#2.) the majority of the lyrics fit rather than just a few lines

[swordlesbean]

this means war | 80s catradora mega mixtape [listen]

track listing and lyric selections under the cut

tape 1: raised on you

| 01 shadows of the night pat benatar |

we're running with the shadows of the night / so baby, take my hand, it'll be all right / surrender all your dreams to me tonight / they'll come true in the end

| 02 the best tina turner |

give me a life time of promises and a world of dreams / speak the language of love like you know what it means / it can't be wrong / take my heart and make it strong, baby / you're simply the best, better than all the rest

| 03 right by your side eurythmics |

give me two strong arms to protect myself / give me so much love that i forget myself / i need to be right by your side

| 04 wish upon me suzi quatro |

wish upon me / count on me to infinity / my love will be here / when the stars burn out / so reach out and touch me

| 05 raised on you heart |

let's go tell the world / to quit turning cold / just let me be raised on you / don't have to change just now / we can laugh about the load

| 06 everywhere fleetwood mac |

i'll speak a little louder / i'll even shout / you know that i'm proud and i can't get the words out / oh, i wanna be with you everywhere

| 07 only you yazoo |

all i needed was the love you gave / all i needed for another day / and all i ever knew / only you

tape 2: falling out

| 01 the last beat of my heart siouxsie & the banshees |

reach out your hands / don't turn your back / don't walk away / how in the world can i wish for this never to be torn apart? / close to you till the last beat of my heart

| 02 don’t turn around bonnie tyler |

i'm gonna be strong / i'm gonna do fine / don't worry about this heart of mine / just walk out that door / yeah, see if I care / go on and go now but don't turn around / cause you're gonna see my heart breaking

| 03 falling out kim wilde |

what can i say now after all is said and done / you cut me up in pieces when the shooting first begun / what did i do to you to make you turn away? / cause now there's nothing left for me / there's nothing i can say

| 04 borderline madonna |

you let me down, when i look around / baby, you just can't be found / stop driving me away, i just want to stay / i've given all i can / cause you got the best of me / borderline / feels like i'm going to lose my mind

| 05 love is a battlefield pat benatar |

you're begging me to go / then making me stay / why do you hurt me so bad? / it would help me to know / do i stand in your way? / or am i the best thing you've had?

| 06 i call your name roxette |

i close the door behind me, and i turn the lights all down / there's no one there beside me, i call your name

| 07 who will you run to heart |

you're sure the life you're living with me / can't go on one single minute / and there's a new one waiting outside this door / and now's the time to begin it / you found a new world / and you want to taste it / but that world can turn cold / and you better face it / who will you run to when it all falls down?

| 08 get up and go the go-go’s |

i was on the inside / looking out for you / but you're the one to make the change / there's nothing i can do / now's the time for you to move / actions shout out loud

| 09 stop draggin’ my heart around stevie nicks ft. tom petty & the heartbreakers |

i know you really want to tell me goodbye / i know you really want to be your own girl / baby, you could never look me in the eye / yeah, you buckle with the weight of the world / stop draggin’ my heart around

| 10 breakdown grace jones |

it's okay if you must go / i'll understand if you don't / you say goodbye right now / i'll still survive somehow / why should we let this drag on?

| 11 edge of a broken heart vixen |

it won't be easy, but i've got to be strong / and if i wanna cry i don't need your shoulder / i been living on the edge of a broken heart / don't you wonder why i gotta say goodbye

tape 3: moth to a flame

| 01 i love playing with fire joan jett & the blackhearts |

i love playing with fire / i don't wanna get burned / i love playing with fire / don't think i'll ever learn

| 02 action reaction missing persons |

action reaction, the girl knows just what to do / action reaction, she gets some reaction from you / she's gonna take you by surprise / she's gonna hit you right between the eyes

| 03 bring your love down (didn’t i) yazoo |

if you think you need a change / well, i'm sure we can arrange for you to get on your own for a while / but i don't need to worry, cause you'll get back in a hurry / i know that you like my style / you play your games but the fact remains / i'm the only one that can hold your reins

| 04 moth to a flame olivia newton-john |

here again drawn like a moth to a flame / an invisible force pulling me close to you / i can't break free / there's some kind of hold over me / like a magnet, you attract me like steel

| 05 who’s that girl madonna |

she's trouble, in a word get closer to the fire / run faster, her laughter burns you up inside / you're spinning round and round / you can't get up, you try but you can't

| 06 regrets eurythmics |

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

| 07 who’s problem? the motels |

so, whose problem am i / whose problem am i / whose problem am i / if i'm not yours?

| 08 state of mind suzi quatro |

fire burning in my heart / tearing me apart / you're the fire / you knocked my defenses down / bare as the day i was born / you're the one

| 09 breakdown girlschool |

i'm gonna make you understand / that i've seen it all before / i twist your mind and break your heart / and you still come back for more

| 10 long time joan jett & the blackhearts |

you can always wake the beast in me / that's the thing that never lets me be / it's gonna take a long time / to get you off of my mind

| 11 winter kills yazoo |

pain / in your eyes / makes me cruel / makes me spiteful / tears are delightful / welcome your nightfall / how winter kills / i tear at you, searching for / weaker seams

tape 4: goodbye to you

| 01 cat-o’-nine-tails L7 |

you're scratching me, baby / right down to my heart / claw the couch now that we're apart / think i'm allergic

| 02 had enough joan jett & the blackhearts |

you rain storm cloud / you ain't no friend / don't wanna see your face again / had enough of you / you ain't for me

| 03 winning the war ‘til tuesday |

you fight just for the sake of it / you know what hurts the most / you might have once been faking it / but now it cuts too close / winning the war and losing every battle / you close the door on happy ever after

| 04 cry wolf stevie nicks |

you can try, but you can't get me into the fire / cause i'm all out of sympathy / and, baby, i can't walk this wire / find yourself somebody new / to catch you when you fall

| 05 thorn in my side eurythmics |

to run away from you / was all that i could do / thorn in my side / you know that's all you'll ever be / so don't think you know better / cause that's what you mean to me

| 06 state i’m in bananarama |

can we carry on / or must we still pretend / that we're really friends / those feelings have gone / but we're not the same / and we're both to blame / there's nothing left to tell you / nothing left to give you

| 07 goodbye to you scandal feat. patty smyth |

baby, it's over now / no need to talk about it / it's not the same / my love for you's just not the same / and my heart can't stand the strain / goodbye to you

| 08 this means war joan jett & the blackhearts |

it hurts me so to fight with you / but since you closed the door / this means war, and you will see it's senseless / this means war, and soon you'll be defenseless / cause you can't win this war

| 09 harden my heart quarterflash |

darling, in my wildest dreams, i never thought i'd go / but it's time to let you know / i'm gonna harden my heart / i'm gonna swallow my tears / i'm gonna turn and leave you here

| 10 don’t watch me bleed ‘til tuesday |

i guess you gave as good as you got / i guess this love is dead at last / but i paid such a lot / don't just kiss me goodbye / don't watch me bleed

tape 5: change of heart

| 01 change of heart cyndi lauper |

here i am just like i said i would be / i'm your friend just like you think it should be / did you think i would stand here and lie / while our moment was passing us by / oh, i am here waiting for your change of heart / it just takes a beat to turn it around

| 02 sorry me, sorry you jefferson starship |

out on the edge / such a dangerous place to be / when darkness falls / and you got no way to see / don't turn away from me / you say you're sorry / i'm sorry too

| 03 we can change belinda carlisle |

i swear we don't have to hurt anymore / throw the old ways out and close the door / nothing remains the same / we can't hold on, but baby we can change

| 04 fighting divinyls |

gotta stick to the fight when you're hardest hit / is when things hurt the most that you must not quit / i'm losing my resistance and i'm coming after you / this time i gotta cause worth fighting for

| 05 before this night is through bonnie tyler |

come inside, close the door, come to me now / we'll find our way, we know how / let the past be the past, let it all fall away

| 06 something to believe in the bangles |

i lost direction in the darkness / couldn't stop myself from running / i could feel the sun on my back / but i was afraid to let the light in / now i can't run anymore / now i see this gift you bring me

| 07 surrender gloria estefan |

you've got the key / so open up your heart and be my destiny / come back, baby, come back / surrender to me

| 08 (we want) the same thing belinda carlisle |

no matter what we say / no matter what we do / beyond the battle lines, baby, we know what's true / we dream the same thing / we want the same thing / and all that we need is to see it together

| 09 never heart |

we can't go on, just running away / if we wait any longer, we will surely never get away / anything you want, we can make it happen / stand up and turn around, never let them shoot us down

| 10 nothing’s gonna stop us now jefferson starship |

let em say we're crazy, i don't care about that / put your hand in my hand, baby, don't ever look back / let the world around us just fall apart / baby, we can make it if we're heart to heart / we can build this thing together / standing strong forever / nothing's gonna stop us now 

| 11 we belong pat benatar |

we belong to the light, we belong to the thunder / we belong to the sound of the words we've both fallen under / whatever we deny or embrace for worse or for better / we belong together

[seraphemin]

wish I were...

after Harry kisses reader, she watches him mesmerized as his ex walks by

‘heather’ by conan gray WARNINGS - ANGST. WORD COUNT - 2,109

A/N: this is the first imagine I’ve ever posted on here hehe. but this most likely will be a 2-3 part mini series of pure angst...so yay!

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   "My goodness, I can't believe it's been a year and this is how we're celebrating it? " I take a sip from my wine glass with a raised brow towards Harry. We were sat on the floor at the recording studio, having a makeshift little picnic to celebrate a year. A whole year of a beautiful friendship. "Well I thought it'd be fitting, ya know this is where we met and stuff. Look, I even got those Korean chips that you snacked on that day!" I laugh as he comically picks up a chip and places it in his mouth, followed by an exaggerated moan. I try to hide the blush rapidly heating up my face at how much effort he put into this silly thing. It started as a little joke I brought up to him one day when we were having a lazy day, and of course Harry would take it seriously. He planned the little picnic basket after a day in the studio when everyone else left and he had asked me to stay a little longer to help him with lyrics and whatnot. It was a complete surprise and I couldn't help but adore how happy and proud he was setting this up. 

"Alright I gotta give it to ya H, you are the bestest friend anyone could ever ask for. I'm just happy that you didn't include those disgusting kale chips of yours." The smile that hasn't left his face drops into a shocked and offended look. 

"Hey, you said you wouldn't make fun of my addiction anymore." He scoots closer to me, gently poking my rib to which I immediately jump and swat his hand away. "I'm sorry- I'm sorry!" I giggled when he makes himself comfty sat right next to me. 

Subconsciously, I move closer till his shoulder touched mine. "I like this sweater, it's fluffy and keeps people warm." I say, huddling into the fabric that Harry gave me to wear when it got colder. "You know what, I like all your sweaters H, they're all impeccable."   He chuckles, "really? It looks better on you than me, bubs." I smile, using the over-sized sleeves to cover my face and faking a groan. "Oh you would with that cliché ass line."  "It's true! Beautiful in m'clothes." He mumbles and I had to only respond with gratefully lending my shoulder as a resting spot for his head. Considering he literally had to bend his whole body to do so every time he does this, I never understood how he found this comfortable. We shared a comfortable silence for a minute, sipping on our wine, the bottle nearly finished. The courage coming from it is telling me this would be the perfect time. It's the right setting to finally tell him that my feelings go beyond friendship and that it has been since the first month. The thought made me nervous at first, but there had been so many signs from him that had me thinking he's feeling the same way. Maybe those were just my expectations and how loving Harry is, but every time I look at him, I'm mesmerized. "Honestly don't know what I'd do without you bubs." Harry suddenly says and I snap out of my thoughts to glance down at him staring at his empty glass. My heart started beating fast and my breathe hitched when he pulls away only a few inches away to look back at me "This was a tough year and you've been there with me through it all, haven't been this close to someone in that short of time." He says lowly, looking right into my eyes. I take his hand in my small ones and play with his fingers in comfort, as we reflected on how this was both the best and worst year for him. While he became such a successful solo artist after the band and created the best relationships in his life, he reached a mental low dealing with his own insecurities and went through a breakup that took a major toll on him. They ended on good terms, but Harry went through the aftermath of a loss alone. I came in a month after his break up, hired as a lyricist to help him get out of this creative block but also to help him realize how much he was really worth as a person. It was a gradual slow process of friendship at the start, but it quickly blossomed into becoming best friends, growing feelings in between for me. "You're so good to me, I don't deserve it." He was so close and I couldn't tell if I was leaning in or not. My chest feels like it's bursting. "Harry, you've done so much for me, don't put yourself down like that. You deserve my love, mkay?" He looked so vulnerable, staring into my eyes as I couldn't pinpoint what emotion he was feeling right now. I was always able to read Harry easily, but maybe it was the wine that made it harder to understand what was racing through his mind. I couldn't register it. His lips on mine were foreign but felt right, like they fit perfectly. His hands cupping my face gently made me realize this was actually happening. My best friend who I've loved for so long was finally kissing me. "You absolutely deserve mine... "                                                        ***    My anxiety was getting the best of me. The party wasn't like any other rowdy and crowded New Year's Eve celebration. It was a gathering of close friends and mutual at a penthouse with just enough drinking and fun shenanigans. I knew all these people and they knew me, yet it wasn't easy to breathe regularly for some reason. I smiled and laughed along with the conversation among the circle of friends I situated myself in with Harry standing to my right, two people in-between us. I anxiously played with my fingers wrapped around a bulbous wine glass, zoned out but somewhat participating with the group. I caught his eyes, both of us giving a smile when he shot me a quick goofy face. His eyes trailed down to my hands, an obvious tell. I respond with a reassuring smile, placing my hand on my chest to which he steps outside and moves to stand next to me. I soften as he places a hand casually on my back, rubbing up and down. The nerves die down a bit. Usually, I would of been full comfortable but it was different now. After the kiss Harry and I shared, nothing had changed as much as I wanted it too. There was still the casual flirting and touchy gestures, but other than that, Harry never brought it up. "Soo, what now?" I had asked him when he dropped me off at my apartment. He gives me a tight smile and takes my hand in his, bringing it to his lips. "Still my best girl." I was confused afterwards, not fully understanding how he felt towards me. "Hey, I kind of wanted to talk to you about yesterday... " I approached him in the studio, his sweater keeping me warm that morning. "Oh yeah, you never told me what you wanted for Christmas. And by the way, I'm gonna need that sweater back sooner or later." He chuckles, going back to writing down chord progressions. Him avoiding the subject made me think he didn't want to talk about it, so I stopped trying. It made me insecure a bit to show him any type of affection back, but I didn't have it in me to tell him when I'm engulfed in his huge frame, feeling safe and happy at the moment. What made me snap out of my thoughts was his hand leaving my back and slipping into his jacket pocket. He then started being part of the funny story Mitch was telling, including his own side and little comedic comments that made the group laugh. As much as it brought a smile to my face, there was nothing more I wanted to do than take his arm, wrap it around me and kiss his cheek before laying my head on his chest. He took a second here and there to glance at me, probably aware how tired i was getting even though it was only a few minutes before midnight. The kiss defiantly affected something here, as much as Harry was trying to show that it hasn't, I can at least appreciate the acknowledgment that he shared similar feelings towards me. Maybe this was him thinking about the possibilities afterwards, knowing Harry wasn't very much a confrontational person and has taken time to learn to process things more logically rather than pure emotional instinct. When he catches me staring and throws a knowing smirk followed by a wink, I melt right on the spot but at the same time, holding back from rolling my eyes. I felt his stare kept on me when I looked away, feeling less frustrated and more understanding of his situation. Maybe I do just need to give him time... When I looked back at him, he was now looking away at something else apart from the group. I didn't give it a second glance till I noticed he was fully distracted before Mitch kept calling his name but getting no response back. Harry was in deep trance at something more fascinating than his friend's story, and when I caught sight of what was distracting him, I fully understood why. She stood out, so it wasn't to hard to point her out. But of course she would, she looks stunning in that dress that happens to only be a different shade of color from mine. The natural glam and brightening smile on her face as she talked to mutual friends perfected her look, but it was the sound of her melodic voice that just set the deal. It was her laughter from across the room that caught his attention first, what made him break his gaze on me to her. My first thought was concern for Harry and if he was suddenly feeling overwhelmed or distraught by her presence after a breakup. But then I looked back at him and only saw longing and adoration. It was a look I only was recently familiarized with. I purse my lips to hide the frown set on my face while I felt my heart beat much faster initially, watching him mesmerized as she walks across the floor to greet more party guests. Her blue eyes wide and shining, most likely something Harry was dying to see once again as he hoped she would turn his way. Is this what hopelessness feels like? Mitch gave up on trying to catch his attention as soon as he realized who Harry was looking at, and so did the rest of the group. But here I was, desperately looking up at him in hopes that he would suddenly break away and meet my own eyes that stood right next to him. "Guys! The count downs about to start!" Someone called out, followed by cheers and applause as everyone slowly started gathering towards the balcony to see the firework show and celebration of the city below. She moves away from the crowd though, choosing to be semi alone next to the aquarium with a glass of martini in her hand. More people started crowding around us, the group disintegrated into a whole, but my focus was on Harry. As much as my anxiety and tiredness was getting worse, it couldn't compare to the ache in my chest when he takes a hesitant step towards her direction. In a second, my hand flies towards his and gently tugs to me in a last ditch of desperation while I softly call out his name. Maybe it was the way he stopped and turned his head slightly before completely pulling away and walking towards her, leaving me engulfed with the crowd alone. Or that I could picture the loving look on his face when she finally sees him approaching and gives him a welcoming smile while the sound of people counting down from 20 is muddled into the background. All I could imagine to hear was his small 'hi' and compliment for how beautiful she looks, knowing how nervous he would be. "3, 2, 1! Happy New Years!" The celebration of those around me drowned out my glossy eyes as I see Heather take Harry's hand in hers, sharing that same complete adoration look on her face that I was only just becoming familiar with.

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part 2 A/N: feedback would greatly be appreciated :) 

[chooseyouovereveryone]

Brittana Analysis Part 1: Musical Choices (Main Songs)

So anyone who knows me will know I love Brittana a crazy amount, and I spend way too much time breaking down every tiny detail about them. I’ve written a fair few analyses about them on Reddit which people seem to enjoy, and the lovely @hopefulobjectmiracle suggested I posted them on here for people to read. I’ll no doubt add more as time goes on, but going to post up what I have for now. If anyone has any requests for analysis, my ask box is always open because I love doing these :) Happy reading! & congrats for making it through my essays.

Part 1 covers a music analysis of all their main songs and the meaning behind them. Part 2 will cover their smaller parts in group songs etc.

Me Against The Music

This one is less a lyrical analysis, because I don't think the song explicitly relates so much, more a contextual one. The Me Against The Music scene is a shared fantasy that Brittany and Santana have while under anaesthesia. What's telling is that the fantasy they have is an exact replica of the original music video between Madonna and Britney Spears, which is well known for it's heavy undertones of a same-sex relationship. The plot shows Britney chasing Madonna, with Madonna becoming increasingly more susceptible as the video goes on, until right at the end when Britney catches her and goes to kiss Madonna, who then disappears. It's a cat and mouse chase, a fight for power. With Brittany playing Britney, and Santana Madonna, this fantasy represents to me the way that Brittany is chasing Santana trying to break down her walls, and she gets close but just as she does so, Santana pulls back. In the original video Madonna disappears into thin air when Britney tries to kiss her, in the Glee version Santana is switched out for Britney, but the symbolism is the same and foreshadows the Brittana arc that we get in S2. Brittany always gets close to having Santana, but then Santana pulls away and at times she loses her. So for me, the significance in this is 1) the fact they both have a same-sex fantasy about each other and 2) how Brittany's subconscious is filled with the idea of feeling like she is chasing Santana but that every time she gets close, Santana is ripped away.

Landslide

This was a song chosen by Santana to tell Brittany how she feels about her. It may not be the most "obvious love song" choice to everyone but that works for two reasons. The first being that Santana was scared. This was a big move for her, so she certainly wasn't going to go all out and sing an obvious love song. She wanted something with subtlety, something with meaning for her and Brittany rather than for the whole Glee Club to pick up on. The second being that Santana "has the perfect song" instantaneously. From the way she doesn't need to think about it, it's clear that Landslide is already a song she associates with Brittany, and it's probably something she laid alone in her room listening to. Now she's ready to share that. It was a song that had meaning for them, but I do think lyrically it makes sense also. For me it's about Santana realising life is passing her by and that she needs to just be herself. Time makes you bolder is one of the most poignant statements in the song. The whole bit about "building my life around you" could be a double meaning. The first being she's built her life around this friendship she has with Brittany and she's afraid to tap into the relationship dynamic because doing so would inevitably alter the platonic side of things. The second being that she's built her life around this idea that she's straight and she's "normal" but she's now realising as time goes by she needs to be true to herself. I tend to think it's the latter, and that the meaning is around Santana realising she needs to let go now and just be true to herself and to Brittany before she wastes any more time. It's ironic that the next scene shows Brittany choosing Artie, which shows that Santana was already too late and the time had already passed her by. (thankfully that all worked out tho)

Songbird

In contrast to Landslide, Songbird is a very obvious love song. The song explicitly says "I love you" and you can tell by Santana's delivery how much she genuinely means that. Since this is a private performance for only Brittany, Santana is able to choose a song that overtly expresses her feelings. She doesn't have to mask it with subtlety because of the Glee Club, like she did with Landslide. While Landslide was about Santana to giving into her feelings and accepting a change within her, Songbird was the next step from that in freely expressing her love to Brittany. Santana says this in her own words before singing it. Some key lyrics beside the obvious "I love you's" that stick out are "for you, there'll be no more crying" which could relate to all the backwards and forwards Santana has done over the years (telling Britt she loves her, taking it back etc.) and times she possibly made Brittany cry, as well as the fact she has probably spent many years crying over this herself and wishing these feelings could go away, but now she's putting a stop to all of that. Following on from that "I feel that when I'm with you, it's alright, I know it's right" relates to Santana giving into all of those feelings that she's spent years pushing down about the love she has for Brittany being wrong, and really taking hold of her own self acceptance. "To you, I'll give the world. To you, I'll never be cold" is also very fitting for Brittana because it's well noted in the fandom how soft Santana is for Brittany, and how she's the one person she's not cold around. Lastly "I wish you all the love in the world, but most of all I wish it from myself" could relate to Artie in that she wants Brittany to be happy but mostly, she wants to be the one that gets to love her. I think we can all agree the lyrics, the meaning, the performance itself, the delivery from Naya were all *chefs kiss* in this song.

Cherish/Cherish

The song that Santana pays the God Squad to sing for Brittany. We don't actually see Santana choosing the song, but I think it's more likely that Santana picked it since she was paying for it, rather than the God Squad randomly picking one. If it was that kind of scenario where they picked for her, I feel Quinn would have picked the song, on the basis that it was meaningful for Brittany and Santana's relationship. I also imagine this is a song that Santana listened to back in the dark days when she was too afraid to be with Brittany in the way she desired. The lyrics talk a lot about wishing in the past tense. "you don't know how many times I've wished that I had told you, you don't know how many times I've wished that I could hold you" etc. These are likely all the kind of thoughts that Santana had back in the past, and there are also a lot of references to hidden love and hidden feelings within the song. 

If I Can't Have You

Okay so Santana might say that this song was about her love for fame, but I'm sorry, I don't believe her. I'm not discounting her wanting fame, but there's no way at least some of that song wasn't aimed at Brittany, just by the way she kept turning to her and gesturing at her. She was pretty much transfixed on her throughout the majority of the performance. But Brittana (Santana in particular) are generally very private with their relationship and in their declarations, so my theory? It was predominantly for Brittany but Santana got embarrassed around all the focus on them, so she gave the excuse about fame and told Brittany later who it was really for. No deeper analysis needed. If that song was Brittany, the lyrics apply to them easily, as they could with most relationships.

I Wanna Dance With Somebody

This one is simple. It's all in the lyrics. Mr Schue sets the assignment not only as a tribute to Whitney, but for the New Directions to express and explore what's going on with them. For Brittany, she just wants to dance with somebody who loves her, that person obviously being Santana. It's highlighted in the performance and how she pulls everyone up before Santana, and finally gets to Santana for the "with somebody who loves me" line, then at the end where she says Santana is her favourite to dance with. It could be that dancing and being happy with Santana is really her only concern at the moment, or it could be deeper than that. It could be that she is deflecting her deeper issues (the fact she is failing which she'd surely know by now) and as a result only wants to focus on dancing with Santana. The two loves in her life (the third being LT) meshed together and combined.

Mine

I did a whole deep analysis on the meaning behind this, because unlike the other songs this really doesn't fit contextually at all. It's a love song based around staying and holding on, and Santana chooses to sing this right before breaking up with Brittany. I never really understood that song choice, until I looked deeper into it. You can read that here if anyone wants to read it in more detail. If you don't want to read that though, in short, I think that Santana chose that song because when she made that choice to break up with Brittany, I think she can almost picture the future ahead of them and how eventually they are going to make it, they are going to be together, but right now she needs to break up with Brittany so that they actually get that happy ending that she can see. And that fits the whole last verse of the song where she's like "we're gonna make it now, I can see it now" etc, which otherwise doesn't make sense contextually when you're about to break up with someone. It's similar to what happens in the original video for Mine, where Taylor meets the love of her life in a cafe and she "sees" the whole future ahead of them (arguments included) as soon as they meet.

Make No Mistake (She's Mine)

Pretty self explanatory with this one because it's all in the lyrics (and the amazing delivery from Naya). She still loves Brittany and in her eyes Brittany belongs with her. It kind of links back to what I just said about Mine, in that I don't think Santana truly expected Brittany to move on. She told her she could because essentially she had to say that, but did she actually think Brittany would move on? I don't think so. I think she always thought breaking up with Brittany was needed to cement their future and that they'd end up better because of it, but then Sam put a spanner in the works which sent her straight back to Lima to fight for Brittany and stake her claim. Of course saying someone can move on and seeing it are two very different things. I really wish they would have kept the parallel version of that with Brittany/Santana/Elaine and that they kept Dancing On My Own in.

Valerie

This one is definitely more contextual than lyrical. Santana picked this number because it was meaningful to Brittany. It was the first number she choreographed, and so Santana learning Brittany's part of that routine and dancing it with Mike, was a way for her to spark something in Brittany that she was currently lacking and reignite her love for dance to remind her of herself. Clearly she chose to do a dance duet because it's Brittany, but it's poignant that she picked the first song that Brittany choreographed, and it was obviously meaningful to Santana too as her first solo. Although more contextual, the lyrics do carry meaning too. "Stop making a fool out of me, why don't you come on over Valerie" could refer to Santana wanting Brittany to get up and dance with her, while "I miss your ginger hair, and the way you like to dress" could relate to A) Santana missing Brittany in general and B) Santana missing the old care-free Brittany who loved to dance and wasn't consumed by MIT and math equations.

Hand In My Pocket/I Feel The Earth Move

Obviously this song was chosen for mash up purposes in line with artists they had to stick to, but I do think the song choice (chosen by Santana) were relevant to her proposal. The lyric "one hand in my pocket" is indicative of her hiding a ring. I really liked how Santana kept getting down on one knee mid performance (I feel like she was doing this teasingly to foreshadow what was to come rather than she was gonna propose mid song since clearly she had a big speech planned- but I love how every time she did it Brittany would get down as well ) and then all the further foreshadowing with the dragging of the chair that she wanted Brittany to sit in. It's not the most "romantic" of duets, but Brittany and Santana are very private so I feel like it made more sense for them to do a fun duet when it was in front of everyone. I do adore the bit where they're singing the "ooh baby when I see your face" etc. and they only have eyes for each other and look so utterly and adorably in love and happy. That bit really has my heart.

Wishin' and Hoping'

A song about Santana from Brittany's perspective which makes a welcome change. The performance itself is obviously a dream sequence when Brittany is thinking about heaven (because being with Santana makes her feel like she's in heaven and angel wings remind her of her ), but I think the lyrics fit well with the whole narrative we see in S6 of Brittany doing a heavy bulk of the wedding planning and trying to make sure everything is perfect for Santana. This is something we later see as causing her stress in the wedding episode, when she is so nervous and obsessed with it being perfect that she becomes a bit of a bridezilla obsessed with superstition. There were also cut lines from Brittany about everything having to be perfect, and though they weren't canon in the end, it's clearly the angle they were going with. This song links to that because it's all about how ultimately just being yourself and showing the person you love that you care is enough, and it almost foreshadows the conversation that Santana later has with Brittany where she says they don't need any of the traditions or the perfect planning because they create their own luck. They love each other, and that's enough. The performance has Brittany singing about wishing and hoping and planning, but it's Blaine, Artie and Sam who sing "all you gotta do is hold her and kiss her and love her and show her that you care", so it's almost as if they are assuring Brittany. Also pointing out the part of the performance where they sing about planning, and Brittany points at her stomach, one of many S6 clues put in there to hint that Brittana will have a family together in the future ❤️

Our Day Will Come

It's another straight forward one that doesn't really take much analysis. It symbolises how the day has finally come for them to get married and start the rest of their lives together, after such a long, hard journey getting there. One of the key lyrics is "no one can tell me that I'm too young to know", which indicates that someone has tried to tell them they're too young to get married. We know that Kurt said this to them, but since Kurt is singing in this duet with them and he apologised, it may be someone else. Santana's dad maybe? Either way, whoever said it to them, they show in this duet that they are certain about their commitment and the future ahead of them. The song also has the lyrics "I love you so, and you love me" which is repetitive of what Santana said to Brittany earlier in the day before they got married when she saw Brittany in her wedding dress. It symbolises what the ending of their whole arc is about. That after a whole lot of doubt, pain and a long road to get there, they are both finally happy together and content in the love they have in each other, and very proud of that love. Santana in particular I feel always doubted Brittany's love for her. Even when Brittany said yes to marrying her, Santana couldn't believe it. On their wedding day, all those doubts are finally gone, and it's actually Brittany who's doing the worrying. The worrying that Brittany does takes us right back to the beginning of Brittana, when Brittany had her own doubts and fears in the relationship because Santana just seemed like something out of reach for her, that she'd never fully get to have. It's like she has a moment of panic, that something could mess this up the way it used to get messed up all those years ago. Our Day Will Come symbolises the end of all of those doubts, and the start of their new lives together.

[dizzydennis]

I had reblogged the Sonic Riders: Zero Gravity version of Jet’s theme, Catch Me If You Can and @beevean​ had the audacity to say it was “definitely leagues ahead of the Riders version.”

This got me thinking... is it really better? We have 3 versions of the song and I honestly think they all bring something interesting to the table.

Riders Version - I honestly love the introduction to this version. It has the kinetic, forward-moving energy that should be associated with Jet, the Babylon Rogues, and the Extreme Gears. The intro is cool and intense and honestly the song feels like a diss track; which is perfect for Jet’s character. The high speed “rap” of the song is really cool too and I really enjoy how it matches with the relentless instrumental behind it. It’s a cool song that packs a lot of attitude. I think it’s great how the song drags out and remixes when it says “can” in the titular line.

Rockin’ Beats Mix - This one is a bit bizarre and doesn’t quite land as well as the original. But I appreciate that it exists in an official capacity. Runblebee did a great job making it feel different from the original and the instrumental is honestly just exciting. It doesn’t appear in the game and that’s fine with me as I don’t see it as a replacement for the original. However, as a remix, it’s really fascinating. It feels like a different interpretation of the character. The part talking about world domination and technology feels a bit... choppy and odd in this one. Even so, it’s worth a listen.

Zero Gravity Version - Now this song has an incredible instrumental track. It’s so good that it’s beloved just for how it was used in the side menus in the game. The introduction is fantastic and feels theatrical, cool, and mysterious. It’s very cool, but the lyrics drag a little; not in a bad way though. It’s a completely different style. However, the song does an absolutely incredible job of building up to the chorus! It’s exciting and you feel this build of energy until the titular lines come out. Speaking of the lyrics, the song also is built off of the original song, but feels entirely unique. It’s a remix on such a huge scale that it honestly feels like a sequel rather than a prequel. It packs an aggressive punch and feels confident which is a necessity for Jet the Hawk. If there’s any real flaws with it, it’s that it reflects more on the story of Zero Gravity than on the character of Jet and the Babylon Rogues. But that’s also sort of fitting because the plot of Zero Gravity is different in scale and tone from the original Riders. If anything, the song evolved with the progression of the Sonic Riders series.

Unfortunately, Sonic Free Riders didn’t have a new remix/version of Catch Me If You Can. So this is where the discussion stops. However, it’s very interesting how Jet was a major player in only a few games and he got two versions of his theme that are both bangers just in different ways! It’s not dissimilar from what happened from Sonic Adventure to Sonic Adventure 2. I don’t necessarily prefer one over the other, but I’m just glad these characters had so much passion put into them. I miss the Babylon Rogues a lot!

[sepublic]

Belos the Cabinet Man!

           MAJOR kudos to @funnyfany for introducing me to Cabinet Man by Lemon Demon, because as they said… This song is PERFECT for someone like Emperor Belos, and just in general slaps! Like, it honestly really describes my read on him? In fact, why don’t I peel and dissect the lyrics to see how they could easily apply to him;

The day they found me, I hadn’t yet been played

Inside my workshop behind my old arcade

Electric desires had unraveled all my wires

Now I’m in the box for safekeeping

           These lyrics allude to Belos’ obvious motifs of technology, as well as him having a ‘workshop’, which ties to his work on the portal! But there’s also the concept of him being rather ancient, as well as needing to be protected because he’s vulnerable in the end; Such as by metal armor, instead of a box?

The news reporters reported that I died

But all my organs were living on inside

Circuit board to brain with two lungs collecting change

One big human heart gently beeping

           The first line immediately makes me think of Perry Porter, but it also makes me think about what the ‘Unauthorized Author’ had to say, about Belos retreating into his castle, and people speculating that he had big plans while he let Kikimora and others be his public face. Again, there’s more machine-flesh imagery, as well as the obvious allusion to a giant beating heart. Two lungs collecting change can allude to Belos and his greedy hunger for power and bile.

You can’t win me, I can’t be beat

I won’t hurt you, unless you cheat

You can’t see me behind the screen

I’m half human and half machine

           We’ve got Belos boasting how invincible he is, but it can also refer to how the Coven System is a lose-lose situation, that either you go off and be alone and persecuted as an individual, OR you conform and became safe, but lose your identity in the process!

          We have Belos alluding to how he can be a merciful dude unless you really piss him off; And that line about cheating reminds me of how the Coven System seeks out only the most ‘worthy’ of people, and how this mentality has affected characters like Amity, who by consequence despise cheating!

          Or how Boscha’s bullying is mostly rude remarks… Until she feels like her attention is being ‘stolen’ by others, then she resorts to some brutal and even dangerous tactics in retaliation! To Belos, he just wants people to fit into their little spots, he’s offering them a nice little role and function in society, an actual place, he’s not a bad and malicious dude! Just a messenger… 

         Similarly, ‘cheating’ could be seen as doing magic the ‘wrong way’, because otherwise, competition to join the Emperor’s Coven and be the best is encouraged, so long as you engage with the system properly and play by its rules! You’re just not supposed to do Wild Magic, mix tracks, that sort of thing; Otherwise you WILL be persecuted by Belos!

          Then there’s the idea of Belos being hidden behind his mask, or just hidden in general (like when he spies on Luz, Willow, and Gus in his castle), and again, the biomechanical imagery! I can’t say for sure if he WAS human or not, because Belos definitely isn’t NOW, to say the least!

Thank God for business, they let me take the floor

I stood so proudly, like I was going to war

Players soon appeared and I quickly was revered

This must be what love would have felt like

           The Titan is responsible for Belos’ power (allegedly), as he claims to enforce its will. Belos’ art depicts him as standing above the rest, and him being VERY tall definitely helps… Then you have him going on a crusade against wild witches, being worshipped by many others, and POSSIBLY a connection to my speculation on him being a lonely individual who was never properly loved in the past, and is confusing this with distant worship…

          And really this just makes me think of other analyses of the Coven System as creating codependent relationships and hollow images to love VS that people actually are! Regardless, it also reminds me of Belos’ parasitic motifs, that last line, so you know!

Such dedication, they came from miles away

With eyes so piercing, they’d wait their turn to play

In perfect patient lines because I was in their minds

I could do whatever I felt like (Whatever I felt like)

           Students from Hexside literally travel miles to Belos’ castle on a field trip, and we have Eda mentioning how Lilith was so excited to meet him as children! Kids looking up to Belos, seeing him as someone to adulate, a role model even (with Lilith invoking him in her motives for the curse)… People literally dedicating their entire lives (and even those of their children) to Belos and his Coven! And of course, we have Belos having the power to do as he pleases, be it going back on his promise to Lilith, letting Luz rescue her friends because he has the portal anyway, etc.; It’s an almost nonchalant disregard of others for what matters to BELOS in the end…

I’m happy for years and years

And only eating the occasional maintenance man

Only driving a few kids to madness

Maybe they were predisposed to madness, who knows?

           Skipping over some repeat lines, we have Belos being at the top for a while, and of course, draining palismans for their bile to restore his health! Kids going mad easily describes people like Lilith, Boscha, or Amity, who base their entire self-worth on joining the Emperor’s Coven, being at the top, and/or fitting in, to the point where Lilith even curses her own sister, Boscha brutally bullies those she sees as a threat to her popularity, while people like the Blight Parents abuse and indoctrinate their kids for social status!

          But then Belos speculates that, hey… HE didn’t make them do this! His system encouraged and enabled them, sure… But in the end it was their actions, which brings to mind how while influenced, none of these characters are entirely faultless either for their actions. Not only that, but it makes me think about how some people seem predisposed and outright embracing of what Belos has to say, as if even without his Coven System they would always be this kind of awful… Such as Warden Wrath, or again, the Blight Parents!

          That last line really makes me think about how different characters coped differently with the pressure, with some remaining good people, while others enabled themselves to do terrible things. Perhaps Belos merely revealed what was already there? Because it still says a lot about other people that they chose to believe and follow in him when others made the decision notto.

I only want to have fun

But now they’re telling me my days here are done

‘Cause there’s a little tiny box they make in Japan

And pretty soon it’s gonna fit in your hand

           Belos just wants to be at the top, he’s ‘just a humble messenger for the Titan’, and maybe like Luz in Episode 2 he just wanted to be special… But he’s also clearly past his expiration date and dying, too. Not only that, but we have a rival… Someone smaller than Belos both literally and in the metaphorical, underdog sense;

          A foreigner from a different land, one who can teach others to cast magic within their hands through Glyphs! There’s Belos, an Old Soul, being made obsolete and redundant by Luz and her Glyphs, which potentially function as a work-around to his coven bindings and draining of bile! Not to mention how her ideals also make Belos’ seem rather antiquated, don’t they? Not to mention the idea of power and control being in the hands of the people, not dependent upon a singular source like Belos…

          His short-lived reign is being actively threatened by Luz’s presence, which Belos acknowledges as having changed everything… And really, it just reminds me of how characters like Boscha enjoyed being at the top as a result of Belos’ influence, only to feel threatened when others come along and ‘steal’ that glory!

It’s getting lonely, it’s getting hard to breathe

The arcade’s empty, I think it’s Christmas Eve

Someone’s broken in, now they’re painting on my skin

Breaking me and taking my quarters

Bashing in my face with a crowbar

Kicking me and pushing me over

Now they see my blood on their sneakers

           Literally the first thing we see of Belos is him having labored breathing… And again, there’s this idea that he’s being left behind as obsolete, he’s reclusive and retreated into his castle and doesn’t let others near him; He’s at the top, and it’s a lonely place! It’s the Eve of Christmas, Christmas is right around the corner, just as the Day of Unity is approaching, when;

          The next few lines invoke the image of Luz breaking into Belos’ castle/the conformatorium… And if you go by the idea that the Castle is a part of Belos, Luz and co. vandalizing the treasury as akin to vandalizing Belos’ own body! Not to mention the three stealing Belos’ relics… And of course, Luz ‘bashing in’ Belos’ face/mask with an ice spike! Only to realize that there’s clearly a LOT more body horror to Belos than she anticipated…! Realizing that Belos is linked to the very ground and earth she stands upon, and boy can he manipulate it!

           After that, the song ends with some repeat lyrics; But all-in-all, I would LOVE to see, someday, someone else (or maybe even myself) do an AMV of Emperor Belos, but with Cabinet Man by Lemon Demon! Compiled entirely of various clips that allude to the lyrics I mentioned earlier, that’d be a lot of fun and if I knew how to do video edits I could do it myself one day!

[404fmdminjung]

famed idol life / career meme

notes: i started doing responses one by one, but then i thought it’d be better to do one big mass-post instead of flooding dash all at once. thank you to all that sent in! appreciate u all :~) (if anyone has any numbers they need, please feel free to like this or just let me know, even if i already sent in an ask!)

2. what are your favorite b-sides/non-title tracks you’ve released?

“i like diana. there’s something moody, sultry about it with a touch of elegance. it’s almost like cheap wine on a long friday — contrasting, but it somehow fits. plus, sooah helped out on that track which becomes the cherry icing on top. perhaps, there’s something better coming out on my next album, where there’s too many b-sides that i’d cherry pick myself to be my favorite. for that, look out at the sea, captain.”

3. what is your least favorite song (title track or b-side) you’ve released?

“i don’t think there’s a least favorite. if there were, then i wouldn’t have partook in any of it — my personality’s in it or out of it. there’s no in between, especially where my voice plays a part. i don’t want to touch things where my heart doesn’t lie, that’d just be cruel. wouldn’t it? if it doesn’t relieve my soul a bit, then i don’t think i’d dip my toes in those waters.”

6. what is one thing (a concept, a genre, an outfit, etc.) you would least like your company make you do?

“i’d like to do house funk, maybe house-pop. you’ve seen elements in it in knight’s old releases, and even the oldies like decipher’s done it. unity’s dabbled in it somewhat in their b-sides, and considering fuse has amassed a long bridge of different concepts — the spectrum’s large. i’d like to wear hawaiian t-shirts and prance around to some summer house-funk, and that’s something i think the general public can all dance around in their rooms to.”

8. if you could be in any idol group, which one would you choose?

“i’ve grown accustomed to fuse — i like being in fuse. i don’t think i’d fit anywhere else, though i would say bee would be a nice change for the summer fun. i’d even enjoy myself to be in unity had i been a boy. can you imagine? the fun that would come out of belting welcome to my playground, and singing the tunes to touch. that’d be a girl’s dream come true.”

9. if you could say one thing to your ceo, what would it be?

“you’re the prettiest person i’ve ever seen. in the whole country, out of all the women in the world — you’re the standard of beauty. but i’m sure the whole world knows that by now, don’t they? i thank you for giving fuse some of the best songs, and though i’ve never met you face by face, i’d like to believe you’re better than what’s shown from face value. but, still — my wannabe face is you but no amount of plastic surgery would turn me into you, would it?”

10. if you were auditioning for your company today, what would you perform for your audition, or what would you change from your original audition?

“i don’t think i’d repeat the dance, nor attempt to dance to something like seo taeji and boys. if i recall, i did h.o.t’s we are the future, and snsd’s kissing you with a ruler i had in my back pocket. in retrospect, that was my standard of dancing — if only i’d known it’d become a bad memory to highlight the work i have left. maybe, i’d only stick to kissing you, ruler version while singing something more melodically acceptable than finkl’s now.”

11. if you could do any special stage, what would it be and who would it be with?

“i don’t know — i don’t know many things when it comes to these mix and match scenarios. i know i’d like to make a stage where i can dance freely as if i’m in the comfort of my own home. perhaps to a song like gee, or even oh — even willing to dabble in lipstick’s genie if it means dressing up like a sailor and going ahoy. i’d want to do the stage with jeonghwa, sooah, and well — i don’t have that many friends to give you a special stage, oops.”

13. if you could become a model or ambassador for any brand, what would you choose?

”again, i’ve been blessed and satiated with each and every opportunity given. working with dior has been a smooth sailing ride as well as cartier — perhaps, given the option i wouldn’t opt for pathere de cartier but a different line. still, nothing really takes away from the heart and soul of their jewelry, which i appreciate with my cup of tea. i’d continue to work with dior, and if hermes would ever take the punch — i’d even have an affair with them.”

14. if you could be on any variety show, which one (or which type of one) would you want to be on?

“knowing brothers — i really watch that show. or even, 전지적 참견 시점 — those are the shows i keep tabs of on a weekly basis. i'd love my manager to have her time to shine and steal the hearts of the world with her variety work. she’s a very funny person you know. as for knowing brothers? that’s a given knowing how quick the crowd is on their feet and the little mini-games that come from each episode. i hurt my stomach each time from laughing along so many times.”

16. what changes would you implement if you were the ceo of your company?

“a free-for-all. i’ve never wanted to become a ceo, but had i been granted the opportunity to rule on all floors, i’d implement a few things. mandatory art classes, and creative freedom to the album jackets for all my artists. no dating-bans, let it all air out — most of all, i’d let them do as they wished as long has it harmed nobody else and they could handle the aftermath. no restrictions, roam free, bunnies.”

17. what do you do to relieve the stress of idol life?

“call me pretentious or call me a sell-out, i do what any other normal person does. i like sitting in the cafes with my notebook out, sketching. i sketch people that come in and out, or the people that decide to sit next to me. if i’m home, i’m painting on canvas with my record player crooning in the background or knitting a sweater to wear next winter. on a really adventurous day, you’ll see me playing the pole or stretching my limbs at pilates. but that’s on a non-lazy day.”

18. what tips would you give to a trainee about to debut?

“wear your skin like armor, and let it thicken as time goes on. no need to get hurt by words, and instead roll with the punches — learn to accept the hate that comes, and be scrutinized underneath a microscope. sometimes, you don’t know if it’s really reality, but the faster you assimilate yourself, the quicker you learn to glide past your career. think of everything as a catch-22, only there’s no real safety net.”

19. what was the hardest part of being a trainee?

“getting along with the other people and have them stay away from getting to know me. it’s obvious, the trainee life is temporary — there’s going to be those that debut and those that don’t, so why pry further than you have to? everyone should’ve been given the basic privacy instead of trying to play formalities and get along. other than that, i hated dance practice and i still do. dance isn’t a strong suit, and having someone force me to follow a tempo i can’t march to was no fun at all.”

20. did you enjoy the lifestyle of a trainee or of a debuted idol more?

“i liked being a debuted idol far better, only because there was a layer of privacy given to me. ironically, i was suddenly in the public eye. yet, it still allowed some layer of anonymity within the inner circle and the day to day people i interacted with. starting from a sea of trainees, and having it dwindle to a group of my members — it all made it easier to handle in the end. besides, i was getting no sleep regardless trainee or not.”

22. describe your dream sub-unit (members and concept).

“take the fuse darker concepts — peekaboo, bad boy, psycho. and merge it into one, all while getting rid of the dresses too short to dress in. wrap it all together, and you get my favorite concept. i like mystery, and latent meanings behind pretty tunes, and being able to do that each comeback would be a dream. surely, the audience might get bored of it, but i wouldn’t and i’m allowed to be selfish, aren’t i? my dream sub-unit, i’d take sooah. without sooah, i don’t know what i’d do, really. she’s like a mini-mom, three years younger. then, i’d take kiana for the dance that sooah and i can’t handle. i suppose i’d add suji in there because i don’t think anyone can belt like she does, no offense to kiana. but there’s a heartier belt when suji does it. sorry to our leader, i guess.”

23. out of the following six options, would you rather be allowed to play a major hand in the lyrics, production, choreography, styling, music videos, or concepts you release?

“i started off in lyrics, so i’ll stay loyal till the end. i’ll keep to the lyrics, so i can continue to write the stories my heart wants to say. sometimes, i’ll fall into cliches, but that’s okay. if it’s not in music production or the general content of the song, i suppose i’d take a dabble in styling — and stop dressing myself in the short skirts making it impossible to dance. really, those are the only two things i’ll be selfish for.”

25. what is your least favorite part of being an idol?

“waking up early, not having enough time to draw — those would just be the superficial things, right? but really, there’s pros and cons to any jobs, just ask any office worker with a nine to five. however, if i’m given a sliver of honesty to wave my grievances, i’d like to mention that i don’t like working in short skirts that get shorter each comeback. i don’t like getting mauled by the public of who i make eye contact with or who i work with — i don’t like getting over criticized and the list goes on.”

26. what is your favorite part of being an idol?

“i’ve always been a story teller. i like crafting stories and telling my world for how i see it, and given this opportunity in music, i’m able to do so. i like playing with instruments, sketching out things for an album idea — the creative process while meeting new people along the way. it’s a journey, an adventure and most of all, it avoids stagnation. i’m on the move, go go go.”

27. would you rather be incredibly famous with a terrible reputation and hated by most or be fairly unknown with a good reputation and adored by those who know of you? why?

“i’m already disliked by most — they don’t like the way i dress, who i’m friends with or the manner in which i present myself. but i’m given the opportunity to ignore these things along the way, and learn to handle things bit by bit. given the choice, i’d rather hide in anonymity with the few around me enjoying my presence. i’ve learned by now, public opinion doesn’t correlate to much as it’s nothing more than a crow perched far away as poe would say.”

29. what have you learned about yourself and/or society since becoming a celebrity?

“i’ve only been taught life skills, such as time management and patience. in hindsight, i’ve learned how cruel people are to judge things from what they see at surface level. the world’s superficial — that’s a bitter pill to swallow. i don’t know much about myself as i haven’t gotten that part figured out. instead, i’ve just learned that the world is cruel and the people in it amount to little to no positivity — go figure.”

[happymetalgirl]

Rating Christmas Songs

Yep, it’s that time of year we get inundated wherever we go with mostly shitty Christmas music, usually the same stuff as the years before and the many years before. There are some songs among the barren crop of overplayed tunes that I think are pretty enjoyable, but for the most part I feel pretty confident that most of us are just putting up with the vast majority of the holiday playlist (I mean no one is dying to play any of these songs any other time of year, so they can’t be that great), so it’s time to set the record straight.

Here’s a rating of a few of the season’s musical staples and some brief reasons behind them. I’m sure I’m missing a few classics, but do feel free to bring them up and I will offer my thoughts on them. Granted these songs all have dozens, of not hundreds or thousands of versions, so I’m kind of going by an average of what I generally hear, not the dubstep remix version or even my favorite version necessarily.

-

“Jingle Bells”

The classic, easy to sing, easy to play on whatever instrument, upbeat childhood Christmas song. It’s hard to mess this one up, and I’m just glad it’s not trying to get all overly serious about Christmas as many of the songs further down this list do. But I mean, it’s fucking “Jingle Bells”, who actually gives a shit about this plinky-ass song.

5/10

“O Holy Night”

This one’s cool the first several years you hear it because it sounds pretty grand and epic, but it does wear off after awhile. Still, I’d rather hear this song than most, and I’ve yet to hear it truly butchered. So cheers to that!

7/10

“Jingle Bell Rock”

The failed swaggering “update” or cousin of the classic children’s Christmas song, it’s one of those songs that sounds like a bunch of upper class white folks sipping wine and putting on the usual façade of in-person Facebook-style humble bragging and life-highlighting about their year for the family they’ve not flexed on all year or since Thanksgiving. The song though is so drab and seemingly intentional sucked of lol the fun the kid’s song had, and in its place is just overly drolly Sinatra-imitation with no spirit at all. It’s the definition of background music, and it’s for the worst kind of background. Dancing to it sure as hell sucks. If you’re hearing this song, you’re probably not having as much fun as you’re supposed to be for a song that’s supposedly more “rock”.

2/10

"O Tanenbaum"

While his semi-jazzed-up approach that characterizes the rest of the soundtrack still seeps into this song, I’ve always loved the more stripped back piano-centric approach that Vince Guaraldi takes with this song on the classic A Charlie Brown Christmas soundtrack. The simple and sweet lullaby-esque melody at the core of the song really works well with the instrumentally minimal approach (which I do hear most often) and it evokes a sense of very sweet nostalgia (for me at least), and I can’t not like it.

9/10

“Angels We Have Heard on High”

You know I’ve heard some pretty alright versions of this song when it’s pushed toward its more energetic side. That over the top run on “glOoOoOoOoOoOoOoOoria” tends to be the make-or-make moment of the song, and when a singer or choir commits to it and goes all out, it can sound pretty rad; I’m sure some power metal band somewhere out there has put a decent spin on it. The rigid, traditional delivery I hear more often, though, sadly sounds more often like it’s had the life sucked out of it.

7/10

“Silent Night”

Probably my favorite of the soft Christmas songs, just soulful melodies abound here and written in a way that hasn’t encouraged too many stupid renditions.

9/10

“Santa Baby”

This song is just fuckin’ weird, and I get the place of romance it’s coming from lyrically: finally dropping the charade of Santa Claus and being romantic with the speaker’s husband after putting on the act for the children. It’s cute and endearing, but god is it always so weirdly sung, in a hyperseductive baby voice, not subtle at all, and kind of not fitting with the kind of sweet endearing romanctic tone you would think it’d be carrying if you just read the lyrics. There are definitely worse Christmas/holiday romance songs, and I can definitely imagine this song being performed more sweetly than it usually is.

6/10

“Hark! the Herald Angels Sing!”

This. Song. Is. A. Banger. Glorious and triumphant as shit! It sounds good slow and fast, but definitely best when it’s played bold and loud, as opposed to some contrived-ass attempt at a ballad. This song feels like finishing a marathon. I’d pay to hear Khemmis do this fuckin’ song.

10/10

“Have Yourself a Merry Little Christmas”

Sinatra’s version of the song is probably the most famous at this point, and as a consequence, the very title I think tends to invoke his signature smooth delivery on its own. I used to hate this one, but these days I find its naturally soothing character much more welcoming, god, especially this year. I can see why some find it to droll and sloggy, but I think it’s a nice wind-down tune.

7/10

“Last Christmas”

You know, the original synth-pop version by Wham! isn’t too bad on its own; George Michael’s delivery is pretty heartfelt and I can see why it’s become such modern Christmas staple. However, in the context of Christmas background music, that repetitive chorus refrain that seems to be the only lyric anyone knows in the song, gets really grating when it’s the only thing that sticks out, the more scaled-back delivery of the verses aiding their being buried in the chatter with your eggnog-sipping relatives. Furthermore, I’ve yet to hear a cover of the song less dry than sandpaper. Positive points to the original only.

6/10

“Away in a Manger”

This song certainly gets points for its strong narrative consistency, but aside from the “the stars in the sky” line, the melody is really really lame, and infantile in a bad way, and I have yet to hear a version that doesn’t sound like it was done by or similar to an apathetic children’s choir. It’s that quintessential song that every church kindergarten choir gets forced to sing because it’s nice and slow and narrow-range that all the kids look absolutely braindead singing. Not that it’s ever the kids’ fault or anything, it’s just a boring-ass song whose weak-ass strategy hinges on a bunch of 5-year-olds getting into something they clearly don’t give a shit about.

4/10

“The Little Drummer Boy”

You know, I could envision a slow-building post-rock-esque version of this song being pretty cool, but to date, all I have heard is stiff corny solo vocal delivery a la Angela from The Office and haphazard attempts at injecting tons of energy into the song that don’t really fix the kooky melody at the core of it. I swear you can always hear whoever is singing it getting red in the face from the needless intensity.

3/10

"Christmas Time Is Here"

Another solid cut from the soundtrack to A Charlie Brown Christmas, its rather simple instrumental foundation serves as a pretty solid introductory piece for the season; it feels so much like welcoming in the winter. And then of course the jazz embellishments on the instrumental version are some of the best in the Christmas genre, though listening to the soundtrack these days makes me wonder what it would be like if a more bombastic and dynamic jazz band took these songs on a more wild ride. I would love to hear that.

8/10

“Joy to the World”

It’s a little bit cheesy, but I kinda appreciate how ridiculously celebratory this tune is. It’s another one that I think would be interesting to hear Khemmis do a quick cover of, despite the religious theme that doesn’t really fit into their style. At the very least, it always sounds fun or, indeed, joyous.

7/10

“We Three Kings”

I’m not convinced anyone cares about this song.

5/10

“The First Noel”

This is another one of those songs whose runny melody tends to lead to it being delivered so often way too seriously, never really all too fun or worthy of the seriousness either.

3/10

“O Come, O Come Emanuel”

This is another one of those songs that, on the surface, seems more genuine with its minor key and often stoic delivery, and that definitely makes it better than the vast majority of Christmas songs, but the melody and lyrics are a bit oddly mismatched, and the melody that serves as the key appeal in the song does wear thin as the years go on. Nevertheless, I always do seem to find a cool new version ever year or two.

7/10

“Do You Hear What I Hear?”

Goddamn this is such a goofy-ass song. Who the hell made this? I cannot take it seriously. One point for all the kids for the apt “do you smell what I smell?”

1/10

“Mary Did You Know?”

Again, who wrote these lyrics? Like, in the story Mary made up to explain her out-of-wedlock pregnancy, that was kind of the main thing, that this kid would do some crazy shit. I can’t take this song seriously either, especially when it gets the goofy overly operatic treatment.

3/10

“Santa Claus Is Coming to Town”

It’s another one of those songs that literally just says what Santa Claus does. Musically it’s catchy-ish, but I mean it’s about Santa Claus, and it’s so often sung in that overly serious, toned down Motown style that no kid likes. I never liked hearing it then, and I don’t now.

3/10

“12 Days of Christmas”

Structurally iconic, this song really doesn’t offer anything beyond that; have you ever tried listening to someone doing the whole thing? It gets old really fast, and the fact that the “halfway” point in the song, the six geese a-laying, isn’t actually the halfway point, because the verses get longer and longer... fuck! The only thing this song is good for is for structuring workouts around, nothing regarding listening to the song. It gets one point for its utility.

1/10

“It Came upon a Midnight Clear”

We really are in a stretch of trash Christmas songs right now. I don’t think this is anyone’s favorite Christmas song. It’s so lethargic and sleep-inducing, I’m falling asleep just thinking about it.

3/10

“We Wish You a Merry Christmas”

Eh, it’s kinda not a really important song. At least it wakes you up, but apart from throwing some energy into the Christmas playlist that many are often desperate for, it’s just a cheery addition of holiday-themed white noise.

4/10

“What Child Is This?”

Finally some good fucking food. I’ve heard some baller versions of this captivatingly grand song, whose accidentals and minor key really make it one of the more interesting listens during the holiday season. I would dig an Opeth cover or a Pallbearer cover, or... a Khemmis cover.

8/10

“Let It Snow! Let It Snow! Let It Snow!”

This is just one of those standard, old-timey, inoffensive season-themers. It’s alright, I’ve never heard any version of it that really blows my mind.

5/10

“Rockin’ Around the Christmas Tree”

This one is almost indistinguishable from, but significantly less annoying than, “Jingle Bell Rock” and is similarly stiff in a way that it’s clearly not meant to be.

3/10

“White Christmas”

This might take the cake for the sleepiest Christmas song out there. It is SLOW, like Bell Witch should ironically do a 20-minute-long cover of it just to see how it goes.

4/10

“It’s the Most Wonderful Time of the Year”

The shopping mall theme song. It’s always given that Sinatra treatment and it only barely fits well enough into that style.

4/10

“Feliz Navidad”

This one always feels like it needs to be sung with a big, cheerful group to capture the liveliness that its main appeal is based in, which puts it at a distinct disadvantage this year. Still, it’s always a fun, sometimes even bouncy song to play during the holiday season.

7/10

“Grandma Got Run over by a Reindeer”

I do actually welcome the absurd narrative that has somehow made itself one of the season’s ironic staples, and its slightly dark humor makes for a nice change of pace in the playlist with its upbeat, campy humor.

6/10

“Deck the Halls”

Fa la la la la, la la la no.

Annoying as fuck: 2/10

“Frosty the Snowman”

God, this song should be way more cheery and kid-friendly than it is. I mean, I’m sure kids don’t mind it, but it’s just yet ANOTHER one of those songs that can’t escape its old-timey suit-and-tie incarnation for the liveliness it desperately needs.

4/10

“God Rest Ye Merry Gentlemen”

One of the more compositionally clunky of the well-known minor-key Christmas songs, this one unfortunately tends to show why minor-key songs are generally a weird fit for theme. I have heard a good few modern renditions though that make the song worth keeping around.

6/10

“Jingle in the Jungle”

This one’s for the real ones out there. “Jingle in the Jungle” is not a real Christmas song per se, but it pushes the boundaries; it’s courageous. The song comes from the television series, Bob’s Burgers, in a stressful Christmas-themed episode where the musically adventurous son of the titular character, Gene, burns out his dad’s cell phone battery waiting on hold for a radio station to request this song. The phone dies and he does not get the chance to request the song, but a Christmas miracle occurs, and the station decides to play the obscure, bongo-laden song anyway, and it sure is a fun minute-long diddy.

8/10

“Wonderful Christmastime”

Paul McCartney’s peppy Christmas tune that only kinda accomplishes its light-hearted goal is simply one of many throwaway inoffensive modern Christmas songs that seems to have only gained cultural traction due to it being repetitive and simplistic af, and being made by a Beatle.

5/10

“Happy Xmas (War Is Over)”

Well it would only make sense to have the battle of the Beatles here with John Lennon’s standout Christmas track, a far more soulful, bombastic, and triumphant song that echoed his idealistic spirit in a way that makes this song not all too different from his standout solo works and compositions with The Beatles. It’s a warm, hopeful song that draws from a grounding in the harshness of reality rather than some escapist fantasies about Santa or religion. Despite the acknowledgement of the ills of the world, Lennon’s vision of Christmas and his wish for the world is a day of recognition of love and unity, which is purer than 99% of the dogmatic or materialistic Christmas music above, and definitely the song right below this one.

9/10

“The Christmas Shoes”

Alright, rubbing the hands together, we’re coming to the end here, with this fucking song. It’s not the most famous Christmas song, thank God, but when I heard it for the first time, I was immediately repelled by the saccharine melody, uncannily blank-faced delivery, and sappy lyrics, but it’s one of those special songs that gradually reveals several layers of shit the more you fixate on it. For the uninitiated, the song came out in the year 2000, from the Christian band NewSong; it’s an aggressively sentimental holiday ballad with a bit of pop country vocal flair that only adds to the sinister hokey-ness of the lyrics. And that really is the ugliest facet of this song; as sickeningly cheesy as the music is, the simple lyrics here are more morbid and more disgusting than the grossest brutal death metal songs. The song is a simple narrative about a poor boy buying his sick mom some nice shoes on Christmas Eve so she can look nice for Jesus when she dies, tonight, on Christmas Eve. Yeah, it’s fucking sickening. The song is narrated from the perspective of a man in the store when the boy is buying the shoes and the narrator offers to buy the shoes for him, and he muses vaguely and confusingly on his generosity and Jesus being the “true” meaning of Christmas. Yes, there are so many questions being begged by this narrative. Why would Jesus give a shit about the shoes? Why is getting shoes this divine Christmas gesture? How do these shoes even come close to offsetting the pain and suffering and loss this family is suffering. This is like the opposite of John Lennon’s “Happy Xmas” in that it’s offering a pathetic consolation for the cruelty of a world where a loving God apparently offers only a stranger’s mild and momentary generous gesture for a poor family in the thralls of a mother’s illness. It’s grounded in the same reality that John Lennon presents, but it whitewashes it and minimizes the suffering in a manipulative way to shoehorn a rather cliche reminder to adhere to religious dogma and to keep your mind pure and holy and only on Jesus. A plain-faced telling of the narrative on its own makes it seem kind of benign, but the weirdly sappy tone of it all does a pretty poor job of hiding how contrived the emotion is and how unnatural it all is. Every facet of the lyrics is crafted to maximize the superficial primal tug at the heartstrings; it’s supposed to feel extremely tender and sweet, and aside from being completely transparently manufactured, the response it delivers to the story it sets up is creepily unhuman, the opposite of a natural response to the details of what the song presents, and its misplaced sense of justice makes the song a pretty apt representation of so much wrong with evangelicals’ attitudes surrounding Christmas.

0/10

“All I Want for Christmas Is You”

by Mariah Carrey. Ending on a positive note. Probably the best and most classic modern Christmas song to come out in my lifetime, it’s a sweet, romantic, upbeat love tune that really captures the best aspects of the holiday season. Never mind the relatives and their dumb political views and drama or the religious nonsense that people get so disingenuously up in arms about, or the consumerism. Christmas at its best is a time to appreciate love, and this song gets it.

9/10

And that is it, for me, I obviously know I will never be able to rate every Christmas/holiday song ever.

I had some time, so I had a little fun and charted the 38 semi-serious ratings of Christmas songs here, which I will also be doing with the 200-something metal albums I’ve been reviewing and now rating at the end of the year. Should be interesting. Now 38 isn’t a particularly huge sample of the huge swath of Christmas songs, nor was it random (I just listed a bunch of songs I was familiar with). It didn’t produce the normal curve I somewhat expect for the larger sample of metal albums later at the end of the year; rather, it shows a two-peak pattern, which could be due to the sample size, or maybe it just illustrates a somewhat unsurprising polarized sample of opinions on Christmas songs. The songs that I remember that are (mostly) pretty common, I either really like or really don’t like, most of the songs are not in the middle. These were songs I have heard for a long time and remembered pretty vividly, so I’ve developed some relatively strong opinions on them. Anyway, look at this graaaaaaphh.

[onestowatch]

little luna’s “shift & go” Is a Mesmerizing Debut

Here we are at last, gifted with the beautifully mesmerizing debut single “shift & go” from new Alt-pop artist, little luna. Inspired by her poetry, little luna has put the intense complexity of personal growth into words. It’s not easy finding your passion, but the true challenge is following your passion once found. little luna illustrates a conflict between feeling internally free and outwardly trapped; “freed little child on the inside, crying where have you been?”

little luna released a lyric video, coinciding with the original music video, that we were given the opportunity to premiere. The lyric video created for “shift & go” is anything but predictable. The text displaying the lyrics was not added in post-production, but rather projected onto the floor and walls throughout the video as a unique stylistic choice. The lyrical element of the song and story are very important to little luna. She wants the viewer to deeply feel and absorb what is being said and presented. The lyrics are far from an afterthought and that is apparent through the beautifully crafted video below. We are eagerly waiting to see what else little luna has in store for us. In the meantime, read our full Q&A to learn more about her.

Ones to Watch: Congrats on the release of your debut single, “shift & go”! For those who don’t know, who is little luna?

little luna: thanks so much! OTW is one of the few music outlets i look to for new music, so i’m over the moon about this interview – thank you for having me. little luna is rachael kathryn bell & rachael kathryn bell is little luna. for a long time i felt like they were separate parts of my personality; combining the doc marten-loving songwriting LL with the yoga-loving actress rkb. throughout making this music though, i’ve realized not only that i can be all of it at once... but i already am all of it at once. the exploration of music was what i needed to realize a) i am allowed to change & b) i’m going to continue to change.

“shift & go” was inspired by a poem you wrote. Would you say that poetry is a part of your writing process or is ‘shift & go’ unique in that way?

poetry is a huge part of my process; a majority of my songs are based off of poems i’ve written, some poems dating back to first moving to LA almost ten years ago. one day i’ll put them all in a book of sorts, but for now i just keep turning them into songs. whether my session has a co-writer, or i’m just working solo with a producer, i’ll normally take in a few lines from poems / melody ideas i’m vibing with that day and see if the other writer / producer vibes with any of them. everything is a collaboration.

What do you want your listeners to take away from the story of this song?

honestly music is so personal, so i’m not going to try & control the listener’s narrative. half the time i’ll listen to a song on repeat & have no idea what the lyrics are but the instrumentation alone tells me a story / makes me feel a type of way. with that being said, of course my hope is that upon listening to “shift & go” you’d feel like you are allowed to change. no matter how long you’ve fit into the label that has been put on you, or that maybe even was you for a period of time, that doesn’t have to be forever. take time to reconnect to your inner child & make decisions for yourself out of that place. making this music has been & continues to be my sonic journey through re- discovering my truest self, giving you sounds & words to support you as you do the same.

The visuals and music video are beautifully haunting, can you speak to the inspiration behind the imagery?

thank you! my visuals are created by myself & Jade Ehlers. actually, the lineage of our working relationship is amazing & a story for another day. Jade has helped me bring LL to life & really is a huge part of my journey. considering i grew up acting / studying film, for me the visuals within little luna needed to be on point to help tell the story. marrying sounds with visuals is one of my favorite things to do... like... i’m that person geeking out watching a film when the music supervisor has placed a song at THE perfect moment. any time i’m in-motion (driving, walking, on a train/scooter, etc) i feel like i’m in my own movie, blasting the soundtrack. the visuals to “shift & go” just tie into my love for cinematic expression in general.

What made you shift your path from acting into music? Are you still pursuing acting?

i discovered my love for acting & singing at the same time... a sixth-grade musical ha. it just so happens that acting was what i focused on first & then dove fully into from the age of thirteen to like, two years ago. i got to a point where i just wasn’t passionate about the pursuit of acting & would rather spend my days grinding in sessions than at auditions. there’s no bad blood & if a dream role came up tomorrow i’d love nothing more than to be on set, but i had & this unquenchable thirst to allow myself the time to give 100% into music, so here we are.

Can we expect more songs (possibly an EP) in the near future?

i’m sitting on so much music right now that i cannot wait to share with the world. my little (no pun intended) but mighty team & i wanted to give “shift & go” proper space to live & breathe. so, something could always change, but as of now we’re planning for back to back singles dropping in 2021 followed by my first EP.

What or who would you say has been the biggest influence on your music?

i have answers for both as they are both equally important to me. “what” has been the biggest influence on my music is lush forests, museums & the connection to my truest-self which i first started finding through practice of mediation & yoga. “who” is Bon Iver, James Blake, Etta James, & Stevie Nicks. my parents always had music playing in the house growing up, so my list could go on but i’d say these four have had the greatest impact.

Who are your Ones to Watch?

my Ones to Watch are YEИDRY, EVAN GIIA, & Lous and the Yakuza

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A post shared by rachael kathryn bell (@littleluna) on Oct 2, 2020 at 1:26pm PDT

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[gfriend-daily]

[INTERVIEW] GFRIEND for Cosmopolitan Korea

SOWON

 It has been more than 5 years since GFriend’s debut. Teamwork is as important as group activity is more important than individual activity. We’re really close (with each other) like sisters. Instead of being considerate and not saying what needs to be said, I say what I want to say every time.

 Looking at the album cover, the atmosphere changes a lot this time.

When dancing on the stage, we didn’t really care about the trend and just wore something fit to our body, but this time we make a bold attempt. I was worried that I will look like a ‘어깨 깡패 (lit. shoulder gangster, meaning having a broad shoulder)’ with an over-sized jacket but unexpectedly it looks stylish on the screen. When we were doing the jacket shoot, I also wore loose shirtdress something that I unusually wear and everyone said it looks awkward but it came out good in the picture. I look good with this look so I wore boyish white shirt on stage too. Music obviously, but we also try a new challenge with fashion.

The name ‘GFRIEND’ is friendly but in another side, it’s also hard to search. Personally, I feel bad. The group name obviously, and my name ‘Sowon (lit. wish)’ are words that are commonly used. If you search ‘GFRIEND Sowon’ results that are not related to me, come out a lot. I hope there is a technology where we can search exactly what we want to search. I mean so that the person who wants to know us can find something only about us.

GFRIEND has a similar fans gender ratio, right? About 6:4. Actually since we were debuted, I was worried if the female fans would have a prejudice because of our group name. It felt like we only aim for male fans but actually it also has the meaning that we want to be a good friend for female fans. But thank god as we do promotion we can worry about it less.

Is there any keyword that you want to be titled to GFRIEND? For me, I always wanted ‘Improving GFRIEND’, ‘Cool GFRIEND’, but now I want ‘GFRIEND is GFRIEND’. Bang Sihyuk CEO said to us recently, “GFRIEND do the music only GFRIEND can do and I want to hear ‘As expected, GFRIEND is GFRIEND’”

YERIN

 What is the performance concept for the title song ‘Crossroads’? We have a choreo that represent crossroads. If you see our performance, you can recognize what I mean right away.

Because all members are the youngest in your family, living together must have ups and downs. Maybe because we spend time together, we become like a family and good friends now. Each member is different but there is someone who I’ve been friends for more than 10 years. Actually, when we’re together is the most comfortable and fun time. I’m thinking ‘Where can we meet friends like this?’

When members have different opinion, how do you manage it? Actually, I really hate dispute and tend to follow the majority opinion. When I’m not certain of something, following the majority opinion is not bad. I’m not the decisive type so, if this seems right, I’ll choose this, but If I feel that I’m right, I’ll choose that.

What is the thing only GFRIEND can do? I think GFRIEND is really good at expressing the concept that suitable for that age. When we were debuted, we were still minors but without our notice, we’re already at our 20s now. Now, it feels like the girls with school uniform concept is growing and standing on a different road. I think we’re going with something matches our age.

Is there any lyrics you like from GFRIEND songs? I always say this but I like, “I’m definitely not going to break” part from Glass bead. I also like members’ young voice, and it looks like the lyrics contain our ambition. Just like the lyrics, we don’t want to break till the end. We’ll definitely not break!

Is there any change with the early debut days? Long before, going to the broadcasting station, standing on the stage, standing in front of fans, everything was for the first time. Because it was the first time, I still couldn’t get used to it. But now, I think I’m getting proactive, ‘I should do this during this (situation).’ My attitude changed.

SINB

 GFRIEND does more group activity than individual activity. I think everyone wants to have a solo/individual activity. But we decided to focus more on this album promotion as a team.

GFRIEND lyrics are so lyrical. When I keep thinking while listening to the songs, we have a lot of touching songs. Especially for me, I like Eunha unnie’s part ‘All the moments I’ve been waiting for pass by today. The night where I endlessly chasing for you. The night I can’t reach where I miss you.’ in ‘Time For The Moon Night’. The melody is good, the whole song composition is also good. As we perform it, I get touch with it.

What do you think people expect from GFRIEND? As we take up various concepts, I think a lot about what we should do next. I saw the comments, they said this is the most GFRIEND-like album. There are a lot who say that only GFRIEND can do express the concept of overflowing emotion. I think GFRIEND’s color is firm in front of public’s eyes. And without throwing away that expectation, we want to show you our growth. A well grown GFRIEND.  

UMJI

 If you have to introduce this album concept? This album has 2 themes. ‘Coming back(回)’ and also ‘Labyrinth’ with a meaning of a maze.  That’s why the album name is 〈回:Labyrinth〉. It’s painting the growing up story of the girls from the debut days until now, and in the process of growing up, while looking back at the pure days and thinking about what to do next, we come into a conflict. It’s similar with our real situation, and also something we want to tell.

Rather than team, I think there are times when you want to show your personal talent. We didn’t really show each of our personality on our early debut days but as time goes by each of our personality become more distinct. We are on different broadcasts but on the same frequency. Even we have different disposition our code matches well. So, I think we found the common ground well.

Is there any lyrics you like in GFRIEND’s songs? I like the first line from ‘Fever’ refrain, ‘I want to show you right at this moment without regret.’ There’s no strong word in that phrase, and it’s just a simple words combination, but I can feel the ambition and strength from it. In that part, Eunha unnie’s voice seems soft but it feels solid and powerful. It also contain something GFRIEND wants to tell. ‘Fever’ choreo is intense but, when I listen to that part and start performing, I just ‘Right, let’s show it without regret!’ and make up my mind.

Among the nickname given for GFRIEND, what is your favorite word? Trust and listen to GFRIEND. Other group’s fans also said that. We changed company last year* but I haven’t felt it until before the preparation of this album. Our company changed but the compositions are the same so, there is no big change. But while preparing for this album, we got support from the company and Bang Sihyuk CEO also participate in the album making so I thought that we can show a better side.

 *Umji was talking about the BigHit acquisition.  

YUJU

GFRIEND is a group with a definite concept. Our choreo is originally intense. We keep the intensity in this album too but also I think it’s a stage where each part can show our individual performance.

The strong teamwork is also famous, right? Actually, there’s no one without persistence and ambition. Everyone has their own ambition but when we have to choose something as a group, we think differently (throwing the personal ambition). GFRIEND is not mine but belong to all the six of us. So, most of the decision made by majority vote. But it doesn’t mean that we ignore the minority opinion, if that opinion seems right, we’ll listen to flexibly and make a good choice. So, at some point we don’t think about ‘why we don’t make the decision my way.’ Each member has her own skill, we’ll try to listen the opinion from someone who’s good at it. Fortunately, our team has a good distribution of talent. What do you think when it comes to ‘GFRIEND’s only color’?

Start from something small like, we used a lot of pretty expression in the lyrics with our language. To the point where there are lyrics published in textbooks. Among the lyrics in ‘Crossroads’, when I sing ‘No matter where I go, it all turns into you’, when I listen to it, and when I just looking at the phrase it’s good. Also, I heard that GFRIEND’s vocal is agitating. It looks like you’re doing it together as you listen to it. The vocal and the strength on the choreo are different. I think something like that is the GFRIEND only color.

 EUNHA

 The teaser video came out before the photoshoot. The response is very good.

Among the lyrics that came out on the teaser of the title song ‘Crossroads’ this time, ‘Even if perhaps you pass by quickly/I’ll find you/Then I’ll go back to you’, I don’t have the feeling of really liking it when I recorded it. But when it comes out on the music video together with the song, I feel like it really suits and really well expressed lyrics.

Do you have something you feel bad about the group name? At first I do, but now I like it. Actually, before debut I was worried whether we can express the group ‘GFRIEND (girlfriend in korean)’ beyond the common word or not. I thought that it would be hard because it’s something used commonly. And now because people see the common ‘여자 친구(girlfriend)’ and GFRIEND differently, I think that we picked the group name well. Besides, it’s a name really suits us. Which nickname given to GFRIEND that you like the most? B-sides matjib (lit. place with good food)? I like that it means not only the title song is good but also the be-sides of the album.

GFRIEND express the song and performance that match the age, right? After few decades, can we expect to see 60 y.o GFRIEND? Uhmm. If we are all vigorous? Haha. We’ll have to see!

Translation: GFRIENDaily - Jena

source: https://www.cosmopolitan.co.kr/article/44887

[thesinglesjukebox]

ARIANA GRANDE, MILEY CYRUS & LANA DEL REY - DON'T CALL ME ANGEL

[3.69]

"Independent Women Part III: No Throttle"...

Josh Buck: Absolutely not. [2]

Katie Gill: "Don't Call Me Angel" is a fun piece of movie credits music. There's nothing special here, but it's a jam of a song that would fit perfectly well in the already established oeuvre of middle-of-the-road yet totally serviceable movie tie-in songs. Two of the singers know exactly what sort of song they're in and give it the sultry, radio-friendly, sexy spin the song needs. The third is Lana Del Rey and her inclusion BAFFLES me. This is so far out of her wheelhouse that it's hilarious. Seriously, was Selena Gomez busy or something? The music video for Demi Lovato's "Confident" was practically an audition piece for this type of thing, why the heck isn't she here? [6]

Thomas Inskeep: Ariana does some Grande karaoke, Miley sounds like she'd rather be singing "I Love Rock 'n' Roll," and Lana teleports in to do another take on her breathy schtick (and brings the song to a screeching halt in the process) -- nothing about this, apart from (I imagine) someone's discussion of market share, makes any sense. There's no cohesion here. There's barely even a song. [2]

Wayne Weizhen Zhang: So, so, so cringeworthy. Ariana, Miley and Lana sound like reality music TV contestants who were forced to make a song together one week, couldn't get on the same page and ran out of time to rehearse, but had to release something anyways. Ariana is awkward and lonely on the hook, like she's waiting for help that never comes; Miley comes out of nowhere with a cloying shouted verse; and Lana is off in another world mumbling incomprehensible nonsense. Even the backing track has a nervous manic energy. If you want a good song about Charli(e)'s angels, just listen to this instead. [3]

Michael Hong: In high school, I worked on a group project where the only times we met up were when we decided upon a topic and to actually present the whole piece. Rather expectedly, the whole thing fell apart rather quickly and it was a completely embarrassing experience. "Don't Call Me Angel," gives off the same vibe, like Ariana Grande, Miley Cyrus, and Lana Del Rey were each given only the title and asked to write something vaguely empowering for women. Each artist sounds like they wrote for a different track and made absolutely no effort to meld styles, instead forcing the producers to try and mash the entire thing together. Even the chorus buries Miley and Lana completely beneath Ariana, perhaps rather wisely as I can't see the group's vocal tones meshing together very well. "Don't Call Me Angel" survives only through the one thing my group never had, natural charisma. [3]

Alex Clifton: How did Ari, Miley and Lana end up in this? I guess it echoes the three Charlie's Angels but this trio doesn't make sense. I can see how individual duets would've worked; Ari and Lana could've done something slow and spacy, Ari and Miley taking a more upbeat route, Lana and Miley singing something retro. This, sadly, doesn't play to anyone's strengths and just ends up being overproduced mush with a decent riff. If I had to pick any artist who could make this song make sense, it would be Rihanna, and the music video would be her in thirteen different outfits kicking ass. [3]

Joshua Copperman: I didn't realize how dated the Max Martin sound was until hearing "Don't Call Me Angel." Pop music is now either created with substance(s) or has substance thrust upon it. Meanwhile, the lyrics are clunkier than ever, "you know we fly/but don't call me angel" no longer endearing melodic math but shallow feminist lip service at a time when "if you feel like a girl/then you real like a girl" can sneak onto a major label record. It's the first time I can't listen to a Martin production without thinking of this unexpectedly poignant stand-up segment about Martin and Cosmopolitan. When the tropical house is so bland, further lyrics stick out more; Miley's pre-chorus ("Do I really need to say it/Do I need to say it again") is lazy, and Ari's vampire metaphors are just baffling. Lana comes out strongest, someone who seldom charts but has more cultural relevance than the former and is much hipper than the latter. Her verse is classy when Ari is unmemorable and Miley cribs from a Rihanna album reject from four years ago. "Angel", though, feels like a reject from 2013, when Miley was in her imperial phase and Ari was just breaking out from Nickelodeon -- in fact, it probably would have had Rihanna instead of Lana at that time. But no matter what trio, one thing is clear: with this lemon, you cannot make Marmalade. [3]

Katherine St Asaph: Remember, "Independent Women Part I" stopped the otherwise great song dead on the bridge to announce it was commissioned for CHARLIE'S AAAAAAANGELS, so "Don't Call Me Angel" earns points already for not doing that. It keeps its product placement to outside context, namely the fact that the song exists despite the three artists having little in common besides having stanbases and sniping at critics. The disparate styles can work together -- see the "Lady Marmalade" remake, unfairly maligned except by a few -- but here there are only anti-synergies. Miley's verse can't decide if she wants to be the track's Mya or the Pink (probably the better idea), but its bluntness also best fits the backing track. Ariana's sighed, harmonized "angel" is a great millennial R&B hook, but one that outside of an R&B song is starved for air. Lana's bridge, though a complete non-sequitur and only empowering if you squint, is also the most sonically charged thing she's done in ages; if there isn't a reason Lana Del Rey hasn't worked with Max Martin beyond "Lust for Life" (I suspect that there is), that wouldn't be the worst career direction. Everyone's part diminishes everyone else's, the exact opposite of what you need from an event single or a Charlie's Angels shine-theory ad. [5]

Jacob Sujin Kuppermann: Every big pop collab feels a little unnecessary -- pop stars work based on the idea that they're the center of the universe, and collaborations by their very nature make that seem silly. But this sounds really, really unnecessary. Two artists coming off career highs (and one coming off of "Cattitude") should at least drive some head-to-head comparison, but none of the three credited artists interact in any meaningful way. It's the Batman V. Superman of pop music -- conflict and chemistry built mostly on reputation rather than action, with nothing to defend unless you're an unabashed stan. [2]

Joshua Lu: In which Lana Del Rey learns that her reward for releasing her magnum opus is the opportunity to limp through a thank u, next reject. Ariana Grande and Miley Cyrus's voices already feel unbalanced, but Lana's mushy croons are so inapposite that they grind the song to a halt. [3]

Scott Mildenhall: It rattles along satisfyingly, but this never leaves the marks that the intermittent brass punctuation seems to signify. None of that is aided by how Del Rey, unbending in her lack of persona, has to be deployed in the manner of a guest rapper, wheeled on and off through a side door. The inability to sound at home with her collaborators in the way they do with each other is one thing, but the inability to sound anything other than lifeless in the face of them is another, and that's the precise opposite of what's called for. [6]

Will Adams: As out of place as she may seem on paper, Lana's bridge is the only point where the song becomes interesting: the key dips even more minor, and the arrangement has tangible cinematic sweep. The rest is a cluttered shamble of an Ariana Grande album cut, with her and Cyrus trading off lines with all the dubious empowerment of a Barb Wire quote. [4]

Jackie Powell: All right folks get ready for a sports metaphor, because it's coming. Ariana Grande is a bit of a ball hog on this track. What she doesn't seem to understand is if you are going to lead your team, you've got to provide the proper assist to each of your teammates. To me, saving Del Rey until the two-minute mark supports the idea that these "angels" aren't really meant to work together. I thought the purpose of this was to present a team of strong women looking to take on the world via a song that preaches empowerment for this new wave of both feminism and Charlie's Angels films. Where a point guard should pass the ball and set up her teammates on the wings (no pun intended) and under the rim, Grande instead takes all of the shots. When the mic is pointed toward Cyrus after Grande's opening hook, though, she shoots with simultaneous finesse and power, letting her head voice mix well with the potent sound in her chest. If I was reviewing the visual made to accompany "Don't Call Me Angel," Hannah Lux Davis' treatment would receive a [10]. Grande, Cyrus and Del Rey all exude a mystique, ooze sex and expel power. For a Charlie's Angels theme song, that's right on the money. But what confuses me lyrically is how the hook clearly communicates the theme, even nodding to Destiny's Child, but the verses, bar maybe Cyrus', are underwhelming. The clock-tower cowbell loop that runs through and through grabs my attention, but I think Kristen Stewart could write better poetry. [6]

[Read and comment on The Singles Jukebox]

[sole-cuore-amore-e-droga]

Tel Aviv 2019: Straight outta Lithuania to Eurovision with a rampaging mess that gave a lukewarm conclusion

Oh dear.

When it comes to my country to choose, they’re often chosen to be overlooked by the Eurofan community, especially because of our insanely long procedure of choosing, that would often cause everyone to hear the songs live more times than they’re supposed to. And it seemed to be a similar case this year because while not as long as usual, we still had 7 shows + an additional week break (that allowed me to watch some more Destination Eurovision! Woo!), and a big pile to songs to swim through, usually submitted by all ranges of songwriters who’re willing just to get their names known to the world creditswise (looking at you Ashley Hicklin and co.) and often are paired with our talent show rejects that fade away as soon as they come in if their song and their chances crash out before the final (see Germantė Kinderytė - she didn’t make it to the lives of The Voice Lithuania, had a killer song though that didn’t make it to the semis thanks for the jury annihilating her pointswise TWICE and only ended up lucky the televoters’ 10 was enough to get her through. Another example: Benas Malakauskas, who got lucky to be on the selection for two years in a row, but did not go beyond the AUDITIONS in said talent show! Yet progressed to the second round at farthest both of his years). And even then, you’re never sure if these songs ARE even on the lineup. Last year we had angry Erica Jennings pulling her song out of the comp just because of having to hear the juries critique others so abrasively (at least abrasively I guess?) one show in, but then it suddenly re-emerged back, but instead sung by Monika Marija - fresh off her The Voice Lithuania victory. This year we had some names pulling off for no reason, some names pulling for A reason (like Sasha Song who couldn’t turn up for the live recording of Heat 4 because of his song not sounding the best way possible, and was fined for it lol), and some names being added last minute or even changed unexpectedly (Tomas Sinickis, you heard of him? Now he underwent by Tommy Modric... yes the footballer Modric). Which is as crazy as MIIIIHAAAAIIIII deciding not to compete in the Romanian NF because “it’s all rigged and me a tryhard won’t feel too safe enough to finally win on this one” oh boo-hoo, think of the kids who never liked your sorry ass anyway. And think of the kids in general before showcasing your half-naked or mostly-naked body in front of them.

Excuse me for my long ass paragraph number 1, BUT we were actually so dang dramatic this year that I cannot contain myself without letting y'all know why this NF deserved a much better winner to come out of it rather than THAT that actually came to be. I'm a native so I know every single detail. So if ya wanna know why exactly I'm underwhelmed, read 'em up. If you wanna know that I'm just underwhelmed, just skip ahead to the review, idc. Did you make your choice? Well then. Let's delve into the details:

• The first clear competitor, Monika Marija, releases a song that people really want to see in the selection but she assures everyone it’s not THE song. Then she shows her other one, and people honestly want the first one back, but grow to adapt to it.

• Lineup reveal happens with her in it, wbk. Along with some other interesting names like Jurgis Didžiulis (off InCulto), Jurgis Brūzga and etc.

• First show is filmed and broadcasted as normal. But, after the broadcast, a pissed-off parent is mad at his son’s result on Facebook (and the result seemed fair enough to me actually despite liking the song because it’s such a second-hand NF tier entry that isn’t meant to last that I’d even see fizzle out in... A Dal for example).

• Also a minor lulz related to one contestant’s song lyrics sounding like Russian swearwords (you know the ones the kids are yelling on CS:GO) but that was fixed

• Lineup changes that include Sasha Song, the second-most-recent X Factor Lithuania season winners at the time 120 (yep that’s the band’s name) and some other guy who came and went last minute without a word from him back as to why lol. (As well as one of the lost starlets of 2018, Emilija Valiukevičiūtė, was initially announced in the first lineup reveal but fizzled out by Heat 4 as well.)

• And it turns out Monika Marija chose both of her latest releases (including the first one she said she won’t enter) to participate because her fans want it so and she felt like it, although fans were more attached to the 1st one she entered.

• Jurgis Didžiulis brings Erica Jennings with him - yep, the same lady who withdrew because of the jury has grew some thick skin over a year and joined the lineup too. Among other things.

• Second show had a major televoting issue that affected the scores massively (basically only a few hundred votes were missing lol), and had the issue affected any of the nonqualifiers enough for them to qualify, they’d be added to the semis as a wildcard. So naturally, someone of the NQs complained about it BUT it turned out it did not affect anyone anyway. Another act got pissed for being mistreated by juries too by the way.

• Sasha Song withdraws last minute for reasons above, and his fine is 2000 euros. Well, now you have to know that if you, fellow Lithuanian, want into Eurovizijos, you need to be a bit rich to accept circumstances like these, otherwise you’re totally fucked.

• Heat 3 happens as normal BUT Heat 4 brings in some fire as it turns out that one of the contestants’ stepfather was offering his company’s services (like, those outside children play parks’ assets) for televotes to her dear stepdaughter’s song, with her EVEN NOT SEEING ANYTHING WRONG WITH IT. LRT, as clever as they are, decide to null her televotes in protest. Shame tho as the song was good, and way better Laurell Barker submission than the ones she got on ESC this year.

• One contestant, Alen Chicco (also from X Factor Lithuania, may or may not even be from the same season that was won by 120), causes a bit of controversy by having a black man on his performance

• During the semi stage, Monika Marija asks her fans not to vote for the 1st song she submitted to the selection, but rather support her 2nd song that won the semi comfortably, way after the folks were attached to her 1st song already and claiming it’s better for Eurovision (no it’s not), but it backfires spectacularly when the jury has enough guts to make her qualify with it, even if the televote for it was rather low.

• But before semi 2 happened and Monika Marija sang her weaker song, a contestant with the name of Migloko resorts to middle-finger the audience during her performance for no reason in semi 1.

• Monika Marija succesfully goes on to withdraw one of her songs (the one from semi 2) just to not split her fanbase even further when it comes to the final, therefore not lose. Also has to pay a fine of 2000 perhaps.

• Jurijus Veklenko, which was one of the front-runners along Monika Marija, was accused of having his song published on Soundcloud a year too early, but as a demo version, therefore not commercially viable enough for ESC rules. Later he was let off easy by LRT, but decided that EBU should investigate and report if they think it’s not fine, but if he was allowed to compete with that, he was possibly not in danger afterall.

• And since Monika Marija has got only 1 song, her final spot she got with that other song was given up for the aforementioned Alen Chicco.

• Finally, Monika Marija was still THE front runner of all this, having a sizeable amount of a fanbase enough to support her, even more so than the eventual winner... yes, she did happen not to win in the end. U mad?

And even if Monika Marija would have honestly been an anticlimactic winner, this next guy is even more so, because although shocking, his song is pretty much by-the-numbers Eurovision NF pop you’re gonna get, although not as cheap as the one written by constant NF failures that submit their stuff for countries like Moldova, Belarus, Romania and Malta (that until Malta ditched their NF). And the one that ended up winning is the said person whose song was uploaded a year too early as a demo - Jurijus Veklenko, but for now, he’s pretty much needed to be addressed as Jurijus. No wait, he’s back to being Jurijus Veklenko, but he dropped the “us” from his name, that’s odd. (By the way, he’s the only ounce of Ukraine you’ll ever have this year - his father is of that nationality, hence why the ever-so-Slavic Veklenko surname)

“Run with the Lions” is the song name, and for a title as anthemic as this, the song... not so much. Like I said, it’s pop, and it’s good that it’s pop, but it’s just pop. I doubt that Jurijus’s songwriter team did anything to distinguish the demo from its final product, hence why it was so easily autodetected somehow. Like, the structure is there, the lyrics are there (but what even ARE they? “if you wanna see, just open your eyes”?? “if you want a voice, just open your mouth”????), but where’s the depth, man? I really felt like I needed more of this song, especially in the choruses. Like, some additional background instruments like strings wouldn’t have hurt? In fact, this song has a slight revamp (I’m saying “slight” because no marginal changes had been done) that adds up some acoustics in the background of the 2nd verse and only changes one line (”there’s no need to be afraid” now is “you don’t have to be afraid”. Wow, revolutionary. What about “You don’t got to hide away”?? Why repeating “You don’t” twice in the prechorus???!!!... ooh I’ll be here all day if I only talked about nitpicks)... and it yet still feels too little. Thankfully the choruses have someone shouting something like “huh huh hoo” synthetically to liven it up somehow.

Yet somehow, out of nowhere, I admit liking this? Our boi is capable of singing live - both high and low; his voice and the song fit in delightfully with each other; and while basic, the melody is pleasant, non-offensive, non-ear-grating... perhaps the problem of it all is that it’s too inoffensive? Something that flows away in the wind and passes you by without you knowing. Something that you’re told that it’s not background filler and you were just not paying attention to the actual music that was playing. Something so algorithmic, you’re easily able to make your ears cancel it out as it were just some sort of white noise!

Yeah, I don't think I want to describe us all that much. It's a pretty okay pop song, it's nothing groundbreaking (bar the message of being free to do all you can do), I enjoy the sound of it, it doesn't annoy me, I can fully be down to supporting Jurijus and his voice. Too bad it's in a year AND a semi where MoR pop songs DON'T dominate - we're way past those ages. To stand out, it needs to be anthemic, it needs to have a stage presence, it truly needs some X factor, and our staging nor our song offers it. And guess what, various other people are still mourning over the loss of Monika Marija, which I find perfectly reasonable, but who would have to lend us their final spot instead if she won? Armenia? Romania? Denmark? So many questions, so little time left to answer them all.

Right now I will just conclude with me saying that I like this. It's inoffensiveness is pleasant, and in any other year we'd be the perfect filler songs for the final, like we were in the past. Cool cool.

Approval factor: Anything that will make me forget how much of my nerves did I waste over stanning someone in our selection while knowing that Ieva will win is a good noodle in my book. Jurijus wasn’t exactly one of my favourites (you’ll see why when you hit the unfortunately long NF corner section), but that’s perfectly fine, seeing that I can finally be a proud supporter of my own country’s song.

Follow-up factor: we're a completely and utterly random nation, sending anything our juries found amusing the most at the time. So don't bother about follow up consistency every being good or bad. We're just going with our own flow and... that's basically it. Though we could, on an occasion, do better with picking songs, that's for sure. And maybe finally we will not have a song that's littered with "oh oh oh, yeah yeah yeah" kind of sounds... like seriously, "Run with the Lions" has a bridge that mostly consists of "ooooooohhhhhhh" and then one actually non-interjective line at the end. (At least in Tel Aviv you'll be hearing the backings murmuring "run with the, run with the, run with the lions" during it, and that's something.) I love it that we never change in our random tactics, I'd just love it more to see some actual change in the song quality, y'know? THEN will it be a good follow-up.

Qualification factor: I’m so devastated at saying this, but foreigners say that we’re probably going down to deat meat levels this year. But I still have hope in us qualifying. Believe it or not, the people out there still don’t buy into the Lithuanian diaspora power, and genuinely believe that our harmless tune is chanceless. I only understand that it cannot work its magic when we send something risqué and incredibly opinion dividing (but most people dislike it anyway), but just look at our results on the years when we were generally received bad when we were just boring. “C’est ma vie” qualified. “Something” qualified. Back when Donny Montell was such an unknown in the Eurovision lore because 2012 was his first year and his song was considered “dated”, he still qualified. See something here? We still can, and WILL, be able to pull through possibly, and I don’t doubt it that diaspora will lap up our mediocre song because Lithuania. Patriotism strong! (Oh and a handful of votes for Jurijus for being so hot.)

NATIONAL FINAL BONUS

I already discussed the Eurovizijos drama in lenghty detail, so expect me not to re-iterate everything down here shortly, but what you need to know off it is that it had every single drama aspect you’d ever want - faulty line-ups, voting frauds, televoting malfunctions, forced plagiarism accusations, too-early-published-song accusations, late entry withdrawals, qualifier replacements, technical difficulties allowing to repeat a performance and some contestants being visibly pissed off by the jury (and to some extent, the overall) results. A total jumble <3 Never change, Lithuania. (except for the godawfully smug-ass HoD, I started to get tired of him AND his bald head doing this to us. It's been 10 years, retire already.)

So it’s better to talk about all the non-dramatic things I liked about our NF this year! From songs to performances, from shits and giggles to something serious - I’m taking you for a hefty ride.

• First and foremost, I actually didn’t mind one of the Monika Marija’s songs? Yeah, “Light On” was a good and polished pop track that has THAT power to get you good, with them strong sublime female vocals. Even if it kind of sounded like an Ikea store version of "Stay with Me" by Sam Smith. Not that there's anything bad with it, but any kind of plagiarism cases have and will always be barred from Eurovision if noticed by the organizers. This is not 100% dead-on ripoff, but there are shades of knock-offery here and there. And it's even a better "Stay with Me", and with a better message - Monika Marija reminisces of that one time she was almost dying herself, but she's here, she's survived, and you musn't hang her off the lifeline. At least it's "Light On" that got all the love in the NF in the end and not the painfully mediocre "Undo" ripoff wailfest "Criminal". It was so slow and plodding and I never got why so many people loved it. If "Undo" was a product, "Criminal" would have been its "made in China" counterpart. Anyway, here's "Light On". And please don't spam me messages with how much this would have been a contender for top 10 over Jurijus. :P In Eurovision it's an added bonus if your faves do well - the fact that they were in Eurovision is the most important thing, and I perfectly understand why do you miss it here on ESC grounds. Just... I'm tired of "MM top 10, Jurijus bottom 3 in semi", okay? Monika Marija can try our NF again. She’s very talented, and there’s a possibility that we’ll see her in ESC in the end anyway. Pave the way for our Polyglot Queen, Eurovision 20xx! ^^

• Now here's for once a cool Lithuanian artist that didn't come from a TV talent show! Antikvariniai Kašpirovskio Dantys ("antiquarian teeth of Kashpirovsky") is probably one of the coolest Lithuanian bands that I know - doing absolutely any kind of genre they're pleased with - from folk to rock to ska to acoustic pieces - I admire them for being so diversive! Too bad they entered with one of my lesser favourite tracks in their entire discography - "Mažulė" (one of the many ways to say "baby", as in, trying to call your lover cute, female gender case. Can also mean "baby girl" in this context). I have nothing against this kind of track they thrown in the selection, ska music and Eastern musical elements are gooooooood, plus I finally got to know what is a "forró" that doesn't mean "hot" in Hungarian - it's a music style popular in Brazil! However, the chorus could have at least sounded more "party"-ier. It doesn't really excite me to dance the window-cleaning dance to it. (Oh yeah and do you remember that this song is about a car, not an actual lover? They're basically confessing their love to an automobile. How they're protecting it from vandals, how did they dream of getting the car since young age, how wouldn't they change their car for any other. Romantic, I'd say.) However I am happy for the over 30 year olds that find this song completely and totally amusing when I can't quite seem to. I do say that I like those elements, the brass and all that. It was the only Lithuanian song in the sea of English ones in the final (just like A Dal was, but inverse - almost all songs in Hungarian but one English (and a bit Russian), and that's an achievement. AKD should be proud of themselves for impacting both our nation AND the international viewers which found fun in this! Respect. Maybe they'll win our NF soon if they keep on winning the audiences, or they'll probably GTFO forever. IDK, the latter is more plausible, sadly. They're so unique that they cannot be just a thing for more editions - just one for a try out, and that's enough.

• So, Alen Chicco. What’s so special to have him in the final instead of Monika Marija's weaker entry? Well, he's just a fantabulous persona, unique in every step he takes. And surely I was excited to see him preparing something for Eurovizijos after I read his name on the participants list. And then his entry did come. I wasn't quite sure what to think of "Your Cure" at first but the chorus is a pop beauty I hold up to myself somehow <3 now I find the song nice as a whole, the theatrical-like verses peak my curiousity though the prechoruses feel too drawn out a bit and could have had some big pauses be shortened or removed... yeah. But the most interesting thing is HIS LOOKS <33 his wardrobe and level of expressiveness is vast, I love it how eveything here was different each and every time he performed, and it all was always presented incredibly differently. I admire ONE (1) chameleon

which Alen Chicco are you today? ✨

• And that's almost basically it I have to show you concerning my faves? Yeah, I definitely had enough of our NF having this many songs too, I almost had no good favourites that made it to the semis and people would care about slightly if they'd be willing to. Nothing I could be excited over, nothing I could be passionate about as I was last year about my fave. Well I did like some qualifiers to semis but I don’t think they are THAT worth y’all’s attention all THAT much... However, I will definitely let you in on two of my personal non-finalist faves. Allow me to introduce the first band whose song is a guilty pleasure of mine only - it's Laimingu Būti Lengva ("it's easy being happy") with "Pasaulio vidury" ("in the middle of the world"). Now, it's not very competitive or anything, in fact the guys looked like hobos on their live performance and one of them was randomly shouting "heeeeyyyyy" a LOT of times, like a random heckler that's supposedly livening(??? is that a word???) up the performance, and they sang disappointingly... but the studio version, man. I dare you to not get hypnotized by the slow electric guitar feel. (You probably won't but idc.) I love it, I love the beats and how trappy but cool they sound on those verses, I love the slow soft rhythm, I definitely love the whole melodic execution, and the vocals actually sound alright on there (mainly thanks to autotune but yeah whatever). I have problems though - with a band like this, I barely see how can I get genuine enjoyment out of this song myself without having to slap myself in the back for admitting to actually like this. So I call it my "guilty pleasure" quite a lot of times. The song's structure is quite interesting, but it's mainly the repetitive verses and choruses smeared across the whole song at random. I get the song's point so much that I hate the band for hammering it into my head all this whole time - the song's protagonist met a red-haired and blue-eyed girl named Isabel in Portugal (the supposed "middle of the world"), they fell in love, that's it. But they emphasize it a lot that the girl was blue-eyed... not even I would if I had to write this song, and *I* have a blue-eyed people bias. The whole package was completely unappealing and with how they showed it it didn’t really look like something that even needs a staging or Eurovision at all, but I still keep this song to myself, and will definitely replay it a lot this summer. Just as much as the song that you'll actually get to watch the performance of down below - it's "Song of My Life" by Soliaris & ForeignSouls. It's cool, funky, catchy, vibey, laidback and summer-fun-infested. I cannot really describe separate parts all that much because all flows in so well. It's a good song to chill out and have a cocktail too. And it features a rap part that doesn't bother me at all! Good one, Soliaris. I didn't like your music back when you did mediocre 00s R'n'B, but you positively surprised me, both by returning to our NFs after like 9 years of absence AND bringing this gem. It didn't need an extreme staging - just some dudes having fun and that's it. And they brought it. It saddens me that these kind of songs don't stand a chance to qualify to the very final in our NF anymore, as they kind of would have in 2012 or so, but I'm still happy they exist. I only have had some issues with the lyrics laying out the words in sentences ("spend with me this beautiful night" bothered me a bit because if you translate it to Lithuanian in the exact same sentencing way, it'd make even more sense than it does to me now), but other than that, I fucking loved "Song of My Life". It might as well be my overall NF winner, haha.

• Oh and how could I forget Tiramisu??? That's perhaps my biggest discovery of this year. They moved on from utter unknowns to... still unknowns, but more known for the Eurovision fandom that does care about Lithuanian NFs. Here you have an oddly titled song, "The Smell of Your Eyes" (and you thought Safura smelling lipstick was extreme - but to her credit, lipstick DOES have a faint odor, doesn't it?), which is both insane AND original, and insane original is obviously encouraged. And the whole song sounds pretty damn good for a band that no one heard of and that used to do jazzy-ish and inoffensive musical flairs before. Here we have slight influences of folk even! And the violins, too. A generally charming piece that draws you into a pagan forest. Too bad the staging was completely misunderstood - they definitely had to put on some guy with a cheap Iron Man mask to pretend to give the band some intensity... lousy move. It could've looked way better if it were more mysterious and forest-like and had a more enchanting camerawork. And a little more colors than emerald and forest greens, too. The video clip looked way better and more high-budget than the staging came to be. Observe:

Felt like everything beautiful was stripped of it because the music video could not be repeated on stage. Ah well. The televoters gave them love but the jury did not let them to improve, and down the Bermuda triangle of fallen female violinists from the 2019 season went a lady of the name Rima Tamo, together with Gabriella Laberge and Tilla Török (who did not even appear on stage at that time of need!). Here's a spooky fact for all these 3: female violinists that all featured on songs in E minor, performed 1st in their respective heats/semis, were really loved by televote but hated by the juries, missed out on the next stage of the NF by 1 place. Coincidence? A curse? Tiramisu were obviously disgusted by the jury trashing their staging so they talked about hating them on Facebook. What's worse that they could have actually qualified if they've gotten at least 9 more telepoints that could've pushed them to get 10 televote points in general rather than 8, all thanks to a televote count error that removed large portions of votes. And that way they could have been wildcard qualifiers instead because they would have still gotten 8 televote points with the actual televote numbers, but the organizers of the NF said that if the televote failure would have hurt anyone's place in the final, they would have wildcard-qualified instead. No one did not, so screw it. At least "The Smell of Your Eyes" remains THAT song - lots of folk, lots of violins, lots of effort put into it, and the people actually loved it for that. Just that it's so sad that the jury didn't let them improve overtime... just like Hungarian jury didn't let Leander Kills go further... a shame, really.

• And now, onto the non-entry-events and stuff that happened, besides some actual good jury shade (like the one time at least one juror says that “you wouldn’t win even if all the contestants got sick”, technical errors in the production (thanks to one of them, one of the semifinal acts actually got to perform again... but the televote didn’t give her votes anyway lmao) and the constant reminder of one of our charities which gives tickets to Eurovision for the best disabled person story.. I don’t know where that is but our NF somehow acquired a skit from an Austrian man that’s been exploring stuff in Israel (I think) because of Eurovision this year... and man did I think that this skit was rather... hmmm... middle-ground funny? Slightly too annoying but still kind of alright to look at? It was fun, but certainly odd to find out about that it even exists.

• After feeling so disappointed with Hungarian juries's decisions on the night of February 22nd, I left my room to watch our NF's final on our living room TV, hoping for everything just to end already because I did not expect anything good happening on this final. I haven't even decided to go back to watch A Dal and see AWS reprise their song a little less louder than when they competed last year. And then our NF gave me a complete and utter surprise - The Roop reprising THEIR Eurovizijos 2018 entry. If you've been long enough here on Tumblr to know me, you would probably guess that I'm a big fan of "Yes, I Do" by The Roop, which I wanted to see winning our NF so badly last year, but in the end... you finish the quote so I don't have to. And it's odd because this year I felt the exact similar way with Hungary as with Lithuania last year - I have clear favourites I root for in both of those but deep inside I knew there was gonna be a different winner I only find okay and nothing else. (The difference is that "Az én apám" has grown on me since, "When We're Old" did not at all.) So back to discussing the interval act instead. For this one guest number of the NF's, the song began on a piano, "pretend" played by The Roop's lead singer, and then he got his butt off from the piano chair (unlike Duncan in Tel Aviv), to the microphone stand, and the song continued off sounding like its original version that was sung in last year's NF. I still love this song and even loved that version with piano at the beginning, but why did it not take over the whole song though? Just to not let the audience fall asleep before the Carousel would've? (Yes by the way, we got guest acts from other countries performing on our NF as well! But Carousel were the only ones to have a guest appearance, the other acts were either unchosen or perhaps busy doing Tel Aviv preparations, lol.) Well, good for them. I may or may not still would love The Roop entering and winning our selection someday, if they ever decide to participate again. They could've this year but they did not return, so maybe in 2021? Let this girl dare to dream for once, Lithuania ^_^

• I love when our NF has postcards, no matter at which stage of introduction they are on. In 2016 the postcards were present in every show (the ones for the final were the best), in 2017 they were only introduced in the round 3 of heats (sometime before the semis), in 2018 - from the 2nd round of heats onwards, in 2019 though they were only for the final... what’s the punchline for this paragraph? Oh, there IS none. I just confessed my love for our NF postcards. Just keep scrolling :)

• Okay so I know no one really pays attention to our heats because we have too many of them AND we have too many songs in them, and the eliminated ones always stop mattering to everyone right away. But I'm here to bring you a favourite meme of mine that hailed just from the heats alone: miss RÙTA, who could have done much better during her performance if she didn't constantly look like she's incredibly constipated. I don't know what makes her look like that - the lipstick? the grin? her over-dramatic entry about wordly disasters, "Paradox"? I may never know, but I will let you have a good look at it if you don't want to watch the whole video I linked. Personally, I liked the red staging this song had, and the song wasn't bad, but the singer felt agonizingly nervous and never got the chance to do better, sadly. Oh and look at that sleek tattoo, mmm.

• Oh and our NF featured a metal song but it’s so formulaic and by the numbers dad metal that I didn’t even support it all that much.... however I’ll let you listen to it if you’d really like. And there's this best alternative song of this year's NF that I've heard that also ended in the semis, and it's way better than Fusedmarc's alternative (despite having some ugly beatboxing skills). Check it out too if you will.

And thankfully, that’s that for another year. I’m getting so awfully tired to compress my own NF even further more, especially with my enthusiasm for the actual quality of this NF going down the shithole with every single heat show coming after each other just like that, with more mediocre songs after more mediocre songs. I’m also openly declaring that I have barely any energy left with continuting these writeups, seeing that there’s too many to go and most of them are STILL undercooked drafts. But I’m tryna pull through. I have another completely completed review underway afterwards - just a few edits here and there on it and I’m done with it, m8s! And then I’m piling up new paragraphs after new paragraphs on other reviews.

So I hope I let you know why do I think that the end result of ours is lukewarm - from a dramatic NF there should have been a slightly dramatic winner tbh, but in the end we got a pop song that only a few people like. Brutal. And with the biggest hopes in my eyes for our success I’d like to finish this off with two words. Sėkmės, Jurijau!

[thekonnection82]

As promised, Mamamoo completes their year long project ‘Four Seasons Four Colors’ with the release of their ninth mini album ‘White Wind’ on March 14. ‘Four Seasons Four Colors’ had goals of building up Mamamoo’s artistic repertoire by exploring new sounds that are unexpected of the group. Using seasons and colors for the concept gives the quartet wide range to accomplish these goals. Reviewing the last two mini albums (‘Red Moon’ and ‘Blue;s’) have been awesome, and I felt obliged to post about the final piece of the project.

The concept for this album treats white as the blank canvas for Mamamoo to freely create an array of colors by using the colors they had showcased in the past, conceptually both primary and neon colors. Mamamoo pays homage to their start as they use their bright colors in a modernized way parallel to their jazzy, retro-pop concept of debut. The way they are bolder and cooler with the pop of neon gave me the essence of their previous releases under the primary colors. Even the album cover design used a gradient accent of blue and purple that reminded me of their mini album cover for ‘Purple’ that was released prior to this project, which they first expressed the concept of mixing colors to symbolize a new sound. With all this said and seeing the teasers, I wondered if they were in any way revisiting their old sound.

I’ll be quoting Mamamoo as they gave descriptions of each song in their highlight medley video.

Let’s get to it!

  ‘White Wind’ Album Art

  ‘Where R U’

R&B song that expresses the heart fluttering feelings of waiting for a destined lover, as if they’re playing hide-and-seek. 

This track took me by surprise by how airy and light the production was. The plucked chords reminded me of strings from the violin family, and the flute synth notes created a refreshing, dreamy sound. If you listen closely during the pre-chorus you can hear xylophones chiming in and it plays as a cute little accent. These parts gave me the feeling that I was probably going to transcend into heaven, but the guitar and the main beat helped balance out the mentioned parts  as if to keep listeners grounded. The vocals expressed well about wondering where their future lover is. Although Mamamoo sang lightly, they didn’t sound weak or broken but rather firm. The way the song ended felt abrupt and awkward, only to realize it emphasized the wonder that surrounded the repeated question.

  ‘Gogobebe’ (Title Track)

The song uses the ‘jijibee (…)’ from Kim Gunmo‘s ‘Jjanga‘ as a motif for the lyrics and melody. You will be able to see Mamamoo having fun and enjoying themselves without clinging to past loves or things that have happened. 

Mamamoo embodies a liberating dance track here. Solar and Hwasa have entrancing control of the refrain as it draws you in and encourages you to continue partying with the group. Wheein delivers her lines in a sassy and chic way that you can forget her soft side. Moonbyul, raps her self-written lines coolly and with ease, and I appreciate her parts had two differing tones. The chorus’ melody reminded me of R&B girl groups of the 1990’s, which gave a different kind of retro vibe (compared to their rookie funky-pop releases). Within the chorus, the line where the members sang in unison gives emphasis to the theme of letting everything go. Yet, I find the theme ironic when the arrangement and production of this song sounded like it was crafted carefully and intricately. I never would have thought the combination of reggaeton and this latin guitar riff would be tasteful. So this is a fun, colorful track that will make you move in any way as you please.

Check out ‘Jjanga‘ by Kim Gun Mo, who co-composed this track.

  ‘Waggy‘

Bossanova-style song that tickles your heart like a spring wind, and has witty lyrics. It’s a song that’s like listening to a friend who has fallen in love and can’t hide their heart fluttering excitement. 

When the simple instrumentals started playing, I already had good feelings towards this song as it sounded upbeat and sweet. ‘Waggy’ really oozes fluttering affection, perfect for the spring season. The vocals are charming as they sing like a fresh breeze, and bounced to the rhythm like animated springing flowers. Mamamoo’s “beagle” humor could not be avoided as they added cute but subtle animal sounds throughout the song. The trumpet solo was a nice, classy touch that rides along the track’s wholesomeness. This quaint song was a little reminiscent to their similar, but more relaxing bossa nova track called ‘My Hometown’ (2016). It was nice to hear Mamamoo do this style of song again as it reminded listeners of their strength in making something a little old sound new while maintaining their boisterous group personality. You can definitely see this come to life as they performed ‘Waggy’ on music shows as they dressed up in various costumes and finding amusement out of  Hwasa’s tsundere attitude.

  ‘25‘

…still clumsy at 25, missing her natural, pure younger days while still loving her own self now, a step closer to her dream by maturing strongly. 

Since Wheein holds the color and wind symbol for this project, ‘25’ is the album’s obligatory solo track. Knowing her discography, Wheein is usually the one being featured, or has had a rapper feature on her tracks. It was nice to hear Wheein sound relaxed yet her serious effort was still prevalent. Even co-writing this song, ‘25’ gives listeners a chance to hear a personal, introspective side of Wheein. Besides the lyrics, the smoothness and steady groove of this song gives a sense of nostalgia, especially for those who grew up with ‘90s-early 2000s R&B.  The simple arrangement of guitar and snap beats didn’t overshadow Wheein’s varying vocals as it expressed genuine gratitude. Mamamoo’s fanbase, or Moomoos, would find this track so obvious in style as they are familiar with her leaning towards R&B and soul. It’s a down-to-earth, chill song which acted as a nice break between the livelier songs throughout the album.

On the set of ‘You Hee-yeol’s Sketchbook’ .

Backstage at M Countdown.

  ‘Bad Bye‘

Pop slash R&B track that ardently expresses the painful feelings of not being able to accept an approaching breakup. As the farewell is too painful and bad, a ‘good bye’ is expressed as ‘bad bye’.

This song started off with sad piano notes and I assumed it would be Mamamoo’s classic pop-ballad like the way they performed on music show “Immortal Songs 2” or their diva-esque ‘I Miss You’ (2016). But the thought was immediately denied when the mid-tempo beat with brief pulsating synth high hats, rain drops as snaps, and deep basses came in. The vocals are strong throughout the song, even at their lowest, softest parts. The melody sounded distressing and reminiscent (again) of old-school pop slash R&B tracks of the early millennium. The arrangement briefly alters during Moonbyu’s first rap part, and I thought it was interesting how dark it felt. Overall, listeners can belt out their heartache with some rhythm and soul.

  ‘My star‘

It expresses ‘You are my star’ to someone who can’t be compared to anyone else. The heavy bass and trendy beat hit you powerfully. 

A few seconds of the intro created a dramatic mood. Mamamoo is definitely right when they say that this song hits you hard, especially since the heavy bass drives the song. To match the heavy bass’ booming energy, the vocals had to sound mighty and confident as well. Solar’s tone fits perfectly for this, and Hwasa’s raspiness added some texture as it stands out more when reaching for those loud, high notes. The rap sounded gritty and flowed rhythmically well even though it was so brief. I kind of expected the bridge to be totally toned down, but there were spurts of the resonant notes (in the background) that tells me the energy was not going to be halted at any time. Kudos to Wheein who sprinkles the ending chorus with her falsettos. This song was very enjoyable and can uplift one’s mood.

  ‘4season (Outro)‘

It’s a song that brings Mamamoo’s ‘Four Seasons Four Color’ project into one. It has lyrics about each of the album themes, ‘moon, wind, flower, and sun’

This definitely ties up the ‘Four Seasons Four Colors’ project nicely. The arrangement felt warm and laid back, and it had me reminiscing of what Mamamoo tried to prove with this project for the past year. It’s parallel to their song ‘Paint Me’, but instead of talking about the colors they mention each season. Like how Mamamoo has described in their highlight medley, the outro encourages listeners and fans alike to continue on making memories with the group, which implied that just because the project is over, does not mean their musical ventures end.

Promoting to vote on M Countdown.

Promoting on Music Bank.

‘White Wind’ for the majority of the album reached the retro vibes in a way I did not expect. Rather than the funk and blues similar in their debut, Mamamoo took elements of 90s-2000s R&B pop and showed a more modernized confidence. It is a unique take of fusing old trends with the current trends of programmed music. I mostly enjoyed the diverse beats and production of this album, thanks to the magic provided by Cosmic Girl, and Rainbow Bridge World’s Cosmic Sound, Park Soo Wang, and hit maker CEO Kim Do Hoon. They were able to provide clean, vibrant backdrops while keeping Mamamoo’s vocals shining upfront. This EP also compiled the gists of previous albums: the freshness of spring like ‘Yellow Flower’, the bold and daring like ‘Red Moon’, and the chicness like ‘Blue;s’. Mixing these sounds gave Mamamoo more to paint with and it has produced vivid and entertaining tunes for any kind of listeners. 

  What do you think of ‘White Wind’? Comment your thoughts down below!

Take Our Poll

  Written by: Eliana L.

Sources: Mamamoo Facebook | Mamamoo Twitter | Mamamoo Youtube | TV-People Youtube | Mnet K-POP

Check out Mamamoo's newest album 'White Wind' ! As promised, Mamamoo completes their year long project ‘Four Seasons Four Colors’ with the release of their ninth mini album ‘

[welcometophu]

Not Your Love Song: Chapter 34

Marked Book 2: Not Your Love Song

Chapter 34

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Sometimes it’s easier to take the instruments he needs over to Thorne’s so they can rehearse and work on new music there. Thorne’s room is huge, and as long as Casey and Prim aren’t around, the apartment is quiet enough to get work done. They’ve got Thorne’s laptop set up on his desk, pointing toward the space they’ve carved out for his instruments, where they’ve already been working for a solid couple of hours.

Rory’s tired but ready to keep going. However, Thorne’s mood has been steadily going downhill throughout the session. Thorne sets his guitar back on its stand, then stretches.

“We aren’t done yet!” Stormy calls out from the laptop. “Close, yes, but I think we’ve still got—”

“We need Andy,” Thorne says flatly. He grabs the stool next to his keyboards, turns the instrument on with a flick of his thumb before running a set of scales with deft fingertips.

“He’s with Melanie.” Rory’s phone is buzzing somewhere, and he wants to find it before he starts anything else. The sound is getting under his skin. He finds the phone under two notebooks—one his, one Thorne’s—on Thorne’s desk.

What?

Just the one message, stark and bright on the screen, but he’s got a dozen notifications. He hunches over as he opens the app to see messages from Kit, Mattie, and Stormy. He doesn’t even bother opening the latter, simply calls out, “You don’t need to text me. I can hear you fine.”

“You’re looking at your phone instead of paying attention,” Stormy says, emphasizing her point with  a quick riff on her drums. “Thorne keeps switching instruments and songs and I don’t know what he’s playing right now. That isn’t one of ours, is it?”

“It’s something I’ve been working on with Rory’s RA,” Thorne says, picking out the notes, sliding from simple melody into a line that includes the harmony. “TJ is a dancer, and his spring project is to choreograph a group. He and I came up with this, and he’s started the choreography with the bare bones I recorded from him. I need to get help to flesh it out and to play live for his final recital.”

“I thought recitals were only for little kids,” Stormy says.

“TJ is majoring in dance. It’s his life,” Thorne replies, the sound drifting back to only the melody line. “I think he’ll be doing performances for a long, long time.”

As long as they keep bantering, it gives Rory time to check his messages. He sinks down into the nearest chair, thumbs open the message from Mattie first so he can reply to her simple what.

I think Kit’s doing something that is going to attract attention, he’d sent earlier. Now he tries to figure out how to clarify it, as he describes what he knows of the plan. They’re going to rescue his old friend from the dreamscape. Kit’s got art he created through magic, and his sister’s going to travel like she did when they rescued you. Is that big enough to pull in shadows?

He switches conversations, brings up Kit’s. They’d been chatting back and forth early in the day, but Kit had gone quiet when they got in the car. We’re almost there, Kit sent a half hour ago. I’m nervous. I know Carolyn and Del have more work to do than me, but I’m nervous about what we’re going to see in there. About getting trapped in there with Sam.

And another text, from a few minutes ago. We’re here and we’re going in. Wish us luck.

Rory may be too late to reach him before the ritual. He may be too late with Mattie as well.

Luck, he sends to Kit. Come back, okay? Text me when you’re safe again.

He’s pleased that Kit at least sends back a simple, I will.

Mattie hasn’t replied, but Rory sends her one more quick text. They’re starting any minute. If you can help, please keep Kit safe.

Stormy coughs, and Rory lowers his phone. “If you’re done?” she asks.

“Are you in teacher mode?” Rory asks, but he does put the phone away. He’s done what he can, and if it starts buzzing again in his pocket he’s going to grab it. But for now, there’s not much else he can do.

“I think we need to talk about elephant in the room,” Stormy says quietly. She has one drumstick in her hand, rolling it through her fingers one at a time. “Or rather, the bassist not in the room.”

This would be a conversation Rory would rather not have right now. He crosses his arms, bites his tongue.

Thorne plays a minor chord on the keyboard, lets it reverberate for a moment before he turns the instrument off. “We have to replace him.”

“When summer’s over,” Rory counters. They only have a couple of months of school before the tour and he doesn’t want to think about trying to get a new member up to speed before they hit the road in May.

“We have a schedule of dates,” Stormy says. Her tone is sober, and she holds up a piece of paper to the camera. It’s blurry from that distance, so Thorne holds up a finger and replaces her image on his laptop with the schedule Mom sent in email.

It’s a blend of dates that mix appearances with the big outdoor festival while it’s traveling in the northeast with a few club dates on the off days, and mini tour with Trish that goes out across Ohio and down through Kentucky into Tennessee before turning west into Arkansas and Missouri and traveling north again to wind between a few dates in the States and some just over the border in Canada. It looks like they’ll be on the road for three weeks with that, and spending the Fourth of July in Nashville.

“Did you give Mom’s contact info to Trish?” Rory asks.

“I did,” Stormy calls out. “I like your folksy friend. It sounded like fun.”

“Our music—”

“Is completely different, yes, but it has thematic similarities,” Stormy interrupts. “Like I said, it’ll be fun. And smaller dates. More intimate shows, getting back to our older roots. Plus, Melanie loves country and folk music, so she’ll be coming along for those dates.”

Oh.

“Where?” Thorne says.

“Where what?” Stormy asks, like she hasn’t just dropped a giant bomb. Maybe she thinks she hasn’t. She goes to school closer to Andy than they do. She’s met Melanie more than a few times. But to Rory she’s just a stranger who’s gotten between them all and is taking Andy away from the band.

He knows she’s probably a nice girl. Smart. She must be if she’s going to medical school.

Shit. Rory’s dating a pre-med student, too. What if Kit…? No, he can’t imagine Kit ever making Rory decide between music and a relationship. And it’s way to soon to even think about it that way, anyway. Still, it makes him wonder something.

“Is Andy quitting because he wants to, or because he thinks Melanie wants him to?” Rory asks slowly. “Does anyone know if she actually asked him to stop?”

“I did think it might be interesting to have him see what it’d be like if he didn’t quit,” Stormy says idly.

“Where is she traveling?” Thorne says. “Where is she sleeping? We have a van full of equipment and a motel room. I don’t think she’s going to want to—”

“We have a budget this year; I worked it out with your mom.” Stormy interrupts him. “Put the camera back on me, please.” Rory closes the document, brings the camera and app back into focus to find Stormy waving at them. She sits back, juggling her drumsticks. “I thought this through, guys. Andy’s a part of Phoenix Rising and I don’t want to see him go any more than you do. So I’m being evil and trying to lure him into staying.”

“By bringing his girlfriend on tour.”

“By making him see that he can compromise,” Stormy counters Thorne’s words. “We’ll be getting three rooms in each motel, and Trish will be hauling her trailer and parking it so she doesn’t need a room. Andy and Melanie get one room. We three can figure out how to split the other two depending on what’s happening each night.”

Rory actually appreciates that idea. Sometimes it’s nice to be able to say he wants a room of his own, a chance for some peace and quiet after a show. And sometimes it’s nice to be able to lock Thorne into a different room. The van is off-limits for all Thorne activities; they laid down that ground rule years ago. On the other hand, Rory has slept in the van more nights than he can count just to get that peace and quiet.

He picks up his guitar, runs his fingers along the neck, idly fretting through chords without playing. Stormy taps her drumsticks, and Rory picks up the beat, finding the song they’d been working on. Thorne takes the cue as Rory and Stormy hold on the intro, cycling through the phrases over and over until he comes in with the rhythm guitar.

The words change slightly every time Thorne sings, but that’s what this phase is, tuning the lyrics and melody until it takes shape into the final song. This one’s starting to find that form, growing into a butterfly emerging from an awkward chrysalis.

Right.

Rory grabs his notebook, jots down a few words before he drops it. That’s nowhere near ready for snippets yet; it’s barely a thought. But it’s something.

“Again,” Stormy orders, tapping out the rhythm, and this time they all hit the ground running from the start.

They do the song three more times straight through, and it’s starting to come together and feel cohesive. Rory doesn’t want to think about what it’ll be like when Andy finally joins them for practice, whether he’ll upset the flow, or maybe he’ll fit right in.

Sweat drips from Stormy’s hair as it falls across her face. “Okay, five minute bio break. I need more water.” She pushes away, the cymbals on her drum kit rattling as she moves.

“Do you ever wonder what Stormy’s roommate thinks of the drum kit?” Thorne asks, and Rory snorts. Rory figures it’s not just her roommates who notice the kit; it’s her whole floor, or building. Thorne’s sense of scale is obviously off.

Rory pulls out his phone. No message from Kit yet, but Mattie sent, I’ll take care of it. They’ll be safe. Nothing after that, but Rory feels better knowing that she’ll try to protect them.

Stormy slides back into her spot in front of the camera, picks up her drumsticks. “So. Again?”

“Switch songs.” Thorne runs through a riff, and Rory copies him. They shift from piece to piece, working through about eight songs that are nearly done, and playing around with the nascent bits of a dozen others. Rory knows they need to get at least ten into final form, preferably more, before May comes.

He has no idea when they’re going to fit recording into their schedules, especially if Andy leaves the band, but they have to plan for it. And rehearse and be ready.

Thorne keeps notes on every song, making his own cryptic comments on song order and tiny changes they can make so the album flows. He practices riffs with Stormy, and the three of them toss snippets back and forth as the music grows.

It’s productive, and Rory feels good about it when they finally pause. Thorne heads for the door to get the pizza they ordered, and Stormy puts her drumsticks down as she leans toward the camera.

“Rory,” she says softly.

“Hm?” He pushes his hair out of his face, grabs a towel to mop the sweat away. It’s not like a performance, but it’s still a workout practicing like this. Getting lost in the music takes a toll.

“I don’t want to talk about replacing him until summer’s over,” she says quietly. “I know Thorne’s angry, and he just wants to move on. He wants to cut ties and make sure Andy knows how angry he is—”

“You both exploded about it,” Rory reminds her.

“And I’ve calmed down a little thinking about it. Besides, I’m trying to be devious here, and Thorne just wants to bull ahead.” She wrinkles her nose, sits back from the camera. “Are you in for it, though? We wait until the end of summer, and we have Melanie along for the July dates, and in August we’ll figure it out.”

“Won’t Melanie decide where she’s going to school sooner than that?” It seems like no matter what they do, Melanie’s choice of schools is going through a wrench in the works. Andy’s going to follow her.

“It’s looking more and more like UVM,” Stormy says. She taps her fingers, unable to just stop moving. “So he’ll be in Vermont. And we could work around it, you know that. And if you stay with Kit, he’s going to do the same thing someday—”

“That’s a long time away.” Rory cuts her off, because he’s not ready to think about it like that. “I don’t even know what’s happening this summer other than I’m going on tour.”

Stormy nods, sitting upright as Thorne comes back in with the pizza. “Hey, that looks good. Any chance you can put some through the camera for a hungry girl?”

Thorne opens the box, holds a slice up close. “Mm, so good,” he says, taking a bite.

“Asshole. Are we done here so I can get my own pizza?” Stormy starts cleaning up on her side as Thorne nods. “Good. And oh hey, Thorne? We’re not replacing Andy until end of summer. After we record. It’ll be easier if we just get the tour and recording done and don’t have to worry about getting someone new up to speed. Besides. I think the tour will be fun.”

Thorne makes a noise around the pizza. Stormy’s timing is impeccable, catching him with a mouth full of mozzarella.

“Glad we’ve got that figured out. Bye, guys!” Stormy waves, and the video goes dark.

Thorne finishes chewing. “You two are ganging up on me.”

“I didn’t say anything,” Rory points out. His phone buzzes and he fishes it out of his pocket, holding it loosely in his lap rather than look at it yet. “She has a point, though. Let’s just get through what we can do. And in the fall we’ll move him into wherever they end up living, and we’ll find a replacement and everything can change then. But for now, we’ve got to get through summer. Besides, it’ll be a lot easier being on tour if we don’t have to constantly answer questions about why we’re breaking up.”

“True.” Thorne takes another bite of his pizza, and Rory figures the conversation is over for now.

He flips over his phone, and sees a text from an unknown number. He doesn’t read the words, just thumbs it open quickly in case it’s an emergency text about Kit.

Hi, Rory, this is Alex. Dax’s sister. I just want you to know that Mr. Malone is really sad right now. Like really sad. But it’s okay. I mean, it’s not okay that he’s sad, but he’s supposed to be. I’m really sorry you weren’t right for each other. He’s awfully cute, for an old guy, and a teacher. But he already had his person and you can help fix that.

How did she even get his number? Rory saves her number under a contact for Alex Katsoulis, because he suspects it won’t be the last time. What does that even mean? he asks.

Like I know? I just know he won’t be sad eventually, and you’ll help with that, but not because you’re his boyfriend.

Rory is pretty sure there is only one thing that’s going to make Darrik feel better in the near future. I can’t resurrect the dead.

I didn’t say you could, Alex responds. Not exactly.

Rory’s not sure he wants to dig into this conversation any more deeply, and he’s not sure it’d help if he tried. Thanks, he texts back, because he has no idea what else to say.

He’s about to put the phone away and grab his own slice when the phone buzzes again. Not Alex this time.

Kit.

We’re done, Kit sends. Carolyn’s exhausted, and so’s Pawel. I might end up taking over the driving because I’m really not sure he should be doing it. Do you want to come to Hayworth when I get back?

That thought makes Rory smile, and he touches the screen lightly. Yeah, he sends back. I’m at Thorne’s now, but I’ll be back to Douglass after I eat and clean up. Just come on over and get me, okay?

It’s a date.

“Are you going to eat?” Thorne puts a plate in Rory’s lap, two over-sized slices of pizza leaning over the edges.

Rory picks up one slice, takes a bite. He’s hungrier than he expects, after all that work, and now that he knows Kit’s safe, he’s ready to eat. He nods to Thorne’s question. “Mm, yeah. Leaving after that, though.” He grins, because it feels good to say it. “I’ve got a date.”

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[iimaginedragons]

album review

“pray for the wicked” -- panic! at the disco [2018]

the highly anticipated sequel to the commercially successful “death of a bachelor” album by emo pop punk gone alternative band panic! at the disco is here, and i decided that it would be the perfect start for my new album review segment. i’ll break this down track by track in a moment, but first, some background and overall impressions.

although i can’t call myself a longtime panic! fan as i only really discovered their entire discography less than a year ago, i definitely enjoy their music a lot. i’m kind of glad that i wasn’t there from the start, since i was able to really enjoy “death of a bachelor” when i first found it without having any attachment to their previous sound, since i hadn’t heard it before. if you saw my chaotic rant about p!atd a few days ago, i ranked my favourite albums of theirs, “a fever you can’t sweat out” taking the top spot with “death of a bachelor” in second. from what i’ve seen within the fandom, this seems to be an unpopular opinion since they’re so different. since i absolutely love these two very different eras of panic!, and i figured that this put me in a perfect place to await “pray for the wicked”; i felt ready for basically any sound and i also felt like brendon was really going to hit his prime as the sole remaining member of panic! especially after a “début” of sorts with “death of a bachelor.”

however, as a whole, i felt let down by this album, especially after such promising singles. although there were many positives in “pray for the wicked”, it was also riddled with problems all throughout. here’s my opinion on each track along with my analysis of what went right and what went wrong on this album.

#1 -- “(fuck a) silver lining”

when this song was first released a while ago along with “say amen (saturday night)” i really only thought it was “okay”. i think that compared to the big roaring chorus and instrumentation on the other track, this one fell sort of short. however, after more listens, i really came to appreciate the bass in the verses, the brass on the chorus, as well as the vocal hook on the chorus, which i initially didn’t like because the lyrics “fuck a” felt awkward to me -- now, however, i feel like i’ve absorbed the beat of it a little more and i actually really enjoy it. also, it took me several listens to hear brendon’s high notes in the ending chorus since i was initially so irked by and hung up on the “awkward” lyricism, but they’re absolutely incredible. say what you will about his music, but this man can sing. the whole idea of this song, of nothing ever being good enough or totally okay despite silvers linings also really grew on me. overall, i think this is one of the strongest tracks on the album and it’s definitely a song that i’ve been and will continue coming back to listen many times around.

#2 -- “say amen (saturday night)”

i was very glad this song came on right after “(fuck a) silver lining”, because this one impressed me right off the bat and still does to this day. the vocals are clean, the subtle guitar fits very well, and the brass in the chorus works within the heavy alternative beat in this amazing way that p!atd can do. the long high note is obviously impressive as hell, but i also feel like the bridge’s low notes deserve some praise too. this track feels like a strong evolution from the style in many “death of a bachelor” songs, such as “emperor’s new clothes” and “crazy=genius” which are among my favourite panic! songs of all time partially due to their thickly produced alternative choruses. i think this is truly the song that got me the most excited for the new album because it’s so grand and well-mixed. it was smart of brendon to release this one first, commercially speaking, as it got really positive reviews. sadly, i feel like it ultimately came to bite him in the ass as hardly any other songs on “pray for the wicked” were able to live up to this one. 

#3 -- “hey look ma, i made it”

here’s where we unfortunately start getting into some problems. the album was obviously going very well so far, but i was especially excited for the first song that i had yet to hear, and man, was i ever let down. i feel like since this is a positive anthem with a shoutout to his mom, fans will jump all over this song; not me, sorry. we have some lukewarm vocals over a synth riff that just doesn’t do it for me at all, and a simple mellow pop beat, which is really not typical of panic! who i’ve always found to have excellent percussion, or else enough of the other things to make up for weaker drums. i also find the lyrics weak and tacky, your usual motivational, shrug off the haters and follow your dreams song. the vocal melody, especially, in the verses, is beyond dull to me. i really don’t like the “boo-hoo” before the chorus -- that’s probably what i detest the most about this track. i know it’s meant to be funny and it’s obviously sarcastic, and who doesn’t love sarcasm, right? this, however, isn’t sarcasm done right; it’s sarcasm done lazily and stupidly. brendon could have come up with a clever line or something like we all know he can, but no, we’ve got “boo-hoo”. i don’t like the trap-inspired beat on the second pre-chorus and the final chorus either; it doesn’t fit the song. i can’t say that there are many panic! at the disco songs that i would skip when listening to an album, but this is certainly one of them, unfortunately.

#4 -- high hopes

i enjoyed this one a lot when it first came out, since i get major “death of a bachelor” vibes from it. although it encorporates many aspects of mainstream pop (which isn’t inherently a bad thing of course) such as the clicking percussion in the intro, it is done well because it is cohesive with the rest of the production, notably a far more varied vocal melody, a hook that’s actually catchy, and excellent brass, all of which the previous track on the album totally lacked. although this is another motivational anthem, the lyrics aren’t awkward to me and the rhymes flow far better; they feel natural rather than forced (a fairly common problem on many tracks of this album). i think for me the vocals really make this song, as well as again, that heavy chorus. i love that acapella bit near the end, then the entrance of another typical pop build up for the rest of that chorus before finally landing into the chorus’s final renditions. i’ll stress this again: the drums, horns, and vocal melody are crafted well enough to surround and embellish the mainstream pop aspects of this song, make it different, and increase its substance; that, to me, is what alternative music is all about. this is also among the strongest tracks on the album for me.

#5 -- roaring 20s

the start of this song really caught me off guard, but i immediately had a good impression about it. i’m really gonna discuss the lyrics on this one because i’m super conflicted on it. immediately i got a “don’t threaten me with a good time” vibe, especially with the phrase “this is the strangest of summers” and the previous lyrics. however, the following lyric, “maybe i’ll medicate, maybe inebriate” is super problematic for me; this is one of those instances where the rhyme feels forced and a bit basic. same with “maybe i’ll smile a bit, maybe the opposite” -- i mean the syllables are counted just right, the words are similar and simple... it just feels extremely weak to me, as if literally any novice songwriter could have written it. i find the pre-chorus very good, and the ensuing hook “this is my roaring 20s” is fine as well, but let’s talk about “roll me like a blunt ‘cause i wanna go home”; i hate it, i think it’s absolutely stupid and it could have been tweaked just a tad to make sense (i mean, it comes up later as “roll me a blunt ‘cause i wanna go home” which makes a hell of a lot more sense and could have a deeper meaning -- is he only at home when he is high? it would totally work as the regular chorus line for the whole song if the vocal melody was altered just a tad). it’s unfortunate because i was willing to overlook the simple rhymes earlier because sonically, i find this song very catchy and unique (love the 20s vibe), but man, those lyrics... i will say this, though: it has been bothering me far less with more listens -- the sound is gradually making up for the poor lyricism everywhere (it only gets worse with the second verse). time for a huge positive score though, probably the best thing that came out of a non-single song on this entire album for me: the slowed down, 20s take on the second last chorus. i find it so incredible, well-placed within the song, and perfectly executed. it sounds authentic enough but somehow also fitting in a modern alt pop album -- i don’t know how he does it. for me, it makes the entire song worth listening to; i soldier on through the shit verse lyrics just to hear what i find to be a huge sonic achievement for not just this song or album, but for panic! in general. as i mentioned earlier, there’s also that modified lyric in the chorus that sounds far better. i kind of wish that every chorus had been like that sonicallt, but i don’t know if it would have had the same incredibly exciting effect that it had on me the first time i heard it; thanks to that, this track is the only non-single one that i’ve really been listening a lot. also, a little sidenote i just thought of: this is really the “stay frosty royal milk tea” of this album for me; i really like it sonically but the lyric issues are cringey -- let’s hope i can eventually overlook them as i mostly have with the fall out boy track.

#6 -- dancing’s not a crime

this song kicks off with a really exciting vibe aside from the obnoxious chopped electronic sample -- i like the guitar and brass as well. i’m really not a fan of the chorus, i mean lyrically it’s weak, but as i’ve been stressing this entire time, if you have enough of everything else to embellish a weaker part of a song, it can work, especially with the amount of layers there are in alternative music thanks to heavy production; here though, it just doesn’t work for me, as the drumming and bass are pretty weak as well. i’m not a fan of brendon’s vocals on the chorus either, he sounds like he is straining too much (i have heard people give the same complaint about “high hopes” and a few other p!atd songs on other records as well, which i can understand, but i guess it’s really up to personal interpretation because i personally love the vocals on “high hopes”). i think my biggest problem with this entire song is that i find it very tacky. i understand that he was sort of going for a broadway vibe on certain parts of this album, which works in some places and not at all in others; this is one of those “others”. the issue isn’t really that the song’s about dancing which in and of itself has come to be seen as a tacky theme in music; it’s more so a lack of effort in trying to make it not tacky that saddens me. the brendon that we’ve seen over the years has written of pretty common themes in music such as sex, cheating in relationships, drugs, and partying in general, but has done so in such refreshing unique ways. i’ve personally always admired his ability to make a party song that’s always a bit “too deep” to be your typical party song -- a prime example of that, again, is “don’t threaten me with a good time”; sure, it’s goofy at times, but it’s clever and it also has this dark, almost sad undertone, as if conveying already the regrets of the following days. here, however, i hear only a surface level song that tries too hard to be a jam and not hard enough to be an actually well-rounded song.

#7 -- one of the drunks

what i just talked about in terms of party related lyrics applies very well again to this track. the verse is very basic and very un-panic!-ish -- to me it sounds like something maroon 5 would write (and i really don’t mean that as a compliment). the guitar and beat in the chorus are alright, they’re mellow but in a good way this time -- i honestly don’t really have any particular problems with the chorus, but it’s also nothing special either. another one of my issues with these verses though is the very short, choppy statements; i mean, he’s not even writing fucking sentences. if you’re into that, then it’s okay i guess, but personally i like full or half sentences rather than just individual or very small groups of words just being sort of tossed around, you know? i like a cohesive statement; doesn’t have to be a story with perfect flow, but i don’t mind some sense of time and direction rather than feeling as though i am floating around in this cloud of space where words are just being chucked at me left and right with what seems to be very little thought behind them. this style of lyricism also reminds me of lots of current trap and trending hip/hop, which i find to be very weak genres lyrically-speaking. i think this song also tried to convey that “hidden sadness/depth within the party song” that i mentioned earlier, and although i do kind of feel it in the chorus, i find the vocals and production don’t convey it as well as they could have. i don’t like the bridge, but it does make that last chorus pop a hell of a lot more. this one isn’t a song i’d purposely skip, but it wouldn’t really be my first choice to listen to at any point either.

#8 -- the overpass

again, another track with an extremely promising start. that brass, those bongos... and then our typical high energy p!atd breakdown, followed by some awesome vocals and bass -- i mean i was feeling very good about this song, probably better than any other non-single start that i’d heard on the album thus far. i like the sound of the chorus, but i wouldn’t call it grand either -- i’m also not a fan of the repetition right at the start: “meet me, meet me, at the overpass, at the overpass”. i know brendon is clever enough to fill that in with some variation; it feels lazy. the vocal run before the bridge is clean and beautiful, yet the strings (which i felt lacked both quality and quantity on this album in general) on the bridge reminds me a bit of a watered down “(fuck a) silver lining” and i dislike the way brendon articulates those lyrics. although it isn’t super impressive and got a pretty positive reaction out of me initially mostly because it’s preceded by two bummers and a problematic fave, this is honestly not a bad song. there isn’t too much that’s really “wrong” with it (as you saw, i was being pretty fucking nitpicky), though of course, “not a bad song” is not a great compliment in comparison to what we are used to saying about panic!’s work.

#9 -- king of the clouds

despite being the shortest track on “pray for the wicked”, this song undoubtedly makes up in quality what it lacks in length. i was initially annoyed at brendon for dropping a fourth single since we already knew that the album was only going to be eleven songs and it was coming out in like a week anyways, so i tried to boycott it so as not to spoil the album for myself -- two minutes later i was listening, and i fell so hard for this absolute jam that i couldn’t even be angry. the acapella intro with all those layers sounds heavenly, especially as i am lucky enough to own a solid pair of beats headphones through which to experience it. that electric guitar lick hooked me immediately and i was just immersed in this song from then on out. heavy alternative production dominates, reminiscent for me of "friction”, “gold”, “smoke and mirrors”, “i’m so sorry”, and a few others off of imagine dragons’s “smoke + mirrors” album, a deliberately overproduced alternative record that just so happens to be my personal favourite of all time. the roaring chorus just demands to played at full blast. the lyrics are decent; not as existential as brendon intended them to be, but catchy nonetheless. the “below the sun” rhyme sounds, again, a bit forced, but within such a powerful track i can forgive it. the strings are really awesome here (probably their best spot in the entire album), and the outro vocals are great as well. this all sort of brings on an interesting idea for me; if you’ve been keeping up with panic! lately, you may have heard brendon discuss the making of “king of the clouds” and the fact that it was created very quickly and added to the album only an hour before their due date. for some reason, it just bothers me that my favourite and one of strongest songs on the album was created in so little time, whereas tracks like “hey look ma, i made it” were done way before and are far inferior in quality to me. it begs the question of what the fuck was he doing the entire time before the creation of “king of the clouds”? i mean “say amen (saturday night)” and other previously mentioned songs are strong and i can see time being dedicated to writing and producing them, obviously, but if it took brendon the rest of that time (aka any time way longer than it took him to make “king of the clouds” and the other strong songs) to craft something like “dancing’s not a crime”, i'd say that’s honestly kind of sad. i don’t mean to insult brendon’s work ethic; i just find that for the creativity that we know he still has to this day thanks to the “death of a bachelor” album as well as songs like “king of the clouds”, it’s disheartening to see final products like the mediocre at best songs i’ve described above. anyway, this is my personal favourite song off the entire album, i think it’s very well done.

#10 -- old fashioned

after what i just wrote on brendon, i feel kind of guilty because i love and respect him so much, so i really wish i had something nice to say right now about this next song... yet we open on this low horn type sound that i’m really not a fan of. thankfully it fades into the background, making place for a verse with a guitar style that sounds like it was sampled directly from the second verse of “say amen (saturday night)” -- the lyrics are okay in the beginning, yet the chorus is weak and the strings don’t fit the rest of the song at all. the “dead and gone so long, seventeen so gone” hook sounds like everything that is wrong with current mainstream pop. then for the bridge, we mix this broadway-like sound with nice brass, which works, but then we’ve also got the “say amen (saturday night)” type guitar and our current basic beat, getting this strange combination that really doesn’t work sonically for me. also, “get boozy”? like... really? i’m sorry, but to me that’s a pretty pathetic bridge. overall, this song is just not very exciting, and i don’t understand the thought behind so many of the sonic transitions, especially that final chorus. this is among the worst on the album for me.

#11 -- dying in la

my immediate thought with this one was “good on panic! for ending on a ballad again” as it really worked on their last album. this track begins relatively well with some nice piano (a little too broadway for my taste, but i can understand the appeal) and good vocals. however, it quickly goes downhill from there for me. maybe it’s because i was expecting another “impossible year” which is an incredibly difficult feat to top, and maybe it’s because i prefer mournful themes to dreaming, hopeful ones. either way, this song really fell short for me. i was good with it despite the cheesiness until the “dying in la” line where brendon hikes up his vocals -- i find it to be completely unnecessary and a huge turn off for the song. yes, he had been channelling his inner broadway on the album but it was subtle; this time all i could think of was some cheesy dreamer’s musical, with this song being the main character’s turnaround point where they then get shot into the wonderful life of stardom thanks to all their hard work and the fact that they believe! ...awful. i just can’t do it. i know this song is meant to be sad by talking about all these washed up people who came to this big city with their larger-than-life ambitions and simply turned into partiers, drug addicts, or whatever. it’s really a great idea for a theme and i would love a song about that, but broadway musical style is not the way to do it. the entrance of the strings really just kind of ended it right then and there for me; it felt like it was trying so hard to be dramatic, while i was sitting here just rolling my eyes. obviously brendon’s vocals are good, but i just can’t deal with the childishness of this song. this level of cheesiness is (and to me, has always been) beyond brendon; he’s always just been so above that, better than this. “impossible year” is somewhat cheesy, yet it’s way more raw and real than this staged shit. i don’t know, i feel like the fans are going to fall for this one as well because it’s meant to be sad and it’s the only ballad on there. for me, all it did was make me feel this aching melancholy for the better p!atd slow songs, such as “the end of all things” or “far too young to die”.

overall, the strong points in “pray for the wicked” for me truly laid in the singles and a couple of other songs. general layered production was decent though a bit muddy at times, the use of brass, horns, etc. within a variety of beats was admirable and refreshing despite it not paying off each time, and the overall cohesiveness of the album is the only thing it has on “death of a bachelor” which is a bit all over the place in terms of musical style. i think that it is really thanks to the consistent utilisation of those trumpets, saxophones, etc. that “pray for the wicked” feels more like an album.

however, the negative points in “pray for the wicked” aren’t few or small enough to simply overlook quickly. yes the album is cohesive, but as a whole it is relatively forgettable, with very few standout songs. there is an unfortunate immaturity and simplicity in terms of lyricism and some sonic aspects of the album that i’ve never really seen from brendon, which is really disappointing for me. certain songs also blatantly outshined others, which would be fine if those “others” weren’t as weak as they are; it’s as if all efforts were thrown into a select few songs and the rest were just tossed in there for length. although i praised the use of brass throughout the album for its uniqueness and its ability to make the whole thing sound far more collected than their previous album, i also think that it might have been overused, as it was dragged into settings (notably beats and some strings and synth arrangements) that really did not require it or sound good with it at all. 

i could see this album growing on me as i listen to it some more, since i find myself to become a bit of a “lazy listener” if that makes sense; to a certain extent, i’ll absorb the awkward lyrics, weird sounds, etc. and sort of set them aside and just listen, if there’s enough of a song to salvage despite all those mistakes. “roaring 20s” for example is so catchy that i’ve already been listening to it a lot and really liking it, whereas i don’t know if i could ever genuinely enjoy “hey look ma, i made it” or “old fashioned” at all since for me the blunders in those are just too prominent and/or numerous. only time will tell, i guess.

in terms of my ranking for this album in comparison to the rest of p!atd’s work, i’d rank “pray for wicked” last along with “pretty. odd.” (which i don’t even like to count in my book because it’s just not so my style at all that i feel guilty judging its quality).

essentially i had been hoping for further evolution from the great sound of “death of a bachelor” and the singles made “pray for the wicked” seem really promising; unfortunately the rest of the album fell extremely short for me.

i’ll probably get murdered by fans for this, but my final rating for this album is a 4.5/10.

i think i’ll keep doing some more of these in-depth track and album reviews like this with both new releases and old favourites. if there’s anything you’d like me to review (even if it’s not in my tags at all), feel free to just drop a song or album in my ask anytime and i’ll get it up there asap, obviously crediting you in the process.

---mel 

[dudewhoabides]

CURSE OF LONO - VALENTINE (Official)

In April last year, we featured Severed, the début album from London-based Curse of Lono. Their much anticipated second album, As I Fell, released on August 17 via Submarine Cat Records. Severed was an album that combined Felix Bechtolsheimer‘s dark lyrics with a rich instrumental sound, and drew on a mix of influences from both sides of the Atlantic. Having been warmly received by audiences and music critics, it could have proved to be a difficult album to follow. After three years as a working band, though, Curse of Lono are going from strength to strength, and have moved on from the vehicle for Bechtolsheimer’s songs to a strong, collaborative unit.

Valentine starts the album with something existing fans can relate to. A close relative of Pick Up The Pieces from Severed, with its tribal drums and vocal harmonies, Valentine lays an appealing foundation. There’s a hint of menace in the distorted bass that seems to fit perfectly in a song about obsessive, destructive jealousy “You got yours and I got mine / I got a bad trip for your Valentine”. It’s a rich and inviting start, especially with guitarist Joe Hazell‘s sinister, screeching solo to close.

That same gritty realism that’s a major aspect of Curse of Lono‘s sound still permeates the new album. I’d Start A War For You has a deep rumble with an irascible edge and a soft vocal chorus like a hushed siren. A combination of 70’s rock and low desert that can be bewildering and enthralling at the same time; and the bittersweet Blackout Fever relishes a similar combination. The title track, As I Fell, somehow combines that big, cinematic sound with something light and intangible that, in time, bears fruit as rich brass sings softly in the background.

Familiar and less familiar territory, then. And it can only be good news that the hypnotic, deep-reaching sound that made Severed such a success hasn’t been sacrificed for something more easily explained. There is a shift, though, that can be perceived in the performance itself, as well as the songs. Curse of Lono were brought together in 2015 to perform and record songs that Felix had been working on, with producer Oli Bayston, for some years. Now firmly established as a performing / recording outfit, with the same line up of Felix Bechtolsheimer (guitars & vocals), Joe Hazell (lead guitars & vocals), Dani Ruiz Hernandez (keys & vocals), Charis Anderson (bass & vocals) and Neil Findlay (drums); the band have put a great deal of time into preparing for the album. After recording the initial demos and some of the album at Flesh & Bone Studios in Hackney, London, the band decanted to California, and the remote desert studio Rancho V, in Joshua Tree – the thriving heart of the low desert & high desert music scenes.

In Gregg Houston‘s documentary (shown below) that covers those sessions, Somewhere In Their Heads, Felix explained how important that move was, “We’re there every week [at Flesh & Bone Studios], but to spend a few days with our producer in this amazing setting, I think that’s when things get serious. That’s when a lot of really great stuff starts to happen and it becomes more of an event … there’s something a bit more magical about it”

That magic shines through. Way To Mars feels light, musically, but with a country soul. It’s also rich in Felix’s familiar and descriptive prose, as he sings about escaping from a life out of control “Oh scrape me off the walls/I’ll pay what’s owed / Just grab my coat and help me find my way to the door”. And It Shows offers something softer, with light drums, guitar like a pulsating beacon in the far, far distance; the song is given a sharper edge in its theme of loss, and ultimately softened by a beautifully harmonic outro. Although the songs are still all from Bechtolsheimer’s pen, at times there’s also a very perceptible move away from the retro scope on addiction, as well as a strong sense of location. Kathleen hits a similarly rich vein of prose, but opens in a hot, parched desert setting before drums, bass and piano appear like a river out of nowhere. This song has immense space, which the guitar and keyboards explore to the full. Kathleen isn’t the album’s only move towards more benign musical territory. No Trouble stays resolutely alt-country, but with a hopeful, even tranquil approach; and a simply gorgeous guitar/brass combination to close.

The sense of frailty comes across most eloquently, though, in Tell Me About Your Love. Above the light, poppy back-beat and Joe Hazell’s emphatic wail of guitar; the lyrics display an exquisite tenderness, inspired by Felix’s Grandfather preparing for death, happy with memories of a rich life. “I can still recall your breath under my skin / a thousand years would not have been enough”. Which brings us to the closing track, Leuven.

Leuven is a biographical song inspired by Bechtolsheimer’s Grandad’s stories about life in Germany as a half-Jew, during the World War 2. Much of the fascinating story is covered in Gregg Houston’s short film Curse Of Lono – The story behind ‘Leuven’, and the song’s focus is predominantly the train crash in Leuven, Belgium, in 1954 that took the lives of 20 German football fans. Bechtolsheimer’s Grandfather and his brother were on the train and survived the crash. “And the voices are drowned out by the sound / of the steel crashing to the ground / we’ve got blood on our coats, but brother I won’t let you down”. Leuven is easily Curse of Lono’s most significant departure from their ‘Ameri-gothic’ beginnings, with sweeping strings and haunting brass in a startlingly evocative instrumental bridge, ending the album on an immensely powerful note.

Curse of Lono are still the same band that recorded Severed, there’s still that same, enthralling, wide soundscape. The difference with As I Fell is that this has more collective input from the very start, rather than a two-man project brought to life by a band. There are big ideas and compelling prose in Bechtolsheimer’s songs, every bit as powerful and with a shade more ambition, but that music is just thrilling. Curse of Lono have lived up to the promise of their fascinating début and somehow manage to offer even more. As I Fell is an exceptional album.

[houstonhiphophead-blog]

Top  5 Hip Hop Albums of 2018 (So Far)

2018 has been a strong year for hip hop with the many releases. With most of 2018 already in the books, I decided to make a list of the best hip hop albums to have been released so far this year. Hip Hop has always been a big influence in my life since I was a young kid but I have been a very active listener since the start of this year. Usually on my commute to and from school/work, I try to listen to roughly 1 album for the day. I’ve tried my best to listen to all the albums which hit my radar and through this, I discovered many artists who I would never normally listen to and as a token of advice if you are reading this and you don’t like hip hop music, perhaps give one of these a listen. You never know, you may find something you like.

Before getting into the list I would just like to say by no means do I consider myself to be a professional music critic. What I like may not be the same thing you may like and this is perfectly fine. I am simply stating my opinion and personal taste and you may choose to agree or disagree with it as you please. With that being said, let’s get to the list:

5. KOD- J. Cole.

There is no question J. Cole is one of the most talented rappers right now. This statement is only further supported by his recent releases including his fifth studio album: KOD. On this album Cole takes the “responsible rapper approach” by dedicating the majority of the album tackling the glorification of drugs in today’s rap music with an emphasis on how rappers must be mindful of their content because they are directly responsible for today’s youth whether they like it or not. While the message is great and powerful, the music itself seemed rather bland as compared his previous works. The lyricism was great as to be expected with any J. Cole project but I feel like the music was made simply to get the message out (as weird as that sounds). He wanted the listener not to be distracted by the instrumentals and beats but to listen to the message and what he had to say. This made the music seem one sided with not being diverse which I have come to expect with his previous projects. 2014 Forest Hills Drive by J. Cole is one of the greatest albums I have ever listened to because it had the perfect balance of substance and production. It might not be too fair to compare both albums because both are very different but that is the J. Cole I want to hear. Nonetheless, KOD was a very solid album.

4. Scorpion- Drake

Drake is easily the biggest rapper right now. He may not necessarily be the most technical or most skilled, but his star power is simply unmatched by anyone. Scorpion was one the most highly anticipated albums of 2018 and met most of my hopes and expectations. For starters, he gave his fans a “double album”. The album had 25 tracks and was split into an “A Side” and a “B Side”. The “A Side” was mostly rap songs while the “B Side” was composed of slower R&B songs which many fans (myself included) wanted from Drake because not only is Drake a talented rapper, but he is also a pretty talented singer. In my opinion, his best album to date is Take Care and the reason myself and millions of people love this album is for the R&B elements Drake uses throughout that project. Some elements can be found on Scorpion, but not nearly as much. One thing I was disappointed with on Scorpion is that he did not reply to Pusha T. In case you did not know, there was a big rap beef going on over the summer between Pusha T and Drake. Both artists released diss tracks, however Pusha T’s diss track revealed that Drake had a child in secrecy. This ultimately turned out to be true as it was admitted on Scorpion but I was expecting some form of retaliation on Drake’s part. I would have really wanted to hear a response toward Pusha T of some sort because I feel rap beefs are very entertaining to watch as long as they are strictly music related. Great songs usually come out as a result of these quarrels (and not to mention the memes on Instagram). All in all, Scorpion was a good album, but Drake is known for making great music. If Drake had over delivered I would probably rank this album higher, but I sort of expected the end product. Nonetheless a very good album which is to be expected by him

3. Kamikaze- Eminem

Coming in at number 3 is Kamikaze by the living legend Marshall Mathers aka Slim Shady aka Eminem. Whatever you know him by, you must know he is one of the greatest artists of all time. Period. Eminem has nothing left to prove yet  decided to drop this bomb on us with literally no warning at all. This surprise album is easily one of the best albums so far this year and definitely a huge step up from his previous entry: Revival. Eminem’s long historic career has always been involved in controversy in some form or the other, so it is only fitting that his tenth album entry is as well. Eminem came out swinging from the first track by taking shots at everyone in the rap game. From disses aimed toward Lil Pump to Tyler the Creator, to Joe Budden, and to the most talked about recipient of Eminem’s wrath: Machine Gun Kelly, Eminem held nothing back and expressed his unfiltered opinions on these unlucky souls. He has given us classic albums and is easily one of the greatest rappers of all time. Musically, everything one would come to expect from Eminem is on this album. Everything from his offset humor to his wordplay and lyricism can all be found in abundance on this album. Everything was simply on point. This is a very well put together album. The critiques I have are very minor. I would have liked to have seen a bit more features on the album because although he is an amazing rapper, at times it can get hard to digest the lyrics coming at you faster than you can process them. Some features would have been a nice change in pace because let’s just face it, nobody can keep up with Em. Outstanding body of work from an all time great.

2. Daytona- Pusha T

What happens when you mix some of Kanye West’s best production with some of Pusha T’s best lyrics? The answer is obvious: you get a masterpiece. Daytona comes in at a close second for album of the year for me for reasons I will explain in my #1 spot. Pusha T took a bit of a risk on Daytona being it was only 7 tracks long but boy did it pay off. This album proves that quality>quantity. Instead of electing to go with the long album track list which has become very popular today, Push elected to cut all the sub-par music and fillers and skits and just give us the raw bass heavy music a Pusha T fans have come to want and expect. He stayed true to his craft and every song was carefully crafted. Although much of the subject matter is not very radio friendly, loyal fans of Pusha T are rejoicing because this is exactly what they wanted to hear. From the aggresive flows, to the drug kingpin lyrics, to the deep thumping base which can be found in abundance on Daytona, this album has it all. It just makes me want to hear more: which brings me to my only critique of this album. I want more. The total length for the album is only around 21 minutes. Although this album over delivers and exceeds my expectations, I would have loved a few more tracks of the same quality. It leaves me wanting to listen to more and in turn, I have been listening to Pusha T’s older works more and more. This is simply an amazing album and is an album I have revisited time and time again.

1. Astroworld- Travis Scott

ASTOWORLD! Now before I get into this, let me acknowledge my bias. I am from Houston, Texas which is the same city Travis Scott is from and I have seen first hand how his music and artistry has helped change the culture for the youth of this city. I am programmed to always support and be a big fan of a fellow Houstonian but this is not the only reason why this is my pick for the best album so far. The bottom line is Travis Scott simply makes the best music. Astroworld has been arguably the most anticipated album of this year and in my opion, it exceeded my already sky high expectations. This album was named after the famous theme park in Houston which was unfortunately shut down in 2005. Much like the theme park, this album was a wild ride from the start to finish. First off, this 17 track long album was filled with the most packed features of any hip hop album in recent memory. The guest features included Drake, The Weeknd, Frank Ocean, Swae Lee, Kid Cudi, Stevie Wonder, James Blake, and many others. Production was also not disappointing either as the producers working on this album included an all star cast of some of the best hip hop producers such as the multi grammy award winner producer Mike Dean, Metro Boomin, Tay Keith, John Mayer, Frank Dukes, and a plethora of other producers. All of these features and producers somehow came together and meshed perfectly to create this classic. Astroworld had the perfect balance of production, and lyrics, while being diverse in music. It really was like riding a roller coaster with some sections of the album being fast and furious while other sections being very mellow and smooth much like a ride in real life. Honestly, I have no issues with anything on this project. If i were required to make a list of things I disliked about the album, I would honestly be forcing it. This album is not only my favorite album of this year, but quite easily one my favorite albums of all time! I believe this is the album that will propel Travis Scott to the top tier of rappers today and several years down the line, this album will be critically acclaimed as a classic.

So there you have it. Those were my top 5 albums of 2018 thus far. Be on the lookout for more lists, reviews, debates and news about hip hop. Thank you for reading and until next time.

-houstonhiphophead