Darkness". The Ronno album was never completed.
Bowie's backing ensemble, which now included Trevor Bolder, who had replaced Visconti on bass guitar, and keyboardist Rick Wakeman, were used in the recording of Hunky Dory. The departure of Visconti also meant that Ronson, with Bowie, took over the arrangements, while Ken Scott co-produced with Bowie. Hunky Dory featured Ronson's string arrangements on several tracks, including "Life On Mars?".
It was this band, minus Wakeman, that became known as The Spiders from Mars from the title of the next Bowie album. Again, Ronson was a key part of The Rise and Fall of Ziggy Stardust and the Spiders from Mars, providing string arrangements and various instrumentation, as well as playing lead guitar. Ronson and Bowie achieved some popularity over the concerts promoting this album, when Bowie would simulate fellatio on Ronson's guitar as he played. Ronson's guitar and arranging during the Spiders from Mars era provided much of the underpinning for later punk rock musicians. In 1972 Ronson provided a strings-and-brass arrangement for the song "Sea Diver" on the Bowie-produced All the Young Dudes album for Mott the Hoople. Ronson co-produced Lou Reed's album Transformer with Bowie, playing lead guitar and piano on the songs "Perfect Day" and "Satellite of Love". Again with Bowie, he re-recorded and produced the track "The Man Who Sold the World" for Lulu, released as a single in the UK, and played on a few tracks on the Dana Gillespie album Weren't Born a Man. Ronson appeared on the 1972 country rock album Bustin' Out by Pure Prairie League, where he undertook string ensemble arrangements. Ronson recorded "Angel #9" for his second solo LP Play Don't Worry), and string arrangements on "Boulder Skies" and "Call Me, Tell Me" .
His guitar work was next heard on Bowie's Aladdin Sane and 1973 covers album Pin Ups. However, he was absent from the subsequent Diamond Dogs album. In September 1983 he was a special guest at the Toronto leg of the Serious Moonlight Tour, playing lead guitar during the performance of "The Jean Genie". He had only been asked to play the day before.
Bowie said in a 1994 interview that "Mick was the perfect foil for the Ziggy character. He was very much a salt-of-the-earth type, the blunt northerner with a defiantly masculine personality, so that what you got was the old-fashioned Yin and Yang thing. As a rock duo, I thought we were every bit as good as Mick and Keith or Axl and Slash. Ziggy and Mick were the personification of that rock n roll dualism.
After leaving Bowie's entourage after the "Farewell Concert" in 1973, Ronson released three solo albums. His solo debut Slaughter on 10th Avenue, featured a version of Elvis Presley's "Love Me Tender", as well as Ronson's most famous solo track, "Only After Dark". In addition, his sister, Margaret (Maggi) Ronson, provided the backing vocals for the set. Between this and the 1975 follow-up, Ronson had a short-lived stint with Mott the Hoople.
He then became a long-time collaborator with Mott's former leader Ian Hunter, commencing with the album Ian Hunter and featuring the UK Singles Chart No. 14 hit "Once Bitten, Twice Shy", including a spell touring as the Hunter Ronson Band. In 1980, the live album Welcome to the Club was released, including a couple of Ronson contributions, although it also contained a few studio-based tracks – one of which was a Hunter/Ronson composition. In 1974, Ronson secured the No. 2 spot from a reader's poll in Creem magazine as the best guitarist that year (with Jimmy Page taking first place), and Eric Clapton in third place after Ronson.
Ronson contributed guitar to the title track of the 1976 David Cassidy release Getting It in the Street. On 11 February 1977 the single "Billy Porter" (b/w "Seven Days") was released on RCA Victor Records, but did not chart. Roger Daltrey employed Ronson's guitar on his 1977 solo release One of the Boys. In 1979, Ronson and Hunter produced and played on the Ellen Foley debut album, Night Out, with "We Belong to the Night" and the hit single "What's a Matter Baby".
He also played guitar on Roger C Reale’s “Reptiles in Motion” album recorded in 1979 and only released in 2019 after the master tapes were acquired from the family of the original rights owners. The label Big Sound, based in Connecticut, had gone bust and the album remained unreleased for forty years.
In 1982, Ronson worked with John Mellencamp on his American Fool album, and in particular the song "Jack & Diane". Both "Jack & Diane" and American Fool topped their respective US Billboard charts.
In 1990, Ronson again collaborated with Hunter on the album YUI Orta, this time getting joint credit, as "Hunter/Ronson". One of the backing singers on the album was Carola Westerlund. While in Sweden Ronson wrote and produced three new songs with Estelle Millburne and Westerlund as EC2: "I'm So Sorry"/"Kiss Me" (1990), then a second single as ECII: "Passion" with a B-side cover of J. Kilette and K. Brown's "I'm Forever Blowing Bubbles".
In 1993, he again appeared on a Bowie album, Black Tie White Noise, playing on the track "I Feel Free", originally recorded by Cream. Ronson and Bowie had already covered this track live 20 years earlier, whilst touring as Ziggy Stardust and the Spiders from Mars. He also played lead guitar on the Morrissey-penned "I Know It's Gonna Happen Someday".
His second and third solo albums were Play Don't Worry in 1975, and Heaven and Hull in 1994. The latter set was only partly completed at the time of Ronson's death, and was released posthumously. Artists involved with the album included Bowie, John Mellencamp, Joe Elliott, Ian Hunter, Chrissie Hynde, and Martin Chambers.
Besides Bowie and Hunter, Ronson went on to work as a musician, songwriter and record producer with many other acts. He did not restrict his influence behind the recording desk to just established acts. His production work appears on albums by more obscure artists, such as Payolas, Phil Rambow and Los Illegals, The Mundanes and Italian band Moda. Ronson produced The Visible Targets, a Seattle, Washington-based group, on their 1983 five track EP, "Autistic Savant". In 1985 he produced and played on the four song EP "Stillwell Avenue" with the NYC based band XDAVIS.
Ronson was also a member of Bob Dylan's "Rolling Thunder Revue" live band, and can be seen both on and off-stage in the film of the tour. He made a connection with Roger McGuinn during this time, which led to his producing and contributing guitar and arrangements to McGuinn's 1976 solo album Cardiff Rose.
In 1982, he participated on lead guitar in a short-lived band with Hilly Michaels on drums and Les Fradkin on bass guitar. One of their recordings from this group, "Spare Change", appeared on the Fradkin's 2006 album, Goin' Back. In 1987, Ronson made an appearance on a record by The Toll. Ronson played lead on the band's song, "Stand in Winter", from the album The Price of Progression.
In 1991, Ronson produced the Swedish cult band The Leather Nun's album, Nun Permanent, adding backing vocals and guitar overdubs on several tracks. At the end of the production, during a short visit to his sister in London, Ronson was diagnosed with cancer. In 1992 he produced Morrissey's album, Your Arsenal. The same year, Ronson's final high-profile live performance was his appearance at The Freddie Mercury Tribute Concert. He played on "All the Young Dudes" with Bowie and Hunter; and "Heroes" with Bowie. Ronson's final recorded session was as a guest on the 1993 Wildhearts album Earth vs the Wildhearts, where he played the guitar solo on the song "My Baby is a Headfuck". Liner notes for the Earth vs The Wildhearts album give credit to Mick Ronson for guitar on the track "My Baby Is A Headfuck" and the "album is dedicated to Mick Ronson".
Ronson died of liver cancer on April 29, 1993 at age 46.
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Opening Up with… Evanescence
Opening Up sees us talk to musicians about the opening track from each of their studio albums. Our next guest is Amy Lee, lead vocalist and founding member of goth-pop veterans Evanescence. With millions of albums sold worldwide, the band are one of the most beloved of their era – and there's still plenty left in the tank, as their latest studio album attests to.
Amy Lee’s eyes widen when she realises what the premise of today’s conversation is. “I never get asked about this sort of stuff!” she exclaims excitedly from her Nashville home, surrounded by a stuffed toy collection belonging to her seven-year-old son Jack. Lee is very drawn to the prospect of a grand opening, whether that’s in the albums that she listens to, the gigs she attends or the movies she watches.
“I have a couple of different ideas about it,” she says. “An album opener…it’s got to pull you in. There’s different ways to do that, and we’ve done a few. One way is to give it the slow build – something that is opening up a world and an atmosphere to you where you’re like, ‘Okay, this is the world I’m stepping into.’ It builds up until it gets to that first big moment of impact. The other method, which I also love, is when you don’t hesitate and just burst right into something. We do our live shows both ways, too. It’s one of those things where it just kind of depends on your mood. You want to really reflect not only on where you’re at, but where you’ve been.”
‘Going Under’ – Fallen, 2003
In another life, ‘Going Under’  would have been the world’s introduction to Evanescence. The opening track to what would go on to be one of the highest-selling albums of the decade was the favourite among Lee and co. to be its lead single. Wind-Up Records, however, opted for ‘Bring Me to Life’, and the rest, as they say, is history. That’s not to count out ‘Going Under’ by any means whatsoever – after all, as Buzz Aldrin once said, second comes right after first.
“That was the song that we really wanted,” admits Lee, reflecting on the song nearly 18 years after its release. “I love ‘Bring Me to Life’, obviously, but we had a great feeling about ‘Going Under’ being sent to radio before the album came out. When that didn’t happen, it kind of became like, ‘Okay, well at least when you hear the album, I want it to still be the first thing that you hear.’”
The song details a tumultuous relationship that Lee had in her early 20s, both in the throes of it and staring back at the ashes of its remnants. She acknowledges the song’s agency reflects both strength and vulnerability in tandem, which explains why the track has spoken to so many listeners over the years. “I think it’s really strong,” she asserts.
“It presents a place that I kind of got to later. I’m calling out for help – ‘I’m going under/I’m drowning in you’ – but it starts out with me being like, ‘You know what? I’m done with this. I’m stepping out of the situation.’ I think that attitude was something for me that I was more excited to project.”
Setlist.fm approximates that the band have played ‘Going Under’ nearly 500 times over the years, making it one of the strongest staples of their shows. It’s a classic “hold out the mic” song – Lee can defer to her makeshift choir on any given night to take up any section of lyrics with full confidence that they’ll be sung back loud and proud. “It’s a fun one to play live,” she notes. “Some songs have more staying power than others, and that song really has that for me. That’s the song that still feels really good and still fits. It doesn’t have anything about it that sort of feels like ‘Okay, that’s cool and that’s part of our history, but that’s not really what we are anymore.’ That one just really has stood the test of time.”
‘Sweet Sacrifice’ – The Open Door, 2006
The parallels between the first tracks on Evanescence’s first two records are obvious. Each cuts straight to the chase, pairing a distorted Lee vocal with a crunching, down-tuned palm-mute guitar chug before bringing in a steady full-band groove and a rousing, angsty chorus. Internally, however, the make-up of Evanescence had drastically shifted between albums, informed by the exit of the band’s co-founder in guitarist Ben Moody less than a year after the release of Fallen. This came midway through a tour, leaving the band to scramble in finding a replacement guitarist, which came in the form of Terry Balsamo (a member of the opening band, Cold). At the conclusion of the tour, Balsamo ultimately joined Evanescence full-time – a position he would hold for the next 12 years.
“That writing process was a new experience,” recollects Lee on co-writing with Balsamo for the first time. “We just had a different energy, which was really cool. We spent a lot of all-nighters in this house in LA – which was actually the first house I’d ever bought. Terry would come up and stay for a month or whatever at a time, and we would work all night.”
When queried specifically on the writing of ‘Sweet Sacrifice,’ Lee recalls a moment where she and Balsamo really clicked creatively – the song’s stirring pre-chorus, which builds to its hard-hitting hook and big-swinging drums. “The guitar and the vocal are kind of mirroring each other there,” she says. “We were really excited about it. There was just this feeling that came with it,  like, the freedom of saying ‘we’ve earned the right to make music however we want right now.’ So many people were breathing down my neck being like, ‘Let me write your songs for you.’ Writing that song was us saying ‘no, we’re gonna do whatever we want because we earned this.’”
“I felt like the song was so beautifully heavy,” she continues. “I also felt like it would subvert what people would expect as an opening track. Because I was without my guitar-playing original counterpart, there was somehow this idea that the next record [should] be softer and more feminine. I love heavy music, of course, and what was coming out of me and Terry was, in some ways, a lot heavier.”
September will mark the 15-year anniversary of The Open Door, and although it doesn’t hold the same legacy as Fallen, it remains a sentimental favourite among fans of the band. Lee still maintains a strong relationship with the record – if not for the fact that the band was able to make it at all in the first place.
“I still love it very much, it means a lot to me,” she comments. “I did have a lot to prove, and I felt the pressure of people feeling like, ‘I wonder if she can do that without Ben.’ I was really excited to show right away that we were taking it to the next level.”
‘What You Want’ – Evanescence, 2011
The first thing you hear on Evanescence’s third studio album is not Lee. Hell, it’s not even a guitar. It’s a reverb-heavy kick and snare beat, which sounds like it’s echoing from the depths of an arena. It immediately kicks the album off on a high gear, and is a perfect example of Lee’s latter example of not hesitating and bursting right in as an opener.
“That’s Will,” she determines of the song’s opening fill – courtesy of drummer Will Hunt, who made his debut on Evanescence after touring with the band for several years prior. “He is the greatest drummer in the world. That part was totally him. He is arena rock to the max, so it’s perfect. What’s cool about that is we all have different things in us that [are] our own style, each member of the band. When everybody’s particular tastes and styles get a chance to really shine through what they’re doing, I think that’s what can make it really amazing.”
“That album, it’s self-titled because it was such a group effort. Certainly it was more [of] one than before, when it was really more kind of duos for both of the other albums – Ben and I, Terry and I. This time was more like, ‘Okay, let’s let everybody really have a chance to shine.’” Lee points to ‘What You Want’ in particular when reflecting on the all-in band approach in songwriting: “I believe it was me, Terry and Tim [McCord, bassist], and we were at my house in Brooklyn,” she describes. “I had a little studio on the top floor, and just pulled up a loop on Pro Tools. Terry started playing, Tim started playing and it just became a thing with the three of us. We brought the band in, and that dinky little loop became what Will did. It really took it to another place.”
“It starts off with that awesome drum beat, but the combo to me really happens when when everything eventually comes in. It really comes together. I hear Terry in those different little half-note steps, I hear me bringing in some of my pop influences in the melody. This is us just really having fun making music and being ourselves.”
‘Overture’ – Synthesis, 2017
In one of the band’s most ambitious projects to date, Synthesis saw Evanescence team up with veteran composer David Campbell (also known as Beck’s dad) to create orchestral renditions of their best-known songs. Before it kicks off in earnest, however, the album opens with a swelling overture penned by Lee herself. It’s a rare instance of her flexing a different creative muscle in the track-ones of the band’s career, where she approaches it as an arranger and composer as opposed to a singer and songwriter.
“The whole idea of the project, for me, really stems from the fact that there’s all these little parts,” she explains. “It’s where my classical influence, which was my first really passionate musical influence, has a moment. It’s something that is an important core part of the music. ‘Never Go Back,’ which follows the overture, is one of those songs – the bridge is totally just like mad Mozart in the darkness, y’know? It’s my classical alter-ego going crazy. It’s interesting, because I think that the combination of that happening against the rock is really what makes it Evanescence. At the same time, I can still see this whole landscape of us that exists underneath and inside the music that is just entirely that other side. A lot of the time, when I’m coming up with the idea to start and then bring it to the table, it’s usually in this piano and electronics-based world before it really becomes a fully-fledged rock song. The idea of Synthesis was to get to just indulge in all of those things.”
When looking at the creation of the album’s overture, Lee sees that alter-ego taking both form and flight. “That part in particular is just one of my favourite moments on the record,” she says. “It’s very classically inspired, obviously. To make that into a full piece with David and give it that slow build, like we were talking about…I just loved being able to do that. That’s one of the ones that we’re driving you into a place and you’re like, ‘Oh, where are we going?’ And then you get there. It was very special to have at the beginning of every show on the tour. I’ll never forget that.”
‘Artifact/The Turn’ – The Bitter Truth, 2021
“Let me tell you about this, because it’s unusual.” Having eyed the conversation’s flow keenly, Lee is prepared at the ready to talk about ‘Artifact/The Turn,’ which opens The Bitter Truth, the first collection of all-new Evanescence music in a decade. As she will go on to explain in great detail, the album’s opening moment is twofold – hence the forward slash in its title. First, the artifact, which Lee found on her computer. “That’s nothing but like a little keyboard and my voice,” she confirms.
“That part is me on my laptop with the laptop built-in mic in a hotel room in Canada in the middle of the night on tour. That was not intended to make it as is on the album. The reason it’s called ‘Artifact’ is something that Nick [Raskulinecz], our producer, said. He was like, ‘Do you really want to redo this?’ I always was thinking I was going to. ‘Well, yeah,’ I said. ‘Don’t we need to like do it in high quality, like on a real microphone? He says, ‘I don’t know if you’re going to be able to recapture that exact feeling.’ I thought about that, and it all just kind of connected. It has all these little artifacts in it – it’s actually a little ancient piece of the the writing process, and it’s intact. It hasn’t been re-recorded or redone in any way.”
This leads to where the music makes a turn – courtesy, naturally, of ‘The Turn.�� This was another one-on-one between Lee and a collaborator, although this time, it arrives in the unexpected form of The Crystal Method’s Scott Kirkland. “We just met through a mutual friend, my old lighting director,” Lee recalls. “We were both on the bill at some festival and we made friends. It turned out we were fans of each other, and I was like, ‘Hey, if you ever want to just like swap files, who knows? We might come up with something!’ We started sending each other little baby demo ideas that we had. He had that music bed a little bit in a different arrangement that he sent to me – and again, on tour in a backroom, I found myself singing over it and came up with a melody. He tweaked it and did it for real, and that was it.”
Piecing these two compositions together made it very clear to Lee from the outset that this is how The Bitter Truth would begin – especially when she saw how it transitioned into track two, ‘Broken Pieces Shine’. “I love the way that that riff brings you into our band – where we are now and what the sound of us is now,” she says. “It’s driving, and it is coming for you – and it just feels so good when it hits. I love the beginning of this album.”
It’s been around a month since the album’s release, and although the band obviously haven’t gotten to play any shows thus far, they’ve still been met with an endless stream of messages, comments and praise from fans all over the world. After such an extensive rollout – not by design, of course – the sense of relief within the Evanescence camp is palpable. “It’s so satisfying,” adds Lee. “The one thing that’s going to drive it all the way home, obviously, is going to be when we get to live inside it and go on tour and play these songs live.”
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grigori77 · 3 years
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Movies of 2021 - My Pre-Summer Favourites (Part 1)
The Runners-up:
20.  THE MAURITANIAN – acclaimed filmmaker Kevin MacDonald (The Last King of Scotland, Touching the Void) presents his best film in years with this stirring, troubling dramatization of the harrowing fourteen-year detention at Guantanamo Bay of Mohamedou Ould Slahi (A Prophet’s Tahar Rahim in a deeply affecting turn) between 2002 and 2016.  Jodie Foster is also impressive as Nancy Hollander, the crusading attorney fighting for his release, as is Benedict Cumberbatch as Lt. Col. Stuart Couch, her opposing counsel, who comes to realise Slahi’s confinement has been built on a tissue of lies.
19.  RIDERS OF JUSTICE – Danish writer-director Anders Thomas Jensen (Men & Chicken) brings his biting sense of humour and anarchic style to bear in this excellent black comedy starring Mads Mikkelsen as Markus, an emotionally distant soldier called home after his wife is killed in a tragic train wreck.  As he attempts to reconnect with his troubled daughter (Andrea Heick Gadeberg), Markus becomes convinced by the theory of a trio of intellectually gifted outsiders who believe that the accident was in fact an elaborately staged assassination by the eponymous criminal biker gang.
18.  STOWAWAY – Netflix dropped another sneaky sci-fi hit on us in the form of this deceptively understated space thriller about three astronauts on a mission to Mars who discover they no longer have enough life-support resources left to survive their journey after finding a member of the launch crew accidentally trapped on their spaceship.  Writer-director Joe Penna is in comfortably familiar territory after acclaimed survival thriller Arctic, while the compact cast – Toni Collette, Daniel Dae Kim, Shamier Anderson (Wynonna Earp) and, in particular, Anna Kendrick – are all excellent.
17.  OUTSIDE THE WIRE – in the near future, civil war has broken out in the Ukraine and US forces fight to keep the peace with the aid of newly-minted robotic soldiers called GUMPs. Drone pilot Thomas Harp (Snowfall’s Damson Idris) is reassigned to the warzone as punishment for insubordination, finding himself teamed with Captain Leo (Anthony Mackie), an advanced hyper-intelligent android tasked with hunting down insurgents bent on unleashing nuclear holocaust on the West.  Mikael Håfström (director of 1408 and Escape Plan) ably delivers some impressively weighty action sequences, while asking interesting questions about the potential dangers of artificial intelligence.
16.  THE EMPTY MAN – I was a little late stumbling across this spectacularly twisted cosmic horror based on a graphic novel by Cullen Bunn (The Damned, The Sixth Gun) and Vanesa Del Ray, but it grabbed me in the first ten minutes and wouldn’t let go.  The ever-excellent James Badge Dale delivers one of the best performances of his career as James Lasombra, an ex-cop who gets mixed up with a nightmarish conspiracy involving a doomsday cult built around the terrifying eponymous otherworldly entity in an head-fucking horror gem that entirely deserves its growing cult status.
15.  SOUND OF METAL – had to wait until Amazon Prime released this in the UK last month, but this challenging and emotionally-charged drama was worth holding out, Riz Ahmed delivering his finest ever performance as Ruben Stone, a heavy metal drummer whose life is thrown into turmoil when he goes deaf.  Ready Player One’s Olivia Cooke also impresses as his girlfriend Lou, a massively talented singer whose own personal demons are set loose as Ruben’s condition drives a wedge between them, while writer-director Darius Marder (who co-penned overlooked masterpiece The Place Beyond the Pines) shows he’s definitely gonna be a talent to watch in the future.
14.  CHERRY – Tom Holland reteams with his regular MCU directors Joe and Anthony Russo for this harrowing but achingly beautiful adaptation of author Nico Walker’s sort-of-but-not-exactly semiautobiographical novel about a former US army medic who returns from the horrors of Iraq with crippling PTSD at the height of America’s opioid epidemic, forced to embark on a spree of bank robberies to feed his drug habit.  Holland has never been better, while the Russos prove they’re capable of delivering more than just bombastic superhero action and big effects.
13.  SHOPLIFTERS OF THE WORLD – writer-director Stephen Kijak may be known for making documentaries about musicians (Scott Walker: 30th Century Man, Stones in Exile), but he proves he’s got a flair for fiction too with this cannily subversive comedy drama about a Middle American town that goes a little crazy one night in the 80s when a teenage boy hijacks the local heavy metal radio station and makes them play wall-to-wall tacks from The Smiths following the band’s sudden breakup.  There’s escapist fun to be had from the irreverent quirkiness of the premise, and the youthful cast are all excellent, while Joe Manganiello delivers a brilliantly nuanced supporting turn as the besieged DJ.
12.  BILLIE EILISH: THE WORLD’S A LITTLE BLURRY – I’ll admit to being a bit late to the party when it comes to Billie Eilish – I’d heard snippets of her music (most notably Bad Guy and her admittedly impressive theme for the new Bond movie), but until I watched this deep dive into her life and career, following the creation and promotion of her debut album, I didn’t yet know what all the fuss was about.  Well I’m now thoroughly converted – not only is she an incredibly talented young musical artist but also a fascinating and intriguingly down-to-earth person too, and I look forward to following her career in the future.
11.  SHADOW IN THE CLOUD – Chloë Grace Moretz gets a role to really sink her teeth into as Maude Garrett, a take-no-shit WAAF flight officer on a classified mission aboard Allied bomber Fool’s Errand in the Pacific in 1943, in this enjoyably unconventional action horror from My Wedding & Other Secrets director Roseanna Liang.  The film is largely a one-woman show, with the cameras clinging stubbornly to Moretz while the genuinely terrifying story unfolds around her, and she invests Maude with a ferocious stubbornness and intensity that’s crafted one of the cinematic year’s most impressive action heroines.
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strangledeggs · 3 years
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Black Hole Sun: The “Big Empty” Semantic Core Of Grunge’s Lyrical Orbit, Pt. 1
[I tend to try and analyze music at least as much as lyrics in pop songs, if not more, as I believe it to be the central reason for listening to most of it. But I stumbled on an interesting lyrical phenomenon here that I couldn’t resist taking some time to interrogate, so I’ll warn everyone of the following: the two parts of these posts are going to focus very little, if at all, on music and will instead be devoted primarily to the lyrics of the grunge boom of the 90s.]
It’s generally accepted that there are a lot of sad songs within country music. The tearjerker ballad is one of the genre’s signature archetypal songs, arguably becoming a foundational block for its entire style and various songwriters’ approaches to it. However it should be noted that these ballads tend to zero in on specific woes in their lyrics that make them so sad in the first place - hence the frequent jokes about country lyrics amounting to “my car broke down, my dog died and my wife left me”. It’s rare for a country song to try and frame sadness in a non-specific light, though when it has happened, the results can be incredibly stirring (I’m thinking here of Iris Dement’s “Easy’s Gettin’ Harder Every Day”).
This isn’t just a phenomenon unique to country music; most pop songs that try to evoke sadness will choose a specific target to center the sadness around, like the end of a relationship or a family member’s death. There have been a few notable exceptions, as evidenced by The Who’s “Behind Blue Eyes”, some of Pink Floyd’s more esoterically depressive songs, or many of Bob Dylan’s ballads from his classic electric years. Punks showed signs of a capability of writing in this mode from time to time (think The Buzzcocks’ “Everybody’s Happy Nowadays”), eventually culminating in the post-punk movement that would develop the idea a little further in groups like Public Image Ltd. and Joy Division.
But nowhere can I think of a mass movement of songwriters suddenly pushing for a non-specific, abstract lyrical representation of sadness outside of the grunge explosion of the 90s. The genre that fundamentally changed the nature of rock and roll radio also brought a specific lyrical sensibility to the table, one that seemed to deliberately reject the reduction of sadness to a specific cause: the cause of grunge depression - and it was a depressive genre, even though it had its more hopeful and ecstatic moments - wasn’t a relationship, or money troubles, or addiction, or any vague evils of the world, even if all of these could be factors in the songwriters’ real lives as we know them. The lyrical centre of that depression was a deliberately obscured mystery, a path that seemed to lead everywhere and nowhere, littered with misdirections that purposefully led listeners away from any specific interpretation of it.
The obvious masters of this lyrical style (and likely its originators, given their being the first band to have actual hit songs with it) are Nirvana. The lyrics of “Smells Like Teen Spirit” say it all - that is, they say nothing at all, communicating only a vague sense of frustration, anger and depression. While you can certainly pull individual details out of particular lines and draw coherent meaning from them (”I feel stupid and contagious” speaks to a sense of social alienation in a way few others could), the sum of the lines pulls the listener away from being able to make a statement that captures the entirety of it. The ending of the chorus is particularly disjointed and hostile to interpretation; even if you draw “my libido” out as a critique of the “teen spirit” the song might be said to mock, you have to contend with its proximity to “a mulatto, an albino, a mosquito”. And the very end of the song, while it could be interpreted as “a denial” at the social level - either the rejection of the narrator by their peers or the rejection of the peers by the narrator - also seems to point towards a resistance to interpretation; it “denies” the listener’s readings no matter how fitting they might seem for a given line.
Though a few Nirvana songs take on more specific themes or scenarios (”Happy”, “Polly”, “Rape Me” and “Sliver” come to mind), the majority of their songs remain in this lyrically ambiguous territory, unwilling to give up their interpretations so easily. What is the “comfort in being sad” repeated in the chorus of “Frances Farmer Will Have Her Revenge On Seattle”? “What is wrong with me? / What do I think I think?” Cobain drones in “Radio Friendly Unit Shifter”, expressing a sentiment that others in the grunge boom will be quick to re-iterate. Even some of the songs with a more specific lyrical theme have a strange inability to pick an individual target cause of sadness: “Heart-Shaped Box” might be easily interpreted as being centered around Cobain’s relationship with Courtney Love, but what do we make of the contradictory chorus? He has “a new complaint”, but is also “forever in debt to your priceless advice” - how much of this is sarcasm? How much of it is even about Courtney Love? More vague is the incredible line arriving at the climax of “Aneurysm”: “Beat me out of me”. Does this refer to drugs? To the turbulent relationship that Cobain claims inspired the song? To his struggles with his physical and mental illnesses? It’s too vague to pin on any one of these and remains a kind of floating sign, one that evokes a deep disturbance that nevertheless cannot be articulated except perhaps by the visceral pain it begs for.
Nirvana might have been the undisputed masters of this lyrical style, but others were quick to follow. Soundgarden’s Chris Cornell struggled with depression for most of his life, and this manifests itself through his lyrics in a similar manner. This article is, after all, partially named for the band’s most well-known song, with its nonsensical chorus “Black hole sun, won’t you come / And wash away the rain?” Even in its verses, the song repeatedly throws the listener off just as a relatively realistic image seems to be painted: the “boiling heat, summer stench” setting is interrupted by the jarring last line of the first verse, “Call my name through the cream / And I’ll hear you scream again”. The song also introduces another theme that will make reappearances in subsequent Soundgarden songs in its final half-verse: “Hang my head, drown my fear, / ‘Til you all just disappear”, betraying a desire not simply to retreat from the world around one, but to find some way of severing the connection to the effect that the world itself is dead to you. Hence “Down On The Upside”’s self-explanatory “Blow Up The Outside World”.
Again, however, the listener will be hard-pressed to find a specific cause for this angst. Why does Cornell seem to distrust the world around him? He might know it, but it’s not so easy to articulate in song. “The Day I Tried To Live”, perhaps one of his most specific songs on this subject, actually seems to reverse the apparent causal relation - is it the outside world that Cornell distrusts, or his own potential influence within that world? The specificity of the song doesn’t necessarily clarify the issue, and we are left in another of “Superunknown”’s songs that he simply “Fell On Black Days”, another lyrical meditation on depression with a seemingly empty core.
These inward retreats typical of Soundgarden are further complicated by the final song on “Superunknown”, and possibly one of Cornell’s best, “Like Suicide”. The song’s initial refrain at the end of each verse phrase (alternately, “Love’s like suicide” and “Just like suicide”) make it sound like a potential breakup song or doomed love song of some kind. But the lyrics open out beyond this framing very quickly, even from the first lines: “Heard it from another room, / Eyes were waking up, / Just to fall asleep”. The song continues to string together disconnected images in this manner, one of my favourites being the last true lines of the final verse, “Safe outside my gilded cage, / With an ounce of pain, / I wield a ton of rage”. As the lyrics unfold, it becomes harder and harder to interpret the song as merely being about a particular relationship. This is in spite of the fact that there seems to be another person involved as a sort of “object” of the song, with the pre-chorus refrain of “How I feel for you, / I feel for you”. But who is the “you” the song refers to? Is it the “she” of the chorus, the one who “lived like a murder. / But she died just like suicide”? Is it the “her” the narrator “finishes” constructing with the “last ditch”/”last brick”? Are these all the same person? Or are they imaginary extensions of the narrator? The focus of the song is unclear, perhaps intentionally so, obscuring any possibility of the “blame” one might expect if this were a song about a relationship, opting instead to zero in on the central tragedy expressed by the chorus. Even this is vague and unreliable: “she” dies “just like suicide” - but does she really die? Is it really suicide? The similes of the chorus imply the possibility that it is otherwise, while the tone of the song insists that it is nevertheless tragic.
So far I’ve discussed two of the most notable grunge bands’ lyrics in detail here, but I made the broader claim that this depressive non-specificity was highly impactful throughout the genre as a whole. This being said, Nirvana and Soundgarden were probably the two bands of the era that most consistently employed this lyrical mode. So if not all grunge bands wrote this way, where can we nevertheless see its influence in their works? The “big four” of grunge has typically been canonically understood to refer to Nirvana, Soundgarden, Pearl Jam and Alice In Chains. Stone Temple Pilots could also be considered a minor part of this canon, and I would add the near-parodic approach to grunge of Local H. Smashing Pumpkins may not have been categorized as grunge by many, but I believe their sound is close enough to include them, and especially Billy Corgan’s lyrics lend themselves well to an analysis similar to the one we have deployed up to this point. Though Mudhoney is often considered the first grunge band, I will not be discussing them due to their tendency towards a more traditional punk approach to lyrics and songwriting. Hole is notable as being one of very few women-led grunge bands, and despite the more overt feminist themes of their lyrics that can give them a more direct meaning, I also see a tendency towards the kind of writing present in Nirvana and Soundgarden which I will draw out in further analysis. L7, however, I will exclude on similar grounds to Mudhoney.
In the second part of this article, then, I will discuss the presence of a depression with no referent as it occurs occasionally in the lyrics of the above bands, Alice In Chains, Pearl Jam, Hole, Local H and Smashing Pumpkins.
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ourimpavidheroine · 4 years
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You always post your writing soundtracks. Mind sharing your top ten albums with us?
I actually laughed when I read this because I’m thinking of the Anon who complained that all of my music was OLD. I mean. I’m old! What did you expect?
Never mind me, I’m easily amused. Thank you for using the word album so I would not feel like Lady Danbury with my lethal cane.
Yes, sure I can do that! I don’t know that these are my forever and ever amen top ten, but they are the ones that are coming to mind right now. So.
Under a cut, it’s long. 
In no particular order.
Brutal Youth - Elvis Costello
My ex-husband was in love with Elvis Costello and who could blame him? The man is a genius lyricist. This is not one of his more commercially popular albums but I love every single track. (I also lined up at Ticketmaster in Oakland, CA when the man was touring in order to get tickets for my ex. I got there at midnight and spent the night, meeting a group of drag queens who were getting tickets to see Barbara Streisand. God, that was a fun night, we ate donuts one of them went on a donut run for and sang showtunes for hours. One of my favorite memories.) This verse, from Clown Strike, is one that has resonated with me since I first heard it.
Tell me what you want of me Or are you terrified of failure? You put on a superstitious face Behind all this paraphernalia We're not living in a masquerade Where you only have three wishes It isn't easy to see In a lifetime of mistaken kisses
Unrepentant Geraldines - Tori Amos
I remember the first time I heard a Tori Amos song. It was the summer directly after I’d graduated from college, I was driving my ex-husband’s car and Silent All These Years came on the radio and I was just fucking gobsmacked. I bought Little Earthquakes that day and haven’t looked back. I have all her albums. I am a big, big fan.
Unrepentant Geraldines, though. God. It came out the year before my wife died and it got me through her death. The song Weatherman is about a man losing his wife, and how he sees her in the nature surrounding him. 
And. 
No, sorry, I can’t write more about this, not right now. But I sing it to her sometimes. 
He is not a weatherman But his bride lies with the land And she will whisper to him I'll be dressing up in snow Cloaked in echo it's almost As if only Nature knows How to paint his wife to life With every season's tone "One more look from her eyes One more look can you paint her back to life"
Ray of Light - Madonna
This album got me through my divorce from my ex-husband. I’d go out every single day during my lunch hour, this on my walkman, and walk and walk and walk until I got myself in enough control to go back and finish my work day. It’s a great album and I still listen to it a lot. It empowers me. And then my daughter was born and Ray of Light has always been her song to me, even though that wasn’t the song on the album that Madonna herself wrote for her daughter.
Faster than the speeding light she's flying Trying to remember where it all began She's got herself a little piece of heaven Waiting for the time when Earth shall be as one And I feel like I just got home And I feel And I feel like I just got home And I feel
Seven and the Ragged Tiger - Duran Duran
This one was a difficult choice. For one thing, I really love their album Big Thing, which almost nobody’s heard about but one I love deeply. This one though...I think it’s the memories, including going to see them at the Oakland Coliseum with my cousin during their tour for this album and finding out they were partially filming the video for The Reflex that night. I like to think of us as being one of those girls in the audience. (Although I wasn’t screaming. I am a Capricorn. Have some dignity.) Duran Duran were responsible for my first fanfic and I’ve had a love for them since my Dad bought me their first album for my 13th birthday. I am nothing if not loyal. I have all of their early albums, all of their 12″ singles, too, including Secret Oktober, which I have always loved with a passion.
Also, Roger Taylor can still get it.
Freefall on a windy morning shore nothing but a fading track of footsteps Could prove that you never been there Spoken on a cotton cloud like the sound of gunshot taken by the wind And lost in distant thunder racing on a shining plain And tomorrow you'll be content to watch as the lightning plays along the wires and you'll wonder
Touch - Eurythmics
Another band I still love and listen to on the regular. Annie Lennox could sing me the telephone book and I’d be thrilled. Seeing her at age 14 in the Sweet Dreams video for the first time in my Grandmother’s living room quite literally woke something in me that led to moving across the world for a woman years later. (GOD.) I have all of their albums and choosing a favorite is difficult but this one won by a narrow margin, if only for the song Regrets, which is one of the songs that describes me until I became a mother, really. Like I RESONATED with that song. Still does in certain ways, if I am being truthful to myself.
I've got a delicate mind I've got a dangerous nature And my fist collides With your furniture I've got a delicate mind I've got a dangerous nature And my fist collides With your furniture I'm an electric wire And I'm stuck inside your head
Combat Rock - The Clash
Ah, teenage Impavid first understanding that music can also be political. Listen, I didn’t know much about what was going on outside of my own miniscule sphere - I was young and the internet didn’t exist yet. We got what news we got from our local paper and TV stations and they weren’t really reporting on what was happening in the world, not in 1982, let me fucking assure you. I got this album because my Dad was a part time DJ at a radio station that played mostly country music and the general manager of the station would just toss the rest of the non-country albums they’d get as promotions. My Dad would bring them home to me to listen to. You can imagine thirteen year old me listening to this album that opened with “This is a public service announcement - with guitars!” going WHAT THE FUCK? Let me just say there were a lot of trips to the library to read various newspapers after that.
Not to mention Rock the Casbah. What was a muezzin? I had no idea. I spent half a year reading books about Islam, about the Middle East and Northern Africa, which led to a curiosity about other religions beyond the Roman Catholicism in which I’d been raised, about other cultures as well. This album and The Color Purple by Alice Walker were the two things in my teen years that woke me the fuck up.
Now the king told the boogie men You have to let that raga drop The oil down the desert way Has been shakin' to the top The sheik he drove his Cadillac He went a' cruisin' down the ville The muezzin was a' standing On the radiator grille
Synchronicity - The Police
This fucking album. This fucking album. This album reached deep down into me and pulled out my soul and kicked it around for awhile. Every single song on this album hit me like a brick wall. Still does. Most likely always will.
Listen, you either like King of Pain or you live it. There’s no in between.
There's a little black spot on the sun today It's the same old thing as yesterday There's a black hat caught in a high tree top There's a flag pole rag and the wind won't stop I have stood here before inside the pouring rain With the world turning circles running 'round my brain. I guess I'm always hoping that you'll end this reign, But it's my destiny to be the king of pain...
Sign O’ The Times - Prince 
The soundtrack to my University days. Jesus, it starts out with “In France a skinny man died of a big disease with a little name,” and it just keeps going. Pain, sex, wonder, glory, politics, love. It’s all there. I wore the vinyl out on this one. Amazing, amazing album. In fact, I still play it so often my kids practically know it by heart, and they don’t even like Prince!
To this day I think If I Was Your Girlfriend is the sexiest song ever written.
I will tell you this much: Sayuri’s main writing soundtrack song is Starfish and Coffee off the album, the same song I used to sing my kids as a lullaby. This should tell you a lot about her.
Cynthia wore the prettiest dress With different color socks Sometimes I wondered if the mates where in her lunchbox Me and Lucy opened it when Cynthia wasn't around Lucy cried, I almost died, U know what we found? Starfish and coffee Maple syrup and jam Butterscotch clouds, a tangerine And a side order of ham If U set your mind free, honey Maybe you'd understand Starfish and coffee Maple syrup and jam
Nina Simone Sings The Blues - Nina Simone
This was one of my Daddy’s albums. He loved it and so did I. As a child I just loved the sound of her voice - something in it both soothed me and pulled at me, made me want to run and just keep running. She still makes me feel like that. If you don’t know Nina Simone I urge you to change that, right now. There’s nobody at all like her. She’s irreplaceable. All of her material is good, not just her blues songs. Not to mention, she was an absolute brilliant genius at the piano, never mind the strength she had as a Black woman in a time when doors were shut in her face on a daily basis. Seriously. Read about her.
When I became a woman, of course, her songs took on a much deeper meaning for me, one that I could relate to. Isn’t that the hallmark of a good album, though? One that stays with you and changes with you? I think so.
If you’ve never heard her cover of I Put A Spell On You then do yourself a favor and go right now and listen. You’re welcome.
Oh and Buck from this album? Nuo to Wing, right there.
Also one of the sexiest songs ever written, this one. Especially how she sings it. The Hot Frenchman (have I ever told you about The Hot Frenchman? no? OH BOY THERE’S A STORY) told me he thought it was about drugs and I was like, honey, this tells me a whole lot about you, more than you probably wanted it to.
I want a little sugar In my bowl I want a little sweetness Down in my soul I could stand some lovin' Oh so bad I feel so funny and I feel so sad I want a little steam On my clothes Maybe I can fix things up So they'll go Whatsa matter Daddy Come on, save my soul I need some sugar in my bowl I ain't foolin' I want some sugar in my bowl
I Do Not Want What I Haven't Got - Sinéad O’Connor
This is a beautiful album, full of pain and joy, her hallmark. She sings every single word with everything in her; she’s far too intense for many, many people (and while she’s been open with her mental health struggles I’ve often wondered if she isn’t somewhere on the spectrum as well) but never for me. Her raw honesty has always appealed to me. She’s political, she’s a lover, a mother, a survivor of horrific abuse, someone who keeps reinventing herself as a way to find her way through pain. I always feel, when I am listening to her music, that I am bearing witness. I’m not afraid of pain; I’ve survived it as well. This album, one of her oldest, is still my favorite.
The line “You used to hold my hand when the plane took off” is the most evocative lyric I have ever heard with regards to the ending of love. It’s a punch to the heart - she felt it and she shared it with us, her fragile heart in her palms. Oh, Sinéad.
This is the last day of our acquaintance I will meet you later in somebody's office I'll talk but you won't listen to me I know what your answer will be I know you don't love me anymore You used to hold my hand when the plane took off Two years ago there just seemed so much more And I don't know what happened to our love
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secretradiobrooklyn · 3 years
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Secret Radio | 7.24.21, 8.7.21 & etc.
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“Better, Better, Back” Secret Radio | 7.24.21, 8.7.21 & etc. | Hear it here.
- Mort Garson - “Plantasia”
1. Jean-Pierre Djeukam - “Africa Iyo” - “Cameroon Garage Funk”
The main musician I think of from Cameroon is Beti-Beti, and this is a whole different thing. Endless props to Analog Africa for providing fiery track after track. This is the sweat from their newest collection!
2. Eyedress - “Jealous”
Paige hears something in this and when I unfocus my eyes I do too. (Literal?) high school skate kids gettin in their shallow feels. I will admit that the chorus “time-time” is killer.
3. Nahid Akthar & Tafo - “Takra We Gutt Bhar Le” (I think)
Nahid Akthar’s voice is so completely bewitching that the amazing arrangements almost sneak by. Tafo is the producer of this track I believe, and the narrative structure of the music is just so confident and encompassing. But then also: man, that VOICE. She’s right up there with Ros Serey Sothea in expressiveness and character.
4. Oruã - “Escola das Roas” - “Sem Bênção / Sem Crença”
My thanks to you, Marc, for pointing this band to us. I have fallen in love with this particular recording, it just gets more thoroughly better with every listen. Calvin Johnson mentioned this band in a recent K newsletter — they’re a Brazilian band who corresponded with Doug Martsch as mutual fans until at some point Doug decided his own band needed replacing and he brought them out as Built to Spill and also as Oruã. This track also has shades of Sonic Youth’s “Master-Dik,” one of my all-time ultra faves. It really hits me in the ’90s, and I rilly want to see how some of this music is performed live.
5. Jacques Dutronc - “Le Responsable”
I’m so thankful to have Jacques Dutronc in my life. His rock songs knock me into gear like nothing else — and the whole band has its own very specific flavor. It kicks!
6. Sleepy Kitty - “Alceste in Silverlake”
At very long last, there is a new Sleepy Kitty album on the way! It’s in line at the record plant as I type this. And this is a song from the perspective of a musician-seeking drummer in LA, crossed with the most brutally honest man in all of France.
7. Sakuran Zensen - “錯乱前戦 ロッキンロール” (I Wanna Rock & Roll)
We only knew one song by this band (that we’ve played here) because the video was rad, but I looked to see what else was there and this song is just freakin great with me. The chords are really cool and his vocal delivery is just so over the top it’s impossible not to love. And the guitar solo is basically a full-on tonefest, which I appreciate more than a bunch of flying fingers. The video helps fill in the picture nicely too, I think, though I like the song while not looking at it even more.
https://www.youtube.com/watch?v=YPCqT3e89SU
- Mort Garson - “Concerto for Philodendron & Pothos”
8. Clothilde - “Fallait pas ècraser la queue du chat”
All hail the French instinct for chamber music instruments as pop instruments, and then as a kind of technicolor weirdness. The orchestration of this song is a work of art in itself, and that doesn’t even account for her self-harmonizing melody. If you haven’t already, picture a brunette bob and deep mascara.
9. Public Service Broadcasting - “Spitfire”
I can’t remember now how I found this music, though I think it might’ve been from Josh’s playlist? This is from 2012, but they have a new album coming out almost exactly a month from now. In Bound Stems Tim and I got really into interlacing snatches of other people’s words into the music we were making, and this is very congruent with that interest. I feel like this song passes tests as it goes.
10. Shocking Blue - “Send Me a Postcard”
I first heard of this band when I was learning everything I could about Nirvana, and I’d heard both versions of “Love Buzz” and knew they were both great, but we only recently caught this track. It’s the bridge between “White Rabbit” and “Territorial Pissings.” 
11. Metak - “Tetrapak”
Our favorite Croatian band! Everything about this song is delightful. I feel like if this song was in English I’d probably cringe at the lyrics, but in this format I can only hear how much fun the song is to play. I am one-quarter Croatian, which means I can’t understand any of the lyrics either but I do see little ghosts of myself in the pictures of the band somehow. It’s weird.
12. Katerine - “Louxor J’adore”
-Anything I could say about this song is eclipsed by this excerpt:
https://www.youtube.com/watch?v=uD7QuV6f_MA
The performance to the cemetery knocks me out
13. Erkin Koray - “Seni Her Gördügümde”
Whenever we’re listening to Anatolian psych, the songs with the most creative ideas and satisfying riffs and great vocal passages are always Erkin Koray. The four-piece arrangements are so good, and then he doesn’t hesitate to step up with his guitar to narrate a passage. Also, I really like how Turkish rock sounds so Indian and also Arabic and also French.
14. WITCH - “Chifundo”
Zambian prog rock! I haven’t heard anything like this track anywhere else in Africa yet. The thing is, this version of prog includes the exact flavor that Yes totally lacks, and thus I really love listening to this track in a way most prog rock doesn’t hit me. The time switches and the lead part over the top are just so smooth!
15. Ezra Furman - “Psalm 151”
We’ve been listening to a lot of Ezra Furman’s music lately, and it’s only getting better and more engrossing with every listen. We toured with Ezra Furman’s band about 5 years ago and every night was a pleasure. They’re finishing up a new album, which makes this a great time to listen to the others. This entire album, “Transangelic Exodus,” is a masterpiece as far as we’re concerned, and I find myself thinking the whole time too about Tim Sandusky’s production. Tim’s such a home town for us, and to hear his full attention on this album is just such a pleasure.
16. Ralph Stanley - “White Light, White Heat”
It was one of my favorite musical influence moments ever when my dad’s bluegrass band, The Prozac Mtn Boys, played VU’s “What Goes On.” Knowing that there is a recording of one of my dad’s true banjo heroes playing “White Light White Heat” is just an endless blessing. And actually hearing it is even better.
17. Kim Jung Mi - “Ganadaramabasa”
I know basically nothing about this track except that she’s Korean and this is from 1973. She’s got a real Diana Ross thing going on, and her band has a real Supremes vibe too… but it doesn’t sound like one of their songs.
18. Penny Penny - “Yogo Yogo”
We just got this record recently, and based on this track I wouldn’t’ve necessarily pictured the remarkable-looking guy who actually made this music. This is from the album “Shaka Bundu.” I’m sure it’s been cranked up and sent through some great house remixes — how could this not be? — but I like how this tempo operates at its own pace. It’s so truly and thoroughly ’80s, very 20th century. In the 21st century this tempo is practically cerebral.
19. Baris Manço - “Binboganin Kizi”
More Anatolian action. It’s really interesting to me how Turkish stuff was always associated with psych music but I didn’t really know how except for the opium thing, and I now understand that it’s in the chord relationships, well, and a lot of the vocal melody and delivery. In that way, Turkish rock pretty much defines what psych music sounds like. Wow. And check out that keyboard solo, so next level!
20. The Velvet Underground - “Countess from Hong Kong”
People are always asking Beatles or Stones and the answer is Velvet Underground. (And the Beatles, and the Stones.) They were just operating along a different balance beam than those other guys — performing different tricks for a different audience. While the Beatles were defining pop music, the VU were destroying it… but then later, they reveal their deep affinity for Western music, even as they never drop in to the blues-centric reading of it. It’s truly punk. I guess they are to punk what the Beatles are to pop — the definition of pop is whatever flows to or from the Beatles; punk is whatever flows to or from the Velvet Underground. Certainly more than any single band in 1976 or 7 or whatever.
21. Bella Bellow - “Denyigban”
The piano phrase that kicks this song off is surprisingly close to the opening of Bound Stems’ “Appreciation Night.” We got that phrase from the demo mode of Radz’s keyboard, and it’s surreal to hear a high-overlap version in a song from Togo. Her voice is so clean in tone and pitch, and what’s strangest to me is that I register the instrumentation in an almost Disney mode — but then realize that’s because Disney will draw on Caribbean and African elements at times as they establish characters and settings. Such an elegant song though!
22. Rail Band - “Mouodilo”
One of the first insights that got us into WBFF was the realization that James Brown had even more fundamental influence on the music of the world than the Beatles did — certainly in Africa. Hearing how his delivery interrelates with so many bands from all across Africa is such a revelation. This track just keeps winding around you til you can’t hardly live without it.
- Asha Bhosle - “Salma Jarir Jhalak”
All I know about this is that it’s in Bangla and it’s from a movie.
23. Unknown - “Chemirocha” - from “Love Is Love”
Several years ago, when African records looked interesting but we literally didn’t know anything about them, we bought a record called Love Is Love, in part because it was a beautiful cover and in part because the music seemed mysterious and full of possibility. Now, when I go to look for it online, I see no sign — I think it’s just a really small pressing from a… pirate group, I guess one could say? But really I think just hardcore music lovers. Anyway, it has this song “Chemirocha” on it, and there’s a story about this song that is really probably just best to link to because it’s so amazing. I guarantee you will find the information in this article worth your read:
https://www.atlasobscura.com/articles/chemirocha-how-an-american-country-singer-became-a-kenyan-star
24. Sparks - “Do-Re-Mi”
We’ve known about Sparks, but we’re late to a close listen. We’ve been listening a lot in anticipation of — not the band bio pic but “Annette,” the new film by Carax, one of our favorite directors ever. For that matter: make sure to watch “Holy Motors” by Carax. It’s probably best if you watch “Lovers on a Bridge” before that, but if you have to go straight to “Holy Motors,” dive right in. It’s amazing.
Meanwhile: This take on the Mary Poppins classic is TOO MUCH — I can’t stop smiling at the end, when the bells start tolling over the crashing drums and crescendoing vocal waves as their third finale fades away. How can anyone make this song, the very definition of not-rock, rock so fully?
- Mort Garson - “Ode to an African Violet”
25. Bob Reuter’s Alley Ghost - “She Brought Me to the Wire”
I will forever be glad that we not only landed in a city where we could find out about the person and the works of Bob Reuter, but that we got to know and work with him. Bob Reuter was one of the definitions of St. Louis to us, and when he passed, so did some of that city. But also, he left music and photos and stories in Eleven and chapbooks that I truly hope last forever. He was the hard-living romantic that you hope lives in the heart of every hard-luck case… and in his one instance, it was true. Bless your soul, Bob Reuter.
photos by Bob Reuter from The Pageant and El Leñador
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Behind The Album: In Utero
The third and final studio album from Nirvana was released in September 1993 via DGC records. The band wanted to make a clear departure from how their second album sounded. They felt that their huge hit album, Nevermind, was too polished as a record. The producer of that second LP, Butch Vig, would later note that Kurt Cobain needed to “reclaim his punk ethics or cred.” For his part Cobain would tell Rolling Stone in early 1992 that the record would have elements to it much more raw then found on the second album. However, he did emphasize the fact that the pop sound would not disappear entirely. He had hoped to start working on it l in the middle of 1992, but distance between band members getting together was an issue as they all lived in different cities. Another issue came in the fact that Courtney Love was expecting their first child. DGC was hoping to release a new record by Christmas of the year, but instead they were forced to go with the compilation album of all the early material from Sub Pop, Incesticide. For In Utero, Cobain showed interest in working with former producer of Bleach, Jack Endino and Steve Albini. They brought in Endino to work on a few instrumentals for the record that were eventually re-recorded, and he was never asked to produce in any capacity. The group went back and forth debating whether to hire Albini or not. In January 1993, the group recorded another set of demos while on tour in Rio De Janeiro, Brazil. This would later become the track, “Gallons of Rubbing Alcohol Flow Through the Strip,” which originally had the working title of I’ll Take You Down to the Pavement. The latter represented a direct reference to an argument between Cobain and Guns N’ Roses frontman Axl Rose at the 1992 MTV Video Music Awards. The band finally decided to go with Albini as a producer despite his reputation of strict discipline within the studio and remaining one of the most opinionated producers out there. He was said to have referred to Nirvana as “REM with a fuzz box, unremarkable Seattle sound.” He would later say that his decision to work with the band came out of sympathy, feeling smaller groups like Nirvana were at the mercy of the record label. This particular statement should be taken with a grain of salt as Nirvana had just released the biggest record since Appetite for Destruction. Cobain had been a fan of the producer based on his work with the Pixies and the Breeders.
Producer Albini wanted to complete recording within a strict two week timeframe. Nirvana paid for the recording sessions themselves on Albini’s suggestion to avoid interference from the record label. The band paid him $24,000 for his services, while he refused any royalties whatsoever, which would have amounted to $500,000. He would continually say that royalties were immoral and a complete insult to the artist. They recorded at Pachyderm Studios in Cannon Falls, Minnesota in February 1993. Krist Novoselic would compare the environment to a gulag. “There was snow outside, we couldn't go anywhere. We just worked." Nirvana during this time emphasized to the record company that they wanted absolutely no interference from them, which meant they did not share anything from these sessions with their A & R representative. For his part, Steve Albini followed suit by only speaking with members of the band. He characterized anyone associated with the group as “pieces of shit.” After a short delay, the band's equipment finally arrived, so the actual recording of the album went very quickly. Each track began with the group playing together as one doing the instrumental aspect of it. For some tracks, Dave Grohl did the drums in the kitchen due to the natural acoustics sounding better. Albini had also surrounded his drums with 30 microphones for each track. They did not remove any take from the album, but instead kept them all. Cobain even added more guitar parts at the end of each day before doing the vocals. Although Albini had a reputation for being opinionated, he let Nirvana decide what to keep. “Generally speaking, [Cobain] knows what he thinks is acceptable and what isn't acceptable [...] He can make concrete steps to improve things that he doesn't think are acceptable." They did all of their musical work in six days, while Cobain said that it was the easiest recording he had ever done. Albini proceeded to mix the album in five days, which actually was slow by his standards because he usually only spent 1 to 2 days on it.
After completion, the band began to send the unmastered tapes to various people including the president of the DGC records. They absolutely hated it saying the songwriting was mediocre, the entire album was unlistenable, and radio would never except Albini’s production. Cobain took the comments personally to mean that the label wanted him to start from scratch and record again with a new producer. He would say, “I should just re-record this record and do the same thing we did last year because we sold out last year—there's no reason to try and redeem ourselves as artists at this point. I can't help myself—I'm just putting out a record I would like to listen to at home." Yet, the group remained dead set on releasing this version of the record as late as April 1993. They had played it for a number of their friends, who had liked it. The singer said, “Of course, they want another Nevermind, but I'd rather die than do that. This is exactly the kind of record I would buy as a fan, that I would enjoy owning." Around this time, some doubts crept up with all members of Nirvana because the mix of In Utero did not sound right. They asked Albini to possibly remix the record, and he flat out refused. “[Cobain] wanted to make a record that he could slam down on the table and say, 'Listen, I know this is good, and I know your concerns about it are meaningless, so go with it.' And I don't think he felt he had that yet ... My problem was that I feared a slippery slope." They took the record to Bob Ludwig for mastering, while at the same time mentioned their issues with the mix to him. Upon completion, Krist Novoselic said he was happy with the result, but Cobain still felt it was not perfect. At this time, Steve Albini gave an interview with the Chicago Tribune, where he doubted whether the record would ever be released. Newsweek would run another article that echoed the comments made by Albini. This caused Nirvana to write a full page letter to the magazine denying the label was putting any undue pressure on them. The same letter would be reproduced as a full page ad in Billboard not long after. The head of Geffen Records, who owned DGC made the unprecedented move of actually calling Newsweek to complain. The band thought about having Andy Wallace remix the release, but once again Albini refused saying they had only agreed to work with him. At the time, the producer also would release any of the tapes that were now in his possession. He only did so after a phone call from Krist Novoselic. The entire album for the most part was not changed at all, except for a remastering. Yet, the producer continually made comments that it was nowhere near the album he recorded in Minnesota. “The record in the stores doesn't sound all that much like the record that was made, though it's still them singing and playing their songs, and the musical quality of it still comes across." He would go on to say that major labels refused to work with him for the next year or so because of In Utero.
As for the music, the producer wanted to go as far away as possible from Nevermind with this record. He felt that the second album made the group look incredibly bad because it had been overproduced at such a level to make it extremely radio friendly. He wanted to create a much more natural sound for the group. The 1993 Nirvana biography, Come As You Are, noted the vision for the band on this record. “The Beatlesque 'Dumb' happily coexists beside the all-out frenzied punk graffiti of 'Milk It,' while 'All Apologies' is worlds away from the apoplectic 'Scentless Apprentice.' It's as if [Cobain] has given up trying to meld his punk and pop instincts into one harmonious whole. Forget it. This is war." If one goes through the track listing, you can count which tracks are over the top punk, and which tracks are more radio friendly pop. The interesting thing is that they correspond equally, 6 to 6. Fans and critics alike would talk about how abrasive In Utero turned out to be, but Cobain and Novoselic really did not see it that way. The bass player had said the band had always had songs as they are found on In Utero. Yet, the group did consciously try to bring fans into the more punk sounding songs by releasing the first two singles that could have realistically been included on Nevermind. Some of the songs found on the record had been written years prior as early as 1990. Cobain used various points of inspiration for the lyrics. The track “Frances Farmer” came from a 1978 biography of the Seattle figure called Shadowland. “Scentless Apprentice” originated from a horror novel that the singer had read by Patrick Suskind. One of the central themes found on the album noted in that same Nirvana biography from 1993 was the fact that every song talked about sickness or disease in some manner. Although Cobain said the lyrics were very impersonal to him, many disagreed with this assessment. Dave Grohl would say this in an interview. “A lot of what he has to say is related to a lot of the shit he's gone through. And it's not so much teen angst anymore. It's a whole different ball game: rock star angst." The singer continued to argue that much of the album had been written years prior to any issues he was going through at the time. For example, “Rape Me” quite possibly could be talking about his frustration with the media in how he has been portrayed over the past couple of years. The track “Serve the Servants” seemed to specifically talk about Cobain’s father and how divorce affected him from a very early age. The Nirvana frontman wanted his father to know that he did not despise him, but he also had no desire to be around him whatsoever. One track, “Gallons of Alcohol Flow Through the Strip,” was actually one of the only improvisational tracks they ever recorded. The song represented a jam session that the group would frequently participate in in during down times at the studio. They had done this quite often, but this would be the first time that it was ever recorded in some form.
Upon its release, the record label took a very low key approach to promoting the album. None of the singles would come out commercially in the United States, as they concentrated all of their press releases at media specializing in alternative music. The band remained convinced that there was absolutely no way that In Utero would sell even a quarter of what Nevermind sold. The record would debut at number one on the charts selling 180,000 copies in its first week. They sold this many copies without big retail chains like Kmart and Walmart selling it because officially the demand was not there. The truth was actually these chains feared backlash due to the graphic nature of the artwork accompanying the album. In March 1994, an edited version of the album would be released with new artwork and alternative song titles. The band made this concession saying they wanted fans who could not go to a traditional record store to be able to purchase the LP. Following the death of Cobain. the third single “Pennyroyal Tea” was canceled, as well as any tour plans. Immediately following his death, the popularity of In Utero on the charts increased by 122% from 72 to 27. The album would eventually be certified five times platinum.
Critics were not unanimous in the praise of In Utero. For the most part, rock writers really liked the new sound from Nirvana. Time’s Christopher John Farley noted that once again perhaps the mainstream may need to go to Nirvana, rather than the other way around. David Browne of Entertainment Weekly emphasized the absolute contrasts on the release. “The music is often mesmerizing, cathartic rock & roll, but it is rock & roll without release, because the band is suspicious of the old-school rock clichés such a release would evoke." David Fricke of Rolling Stone would say that the record was both “brilliant and corrosive,” but undoubtedly a “triumph of the will” for Kurt Cobain. NME’s John Mulvey did not share the same sentiment as he observed the album really was not up to par with previous Nirvana standards. The review from Plugged In did not mince words saying it had absolutely no redeeming value whatsoever. Some reviews became quite bittersweet as you are reminded of Cobain’s suicide. Q said this about the record. "If this is how Cobain is going to develop, the future is lighthouse-bright." Ben Thompson of the Independent merely seemed happy that the record did not represent the punk rock nightmare the group had continually threatened to release. In Utero would go on to top several end of the year lists as one of the best albums including Rolling Stone, Village Voice, and the New York Times. The band would even receive a Grammy nomination in 1994 for Best Alternative Album. As time has passed, critics have lavished even more phrase on it seeing their work with Albini as far superior to Nevermind. Charles R. Cross would write in his Cobain biography, “If it is possible for an album that sold four million copies to be overlooked, or underappreciated, then In Utero is that lost pearl." Pitchfork named it the 13th best album of the 1990s, while it even made Rolling Stone’s list of the 500 Greatest Albums of All Time. NME named it number 35 on its greatest albums of all time list creating quite a sense of irony since the periodical did not think too much of the album at the time of its release.
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dailytomlinson · 5 years
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He made a couple of false starts, but after four long years, Louis Tomlinson’s debut album Walls is finally here! The much-anticipated album immediately shot to #1 on the iTunes charts in over 50 countries. And while it signals the true end of an era (Tomlinson’s the last member of One Direction to release a solo project), it’s mostly the beginning of a new one. As reflected in the visuals for the title track; where one door closes, another opens. And it’s one that was well worth the wait, as Walls promises an exciting new era of guitar-driven confessional pop.
Guitar-driven, because it’s clear that Tomlinson was sonically inspired by the 90s and 00s indie-rock that he grew up on. Confessional, because each song presents us with yet another look into the emotional complexity of Tomlinson’s experiences with heartbreak, pain, and letting go.
A clear example of the former is the opening track “Kill My Mind.” It is a rousing up-tempo song with a soaring anthemic chorus that’s just begging to be performed live. Tomlinson referred to the track as a true “statement of intent,” although it’s defiantly rockier than the rest of his album. Perhaps it’s already setting the stage for album number two.
There is “Habit,” of which the melody is weirdly reminiscent of 4 Non Blondes’ “What’s Up?” Lyrically along the same vein as “Kill My Mind,” it regales an addictive and slightly toxic relationship. Whether that’s aimed at an actual relationship, or meant as a metaphor for the music industry at large – who’s to say?
“We Made It” is another track that pulls Britpop right back into the ’20s. Significantly more laid back, the song’s mid-tempo production has somewhat of a Post Malone vibe to it. The song may not be the stand-out single of the album, it does encapsulate Tomlinson’s road to this moment. He’s made it, regardless of the adversity he’s faced along the way. Both as an underrated former member of One Direction – despite earning himself the most writing credits – and due to the personal tragedies, he faced over the past few years.
He doesn’t shy away from addressing any of these obstacles in his career. Title track “Walls” seems to be all about overcoming adversity – be it personal or professional setbacks. The string section adds a sophisticated touch to the rich instrumentals of the song, really honing in on that indie-rock sound Tomlinson is so fond of.
The heart-wrenching ballad “Two Of Us” stays true to the confessional style of the album. Tomlinson wrote the song about his mother, who passed away in 2016. It’s perhaps the most personal and vulnerable that Tomlinson has allowed himself to be on this record, and it shows in the lyrics: “The day that they took you, I wish it was me instead.” However, Tomlinson manages to yet again transform the acknowledgment of pain into an inspiring promise of honoring life. It’s extremely rare that a songwriter is able to capture both darkness and light within the same song. To do so in such a convincing way, about a topic that’s so deeply personal yet universal shows the strength of Tomlinson’s lyricism and his emotive delivery.
Interestingly enough, despite Tomlinson’s love for rock, he seems to prefer the mid-tempo tracks. “Don’t Let It Break Your Heart” includes a beautiful opening guitar solo, before adding a bit of kick drum to build a proper anthemic pop song. It’s rich in sound, and its message is uplifting and reassuring. Similar to his first solo track “Just Hold On,” its lyrics aim to inspire listeners to keep going in spite of the heartbreak. What’s refreshing, is that it doesn’t specify the cause of the heartbreak, nor does it marginalize the emotional impact. Rather, the lyrics remind you that you’re not broken beyond repair, no matter what it is that’s hurting you in the moment.
“Always You” is the only true pop, up-tempo track on Walls. Listen to it once, and the playful guitar and staccato beat make for an irresistible hook that’ll draw you right in. It’s almost odd how a song this perfect for pop radio is hidden away more than halfway through the tracklist. The lyrics are innovative, as Tomlinson travels all across the world, only to conclude he’s never getting over his ex.
Elsewhere on the album, Tomlinson addresses the loss of innocence and youth. Being in your twenties is somewhat of a confusing time, as you come to realize that being a grown-up is not all it’s made out to be. “Fearless” opens with the sound of children, then sees Tomlinson lament the innate recklessness you lose as you get older. It’s perhaps one of the only tracks that verge on disillusionment and wistful longing for those days you felt young and invincible.
“Too Young” is the other side to the same coin, highlighting the negative consequences of youthful naivete instead. This time, he connects heartbreak to regret. Accompanied by nothing but an acoustic guitar, Tomlinson reflects on a past relationship. It requires real emotional maturity and bravery to see your own flaws and mistakes and to take ownership of them. Even if it means saying “I’m sorry, I was too young to get it back then, but I get it now.” The only downside is that Tomlinson seemingly randomly adopts an American accent in the pre-chorus, which feels slightly out of place.
Tomlinson said of the record that it’s about him; “it’s me, I’m the storyline.” That definitely seems to be the case, what with each of his songs highlighting various aspects of the life he’s lived so far and the difficulties he’s had to go through. Nevertheless, there are definitely moments throughout the album that feel somewhat reminiscent of the old One Direction sound – and this is where it gets tricky. Of course, One Direction was also a part of his life, and Tomlinson was an integral part of developing the musical DNA of his former band. As such, it’s perhaps inevitable that there would be some sonic overlap between the past and his present.
On the other hand, this record is his chance to establish his own musical identity. “Perfect Now” seems to be the epitome of this split personality. It’s a mostly acoustic track, with some strings added into the mix as the song builds into its final chorus. The lyrics echo both “What Makes You Beautiful” and “Little Things,” two of One Direction’s biggest (and oldest) hits. It’s an admittedly incredibly catchy song that centers around the heartbreak of seeing someone you love unhappy. Still, it’s a shame he felt the need to cater to a sound that’s not solely his. If he truly wants to take his music in a more indie-rock lane, he should fully commit to it – surely fans (old and new) would follow.
Thankfully, the album is filled with songs that truly highlight Tomlinson’s abilities as a singer/songwriter. Two songs that stand out from the others when it comes to vocal range, delivery, and lyrical ingenuity, are “Defenceless” and “Only The Brave.”
“Defenceless” is the true embodiment of what it means to find strength in vulnerability. The song builds steadily, starting out with just a guitar before heavy drums kick in during the chorus. The lyrics, on the other hand, portray the insecurity you feel when you’re letting all your guards down. The bridge in particular highlights the fragile heartbreak that follows when trying your best isn’t enough anymore: “I hope I’m not asking too much, just wanna be loved by you. I’m too tired to be tough, just wanna be loved by you.” Tomlinson’s falsetto only serves to further emphasize the sense of defeat and raw emotion on display in this track.
The album closer “Only The Brave” sees him bring back the falsetto that’s absent from the album elsewhere. Contrary to the more confessional and conversational tone of the previous songs, this short track relies on metaphors throughout: “It’s a church of burnt romances, and I’m too far gone to pray, it’s a solo song, and it’s only for the brave.” As such, it’s a bold choice to end the album on such a different note. However, it works beautifully – an ode to what’s to come, perhaps.
Walls provides an exciting and much deserved first glance at who Louis Tomlinson truly is – both as an artist and as a human being. Listen from start to finish, and you’ll immediately enjoy the guitar-driven, intricate alt-pop that’s characteristic of this record. But if given the chance, it’ll be the emotive, authentic lyricism that truly reels you in for good.
It’s rare to see artists actually offer a multi-faceted, introspective look at their inner emotions. To have a male singer share his heart with such conviction – openly, brazenly, almost recklessly – is even more exceptional. On the other hand, perhaps it shouldn’t come as a surprise at all. Because if this album tells you anything about Tomlinson’s personality, it’s that he’s fearless, resilient, and he always gets back up. He doesn’t hide his scars – he wears them with pride, inspiring you to make peace with your own and do the same.
Let Walls break down your walls, I promise you won’t regret it.
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