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nerianasims · 4 years ago

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Billboard #1s 1987

Under the cut.

"Shake You Down" -- Gregory Abbot -- January 17, 1987

The only reason I've heard this song before is because of Todd in the Shadows' worst hit songs of 1987 video. I do not entirely agree with his list, but this one definitely belongs on it. I don't think the song's writer knew what "shake down" actually means. This is supposed to be a love song about how the narrator is missing the woman he's staring at (um) and wants her back so he can "shake you down." It sounds creepy, and yet the music is so painfully bland it can't even rise to that. It's no surprise it hasn't gotten radio play since it was a hit. That it was a hit in the first place is mystifying.

"At This Moment" -- Billy Vera and the Beaters -- January 24, 1987

A rather good blue-eyed soul song. The narrator is singing to a woman who just told him she's in love with someone else. It sounds like she's acting scared, and he's upset by that as well as by her leaving him, because "I'd never, never hurt you." And he'd give up twenty years of his life if she'd stay. There are some massive blues horns, Billy Vera sings it well, and it's cathartically sad. The song became a hit years after it was first released because it was on Family Ties. Billy Vera keeps on chugging, and he's also a music historian. He won a Grammy for "best album notes" in 2013 for a Ray Charles boxed set. I had no idea that was an award category.

"Open Your Heart" -- Madonna -- February 7, 1987

Watch out. When Madonna says "I've had to work much harder than this/ For something I want, don't try to resist me," it's absolutely believable. She worked incredibly hard to get where she was. I guess the song is stalkery when looked at from a certain angle, but that is not the angle I choose. I hear it as I did as a teenager -- as something aspirational, because I got huge and powerful crushes on guys (mostly friends) and then did absolutely nothing about it, both because I had no idea what to do and because I didn't actually want a boyfriend yet. (That changed in college.) Musically and lyrically, the song is Motown mixed with disco and updated, as most of the True Blue album is. It's a lot of fun.

"Livin on a Prayer" -- Bon Jovi -- February 14, 1987

I wonder what I'd feel about this song if it hadn't been overplayed for years and years. I don't think it was/is played more than "You Give Love a Bad Name," but I have never been sick of "You Give Love a Bad Name." This one... meh. I don't want to run screaming from it, even after hearing it a zillion times, so that's something. It's about a working class couple who's having serious money troubles. It's just a snapshot of this difficult time in their life, and how they're holding on to each other. I'd be happier with it if the story were rounded out, and especially if they got a happy ending. The music is fine, acceptable rock, but nothing special.

"Jacob's Ladder" -- Huey Lewis and the News -- March 14, 1987

This song is a "fuck off" to televangelists, though if you only listen to the chorus you might not know that. I always appreciate anyone telling televangelists to fuck off. I could use it being nastier, but you can't expect real nastiness from Huey Lewis and the News. Genesis would go there a few years later, and I like that song much better. "Jesus He Knows Me" is also more interesting musically. This one's fine, but not memorable.

"Lean on Me" -- Club Nouveau -- March 21, 1987

The original "Lean on Me" is one of the great songs. This version is annoying. A go-go beat and a faux-reggae break. The original of this song is deeply emotional and touching. This one is not even a good dance song. I liked it when I was a kid, but that makes sense, because it's a very kiddie song.

"Nothing's Gonna Stop Us Now" -- Starship -- April 4, 1987

This song is actually not bad. It's pretty good, even. It's a very slick synth-heavy drum machine love song, but I really like the way Grace Slick sings on it. Mickey Thomas, well, he hits the notes. Could be worse. If they'd gotten a male vocalist who could match Grace Slick on his part of the duet, this might be a great song. They didn't, so it's just pretty good.

"I Knew You Were Waiting (For Me)" -- Aretha Franklin and George Michael -- April 18, 1987

George Michael is an excellent singer, but he's no Aretha Franklin. But who is? He holds his own pretty well here. As both Franklin and Michael know how to push emotion in a song, they end up with good chemistry on this one. Unfortunately, though the vocal performances are great, the music itself is dull. The melody slips out of my head while I'm listening to it.

"(I Just) Died in Your Arms" -- Cutting Crew -- May 2, 1987

*silent scream of anguish* I wish this song would slip out of my head permanently. It is my personal most overplayed song in existence. My hate for it could end worlds. I have no idea about what qualities it might or might not have. I just want it to shut the fuck up.

"With or Without You" -- U2 -- May 16, 1987

I don't think U2 actually counts as "alternative," but the alternative stations were the only ones who played them where I lived. The song is extremely structured and carefully designed, but it feels somehow raw at the same time. It doesn't have the layers upon layers of synth that most of the songs on the charts did. It has a beautiful melody. The lyrics are thoughtful, heartrending poetry. I'm not sure what I thought of the song at the time -- I associate it more with a couple years later, when my family moved to a town near a huge state college and I started listening to the college station. It hasn't aged a bit. An amazing song.

Also Bono’s personality is somewhat insufferable if one is silly enough to look into it. But his voice is incredibly hot, and I very much appreciate that.

"You Keep Me Hangin' On" -- Kim Wilde -- June 6, 1987

Back to the layers of synth. This is the Supremes song updated as a 1987 dance song, and it sounds exactly like you'd think it would. It's okay.

"Always" -- Atlantic Starr -- June 13, 1987

This is the kind of song I made gagging noises about at age 10, when it came out. I'm tempted to now too. It's like corn syrup, both lyrically and musically. It sounds like it was written for weddings.

"Head to Toe" -- Lisa Lisa & Cult Jam -- June 20, 1987

I liked this song a lot when I was a kid. I had a lot of fun dancing to it. Now I hear Lisa Lisa's vocals in the opening and chorus, which are kind of like a police siren, and want to cover my ears. I can't listen to it without getting a headache nowadays.

"I Wanna Dance with Somebody (Who Loves Me)" -- Whitney Houston -- June 27, 1987

This is a Whitney Houston song I like. She doesn't oversing as much as usual -- she mostly, though not entirely, saves it for the chorus. She wants to dance with "a man who'll take a chance/ On a love that burns hot enough to last." It's a simple dance song that speaks to real emotion.

"Alone" -- Heart -- July 11, 1987

In the 80s, Heart did hair metal ballads. All the men who did the same were copying them. Including the hair itself. Heart did it first, and Heart did it best. So lyrically, why can't she get this person alone? Not even on the phone? Whatever, it doesn't matter. What matters is the emotion, the music, and that this is a great song to sing along with.

"Shakedown" -- Bob Seger -- August 1, 1987

Unlike Gregory Abbott, Bob Seger knew what "shakedown" meant. The song was written for Beverly Hills Cop II, and that's exactly what it sounds like. It's a good movie song, but doesn't transcend that box. Still fun though.

"I Still Haven't Found What I'm Looking For" -- U2 -- August 8, 1987

This is a spiritual pop song. But it's very far from the sanitized happy clappy Christian-brand pop that's so foul. It's about a search for transcendence that's ongoing -- eternal, really. And while this song is explicitly Christian, it speaks to a universality that doesn't require religion of any kind. Also it's beautiful musically.

"Who's That Girl" -- Madonna -- August 22, 1987

I'm surprised this was a number one. Or even charted in the top 20. I'd have predicted #46 or something. The movie it was written for was terrible, and Madonna was particularly terrible in it. Like, aggressively terrible, when in most movies she was just kinda blah. I've never liked the song. I don't hate it either; I don't feel much of anything about it. That is very strange for a Madonna song -- "American Life" is awful, but it makes me feel things. (Mostly embarrassment.) But "Who's That Girl" is bland, which a Madonna song should never be.

"La Bamba" -- Los Lobos -- August 29, 1987

This is a nearly faithful rendition of Richie Valens' original hit, which was based on a Veracruz folk song. But where are the castanets? The original is better, a true classic, but this one isn't bad. It's simply... unnecessary. It was done for a movie about Valens, so I guess it was sort of "necessary" in that way. Skip this one and go for Valens' version.

"I Just Can't Stop Loving You" -- Michael Jackson with Siedah Garrett -- September 19, 1987

This is from the Bad album, which I did not like in 1987 and continue to not like now. I find this song extraordinarily dull. Whitney Houston and Barbra Streisand both turned it down, and I'm not surprised. This song weirdly makes me think of The Love Boat. Like it belongs in a television series. It's legitimately bad. When do we get to Janet again?

"Didn't We Almost Have It All" -- Whitney Houston -- September 26, 1987

I think the narrator in this song is trying to get an old flame back. It's a pretty melody, and the lyrics are wildly repetitive but not bad, but I can't get past Houston's oversinging. Anyone who doesn't mind that will probably enjoy this song.

"Here I Go Again" -- Whitesnake -- October 10, 1987

I wonder what makes one feel a song is "horribly overplayed" vs. just "played probably too much but I'm fine with it." This song is the latter for me. It's a really good song, so obviously that's part of it. The beginning is thoughtful and searching, with an organ and everything (or probably a synth on the organ setting), and has that same spiritual feel as "I Still Haven't Found What I'm Looking For." Then in come the guitars, which are awesome. It absolutely rocks, and the emotion is of "like a drifter I was born to walk alone" is amplified by the rock, rather than buried under it.

"Lost in Emotion" -- Lisa Lisa & Cult Jam -- October 17, 1987

Lisa Lisa does not sound like a police siren in this, thankfully. And I got frozen on this song because I listened to it over and over and managed to feel absolutely nothing about it. I guess she's falling in love with a friend and worried she's telling him too much, and I should identify with this because it's happened to me more than once. But I don't. I like the bass line, and it's updated Motown, so I should like that. But again, I feel nothing. Maybe it's the way Lisa Lisa sings it. I don't know, and I've wasted far too much time on something I cannot make myself care about in any way.

"Bad" -- Michael Jackson -- October 24, 1987

I think the Bad album is bad. Actually bad, as in not good. I was 11 when this hit #1, so everything in the universe embarrassed me, but this stood out. I no longer knew anyone who liked Michael Jackson. I certainly didn't. In my opinion, Jackson had exactly one good album in him, and that album was Thriller. Thriller is one of the greats. Bad is blah.

"I Think We're Alone Now" -- Tiffany -- November 7, 1987

I wonder what makes stations decide to play #1 hits and what makes them decide not to. I don't remember hearing this much at the time, and never after. It's a cover of a 1960s song that was never that great, and it's worse here. In 1967, the "ooh we're alone gonna do something naughty" idea was still edgy. In 1987 -- are you kidding? Madonna's tearing up the charts in 1987; what on earth is this thing doing on it? It's an annoying song, annoyingly sung.

"Mony Mony" -- Billy Idol -- November 21, 1987

I had to do aerobics to this in middle school. Next!

"(I've Had) The Time of My Life" -- Bill Medley and Jennifer Warnes -- November 28, 1987

This is one of those songs I can't really evaluate because it feels like background music to my life. Not that it was ever particularly important to me -- it's not. But it's sort of like "Eye of the Tiger", movie song and all. Medley and Warnes are well-matched on the song, and they do a great job. I wish the music were more interesting, but well, movie ballad. It's a good one for what it is. By the way, Dirty Dancing is another movie I've managed to never see. For no reason -- I might even like it. But somehow, it's never come up.

"Heaven Is a Place on Earth" -- Belinda Carlisle -- December 5, 1987

Ooh baby, do you know what that's worth? Yes. I love everything about this song. It's a big and unashamed dance power ballad about how great love is, and the lyrics are simple but powerful. But I have a question: What the heck is up with the video? It looks like she's being inducted into a cult, not like she's in ecstasy over great romantic love. Well, it was the 80s, the videos usually didn't have anything to do with the songs. Still, weird.

"Faith" -- George Michael -- December 12, 1987

I've known the lyrics to this song since it came out, but I never registered them before. Only "I gotta have faith, faith, faith." I remember the video, though, with its prominent focus on George Michael's butt. I'm watching the video now, and huh, there's a basically naked woman in it too. That, I didn't remember, because it wasn't relevant to my interests. Anyway, the lyrics are about how the narrator needs a break from relationships so is not gonna have sex with this hot woman. Sure, George, that's why. Ahem. Sorry, we didn't know then, and it doesn't matter one bit anyway, because the singer is playing a role. It's a fun song for which the lyrics don't matter at all.

BEST OF 1987 -- "With or Without You" by U2 WORST OF 1987 -- "I Just Can't Stop Loving You" by Michael Jackson with Siedah Garrett

#billboard number ones

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jlf23tumble · 4 years ago

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Top 10 Niche Interests

Fixations? Obsessions? This is incredibly hard because I have wayyyy too many niche interests, so instead of stressing about it, I tried to channel the 10 things that immediately speak to me and maybe aren't so obvious from what I post here, like how much I'm obsessed with wigs, doll furniture, incredibly specific blogs, all forms of clothing with pockets, swimming pools, whimsical bus stops, over-the-top bathrooms, etc. etc Instead, I opted for some specifics that feel a little more evergreen and long tailed, like, so LIFE-long tailed that it's tough to nail down when or how they became part of the national psyche. I thank @alienfuckeronmain for the initial tag, and I'm tagging her AGAIN for round two because I know she has a billion additional niche things, and she'll post them, and I'll scream because it'll trigger five other things I neglected to post here, and I'll probably post my own round two, arggggh, insert aggressive sighing. Anyway, I tag ANYONE who wants to do it, just tag me so I can see!

1. Indoor Trees

I have no idea why this concept PULLS so hard because houseplants are kind of meh to me, but you want to plant an entire-ass TREE indoors, in the place where you live? Me, too, and I'd add a conversation pit plus a combo gold/red bathroom, among other things, and, bam, we're in my imaginary dream home, which I have literally, constantly ALWAYS mentally constructed from the time I was about six or so. (If you're curious, it has multiple themed rooms, and the closest I've seen to it recently is the outstanding Dita von Teese AD feature, but Amy Sedaris’s apartment comes close, too). There are two (2) 1960s houses in Long Beach with magnificent indoor trees, but I can't find them online, so have this modern interpretation and cry with me about how I can't visit the multi-story fake tree inside Clifton's Cafeteria for a good long while:

2. Conventions of Fans of Any Kind

One thing that I don't think I'll ever lose is how much I *love* people who are fans of SOMETHING, people who have a passion and create something about it or cosplay it or simply gather to celebrate it and connect to other people through it. The Internet provides in all kinds of ways, but I'm talking specifically about IRL conventions and the way my heart pitter pats when I first walk in those doors, SWOON! And it doesn’t matter how big the convention is or how random, I've been to smaller events like CatCon and the My Little Pony convention all the way up to biggies like WonderCon and Comic Con, and I have yet to be disappointed. I might know jack shit about what I'm walking into, but I want to see the merch, hear about the panels, and check out the people who are fucking PUMPED to be there. Sadly, I think it's gonna be a lonnnnng time until these come back, but I can live vicariously through my old photos, sigh:

3. Dutch Wax Fabrics and African Fashion

I'm not the snazziest of dressers, but textiles, colors, and patterns have been an obsession that has soothed my visual soul for as long as I can literally remember. Wax fabric marries all three of those touchpoints, plus throws in a healthy dose of style, and I count myself lucky to have seen two big exhibits on the subject (this was one of them), oh, how I wish there were more! For sure, there's a fucked up underlying colonial/imperialist history here, but there's also humor and color and vibrancy, a reclamation of sorts, and multiple levels of fashion that take my breath away. I cannot do the different patterns justice at all, but the fan motif is one of my faves:

4. Hearst Castle vs. Madonna inn

These two fall into my #home tag because they're where I'm from, and they speak to me as equally sublime and ridiculous, camp and kitsch writ large and small, different (yet similar!) versions of Xanadu that two rich white men built as shrines to their own personal "taste." And the irony is that a lot of people shit on Alex Madonna for being tacky (the Madonna Inn is...uh, something else), yet praise WR Hearst for all the high-class art and architecture, most of which is fully lifted from desperate churches between and after world and yet they're both more or less the same concept (lodging for weary travelers, self-aggrandizement, questionable taste-mixing). Hearst Castle edges out slightly for me because it's bigger and has spectacular scenery and history, plus it gives me doses of LA noir thanks to the way Hearst killed a guy in a jealous Charlie Chaplin-related rage and Hedda Hopper covered it up, all kinds of old Hollywood shenanigans happened up there, etc. But I'm low-key an expert on both houses of the holy, I'm OBSESSED with both, and we can leave it at that. I mean, come on:

5. Snow Globes

I had to cull my personal collection slightly just to fit it all on the dedicated shelf in my bathroom, and I seriously need to refill all the water lines, but nothing beats a snow globe in terms of memorable souvenir, especially when you put it in a bathroom. The majesty!!! The jewel of my collection is the one from Sherwood Forest because WHY NOT celebrate a historic place and moment in the basic way?? He robbed from the rich to give to the poor, and the gift shop about 100 feet from the tree he hid in does the same! The circle of life! The irony of all the watermarks on this blessed image...protect:

6. Highly Specific Museums

Look, we can all agree that the more venerated museums in the world are a form of garbage in terms of what they represent, what they've done, and who runs them, but I'm here for the museums that collect and celebrate things that tend to get overlooked. There are too many to list that I love that are still thriving, so I'm going to say goodbye to four recently departed faves. RIP to the Pez museum, I'm so glad I saw you and purchased your stale candy souvenirs. RIP to the museum of terrible food, you were a pop up when Phoenix and I saw you, and I will forever think about the worker describing people literally vomiting during their visits. RIP to the currywurst museum in Berlin, I've had currywurst exactly once and it was not for me, but I respect the Journey you took me on, including obscure east German TV shows that helped make you so popular (??). Finally, RIP to the velvet painting museum, there's no way to mince words, the person who owned you was crazy AS FUCK and had zero clue how to run a business, but I'm so glad I saw you multiple times and purchased my own velvet treasure (not this exact one, but remarkably similar):

7. Liminal Spaces: Grocery Store Edition

Confession time for those who don't know me all that well, I'm a big time voyeur, and nothing fills my heart with joy like a walk at 7 or 8 pm, the witching hour when people haven't pulled the curtains, and I can scope out their decorations/furnishings without it being "weird." Another confession is how much I unabashedly adore grocery stores in other countries and will spend at least an hour wandering aisle by aisle, falling in love with how much everything is different yet completely the same:

8. Agatha Christie Novels:

As a child, I was a fairly compliant reader--I had to read something for school? Okay! For my mom? Sounds good! But the books that sparked the initial fire for me to read something purely for myself were second-hand (probably fourth- or fifth-hand, judging by cover art) Agatha Christie short story anthologies, which were the gateway drug to full Agatha Christie novels, then other mystery novels, and so on. But getting back to Agatha, I obviously loved all the stories, but every decade spawned incredibly good cover art (like, exceptionally good), and this particular artist's are right up near the top for me (I go back and forth on a lot of the '50s and '60s ones):

9. Scopitones

I link my obsession with scopitones both to my love of music videos in general and a shop in Austin, TX, that sold DVD compilations of them in particular, but either way, they're underappreciated and kitschy all in one! Francoise Hardy and the rest of the ye-ye's are my forever girls for this medium, but seemingly every country cranked them out, both actual set videos and "live" performances? If you don't know what they are, scopitones were machines that played music videos in French cafes in the '60s (??), so it was sort of your proto-MTV way to see your faves sing and dance. Oh, Francoise...so moderne!!

10. Cover Songs

I have so much patience and love for cover songs of any stripe, the more genre-bending and/or surprising, the better! My only minor beef is the trend in slooooooooowing down songs to make a point, but even those ones have a special place in my heart if they're effective. Live Lounge feeds my hunger the best, but my meta fave for representing this concept is Pulp's Bad Cover Version, which was already lyrically INSPIRED, a song about bad cover versions in terms of relationships, but then they did a video that was a visual "bad" cover version, with actors lip synching over an audio "bad" cover version, and all of it just worked? The cover for the single is someone in the band as a boy, making his own bad cover version of a Bowie album cover, it's meta meta meta, and I love love love, here's the video, if you're curious. In the more sublime cover category, I'm absolutely addicted to all of Orville Peck's covers, I truly hope he officially releases them sometime soon, but I wholeheartedly support any artist who does it:

#tag games #niche interests #god i have a few

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chpkns · 4 years ago

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BEST ALBUMS 2020

Some albums I enjoyed during quarantine.

Hon Mentions: Campfire Chords - Arkells, A Written Testimony - Jay Electronica, All In One - Jaunt, Punisher - Phoebe Bridgers, Alfredo - Freddie Gibs and Madlib, Thats What They All Say - Jack Harlow, Western Swing & Waltzes and Other Punchy Songs - Colter Wall, This Place Sucks Ass - PUP, Only For Dolphins - Action Bronson, Black Habits - D Smoke, What’s Your Pleasure - Jessie Ware, 3.15.20 - Childish Gambino, Dedicated Side B - Carly Rae Jepsen, Dark Lane Demo Tapes - Drake, After Hours - The Weeknd, color theory - Soccer Mommy, Circles - Mac Miller, Womb - Purity Ring

10) Future Nostalgia - Dua Lipa

One of the lesser, although still significant, tragedies of the 2020 COVID era was that weddings and sweaty club basements the world over were robbed of Dua Lipa’s prolific output this year. Future Nostalgia is hit or miss in places, but the hits come hot and heavy delivering banger after 80′s-disco-inspired banger. Dominant summer jams “Don’t Start Now” and “Break My Heart” are the highlights here, along with “Levitating” (equally good with or without DaBaby). Sleeper tracks “Cool” and “Hallucinate” round out the year’s best pure pop album.

Highlights: Don’t Start Now, Break My Heart, Levitating, Physical, Cool, Hallucinate

9) Women In Music, Pt. III - HAIM

The third album from LA’s sister act rock trio HAIM delivers consistency and growth for the band. There’s plenty of retro heartbreak rock on Women In Music, Pt. III to satisfy fans of HAIM’s first two albums, but lots of new on offer as well including the jazzy Lou Reed inspired sax of “Summer Girl” and Danielle Haim sounding positively Joni Mitchell-esque on “Man From the Magazine”. The auditory production flourishes of erstwhile Vampire Weekend member Rostam are noticeable throughout and help stretch the bounds of the HAIM sisters’ signature Wilson Phillips meets Fleetwood Mac summer rock sound into something more of the moment.

Highlights: The Steps, Summer Girl, Don’t Wanna, Man From the Magazine, FUBT

8) My Turn (Deluxe) - Lil Baby

I’ve almost given up on trying to enjoy or understand most “new rap” but every now and then something breaks through that I connect with for some reason. Atlanta rapper Lil Baby’s My Turn was that album for me this year. There are many reasons I feel I should not like Lil Baby’s music, from his liberal use of autotune to his mumbling delivery, but something always drew me back to it and, listen after listen, it grew on me. Lil Baby’s flow is persistent when he locks in, with matching driving trap production from Quay Global, Tay Keith and others, mirroring in sound the story of Baby’s rise from the streets to prison to the studio. The standout track is late addition “The Bigger Picture”, Lil Baby’s protest anthem on race in America, policing and the turmoil following the killing of George Floyd by police, a political statement from an otherwise apolitical artist, showing that Lil Baby has much more to offer than bravado and autotune.

Highlights: Grace (ft. 42 Dugg), Forever (ft. Lil Wayne), No Sucker (ft. Moneybagg Yo), Social Distancing, The Bigger Picture

7) Miss Anthropocene - Grimes

The third major studio release from Montreal native Claire Boucher, better known as Grimes, doesn’t reach the same highs as its predecessors - 2015′s electro-pop masterpiece Art Angels (which rated number 1 on this list for that year) or 2012′s Visions, the synth-laden fever dream that introduced Grimes to mainstream notoriety (number 2 on this list for 2012) - but it’s still very much worth the time. The vibe of Miss A falls somewhere between Grimes’ previous two albums, and a little darker and messier to boot. Grimes sounds a bit like she’s playing a concert for the end of the world, which feels a bit prophetic for an album released just before a global pandemic took hold. As always, Grimes is out to flex her muscle as a technician and across the album’s ten tracks she mixes diverse sounds ranging from rave synths to banjos showing how far her craft has come since making Visions on Garageband in her Mile End apartment.

Highlights: So Heavy I Fell Through The Earth, Violence, Delete Forever, 4ÆM, You’ll miss me when I’m not around

6) evermore - Taylor Swift

Spoiler alert, this isn’t the highest ranked Taylor Swift album on this list. Surprise released in December, evermore was an early Christmas present to fans of Swift’s surprise summer album folklore (more on that later). evermore continues Swift’s reinvention from pop star to indie singer-songwriter, assisted by songwriting partner Aaron Dessner of The National and a variety of indie darling guest stars - this time around featuring HAIM, The National’s Matt Berninger and another stunning guest turn with Bon Iver. Speaking of Justin Vernon, the album capping title track might be the single best song on either folklore or evermore. And for fans of Taylor’s earlier catalogue like me, the return to country music on “no body, no crime” is like reconnecting with an old friend. evermore is a little messier and less consistent thematically than its sister album, feeling a bit like folklore’s b-sides. But when your b-sides are better than most artist’s a-sides, why not release another album’s worth?

Highlights: ‘tis the damn season, no body no crime (ft. HAIM), coney island (ft. The National), cowboy like me, evermore (ft. Bon Iver)

5) RTJ4 - Run The Jewels

Walking the streets of my neighbourhood with the first listen of RTJ4 in my earbuds, I found myself actually crying at the thought that I would not get to see Killer Mike and el-P perform these songs live in the summer of 2020. The memories of RTJ festival sets past came rushing over me in a wave. That was my first “damn, I miss live music moment” of the pandemic. The fourth instalment of Run The Jewels’ historic rap partnership is more of the same in the very best way. Like the dynamic duo’s previous three instalments, RTJ4 is in your face, moves at a frenetic clip, and takes no prisoners. There’s even another album highlighting collaboration with Rage Against The Machine’s Zack De La Rocha. The politics of RTJ4′s tirades against inequity and the police state feel even more imminent in 2020 against the backdrop of George Floyd, the ensuing protest movement that gripped America, and the 2020 presidential election. I really hope we get a chance to see Mike and el-P tour these songs in 2021, the world needs it.

Highlights: ooh la la (ft. Greg Nice and DJ Premier), goonies vs. E.T., walking in the snow, JU$T (ft. Pharrell Williams and Zack de la Rocha), a few words for the firing squad (radiation)

4) Saint Cloud - Waxahatchee

The majestically twangy folk-Americana of Saint Cloud, the fifth solo album from Katie Crutchfield (stage named Waxahatchee after Waxahatchee Creek, Alabama, where the singer grew up), is a nostalgic cure for the ails of 2020. The soft bluesy rhythms of Crutchfield’s songs feel like a lazy long summer day spent by the water. That was something we needed this year. The songwriting is just as beautiful. The standout track, “Fire”, speaks to Crutchfield’s journey finding sobriety and reconnecting with her southern roots. It also speaks to a longing feeling “give me something / it ain’t enough / it ain’t enough”. On “Arkadelphia”, Crutchfield croons: “We try to give it all meaning / Glorify the grain of the wood / Tell ourselves what's beautiful and good”. In the chaos of 2020, the calm oasis of Saint Cloud is certainly something beautiful and good worth enjoying.

Highlights: Can’t Do Much, Fire, The Eye, Arkadelphia, St. Cloud

3) Suddenly - Caribou

Suddenly was my first genuine pandemic listen and, in the early days of lockdown, I found myself going back to it again and again. So much so, that the opening haunting notes of “Sister” became a kind of touchstone as I adjusted to a weird new work-from-home lifestyle. The chilled out weirdness of Caribou was an extremely welcome presence in 2020. It had been long enough since 2014′s Our Love (2014′s number 1 on this list) that I’d forgotten how enjoyably quirky Dan Snaith’s floaty pseudo-house tunes could be. Suddenly is a little more laid back than the club ready Our Love, which maybe suits it more to a world where dancefloors are closed. The tunes are also tighter, more economical in their length and soundscape. The lead single “Home” sounds downright commercial (in a good way) with it’s motown sampled chorus. Other parts of the album, like the closing “Cloud Song” venture into more experimental territories. All throughout, however, are Caribou’s signature warm chord progressions inviting you to lose yourself in them. Whether you’re looking for a guided meditation or an at-home dance party, Suddenly was the perfect 2020 album for it.

Highlights: Sister, Home, Lime, Never Come Back, Ravi

2) Cuttin’ Grass, Vol. 1 : The Butcher Shoppe Sessions - Sturgill Simpson

2020 was full of unexpected things, many bad but some surprisingly delightful. Firmly in the latter category is Cuttin’ Grass, Sturgill Simpson’s surprise double album made up entirely of bluegrass covers of his own catalogue. A true product of 2020, Simpson recorded the album with a murderer’s row of contemporary bluegrass artists after recovering from COVID-19 and challenging his fans to raise funds for charity in exchange for recording a new album. That album became Cuttin’ Grass, a traditional bluegrass re-imagination of the greatest hits and hidden gems of a country artist who has always strived to avoid being labelled as a country artist. The songs feel effortlessly at home and are given new life amid the frenetic guitar and mandolin picking, flying fiddles, and twangling banjos. If Simpson’s ode to the revelatory experience of psychedlic drug use “Turtles All The Way Down” felt revolutionary on 2014′s Metamodern Sounds in Country Music, it feels like an old standard here with its tempo pitched up and enveloped in the cacophony of the bluegrass ensemble. There is some good old fashioned heartbreak to slow things down too. Mandolin player and backup vocalist Sierra Hull shines on “I Wonder” (a cover of a song originally recorded by Sturgill’s former band Sunday Valley) as she joins Simpson on the chorus: “Tell me am I the only one / drinking and cursing your name?” The juxtaposition of Simpson’s unconventional country catalogue with the most traditional of country music styles just works and the entire hour can be listened and relistened for days. And if you’re still not satisfied, the companion “Volume 2: the Cowboy Arms Sessions” released in December brings back the same supporting cast to explore more of Simpson’s catalogue.

Highlights: All The Pretty Colors, Breakers Roar, Time After All, Turtles All The Way Down, Voices

1) folklore - Taylor Swift

Well, I told you there’d be more Taylor Swift on this list, and here it is. Your number 1 album of 2020 is folklore, the surprise release pandemic project in which the world’s biggest country star turned pop star reinvented herself again as an indie artist. Unlike anything else Swift has put out since RED, nothing on folklore is designed to be played in a stadium. Rather, it’s all more at home in a cabin by the fire, or in your earbuds on a fall walk... basically, it’s music meant for 2020. Like its companion evermore, folklore is the product of Swift’s songwriting collaboration with The National’s guitarist Aaron Dessner. The melding of songwriting styles seems like an odd match at first but sounds like a match made in heaven. Lyrically, Swift’s songwriting makes an evolutionary leap, almost leaving her primary auto or semi-autobiographical comfort zone behind completely (other than, perhaps, in heavily veiled metaphor) in favour of invented stories and semi-historical world building. After a few listens, you discover that the same characters appear in different songs like the imagined history of Rebekah Harkness, the real life former inhabitant of Swift’s Rhode Island home, on “the last great american dynasty” or imagery of “battleships” that “sink beneath the waves” in the ghost story of “my tears ricochet”. In the so-called “teenage love triangle trilogy” of “betty”, “cardigan”, and “august”, Swift tells different parts of the same story from the perspective of different characters. Each song stands on its own, but the discovery that the pieces fit together is wonderful. “betty” is the standout track for me, as a long suffering fan of “country Taylor”. In style, it harkens back to her earlier work, but in substance it’s something new entirely as Swift sings from the perspective of James, the boy who has done wrong by his lover and is seeking forgiveness. The pinnacle of the album is “exile” Swift’s collaboration with Bon Iver’s Justin Vernon. The call and response interaction of Swift with Vernon’s true to for emma form baritone is chill inducing. Like so many of the unexpected good things in 2020, folklore came from throwing plans out the window and doing what felt right for the moment. This is Taylor Swift making the music she wanted to make. In Dark Knight fashion, it’s the album we needed, if not the one we deserved. It’s the best album of the year.

Highlights: cardigan, the last great american dynasty, exile (ft. Bon Iver), my tears ricochet, epiphany, betty, peace

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tfw-no-tennis · 4 years ago

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mtmte liveblog issue 17

and we’re back!

phew I had to take a hiatus to work on other projects but now that those are done I'm baaaack

god I'm SO fucking excited for this arc, I fucking love it

OH NO TAILGATE...I almost forgot...this poor little dude

REMAIN IN LIGHT BABEYYYYY!!! I fucking love that title, talking heads is probably my favorite band Ever, and that album is one of my favorites, so when I first saw it here I was super excited lol. it’s such a good title, both for the album and for this arc

tailgate goes right to cyclonus ;_; hhhhhhhhhhhhhhhhh

also...I just love the way milne draws cyclonus, he’s the perfect mix of terrifying and handsome, and also goth

ohhhhh I forgot about the framing device used here, with rodimus in jail later on in this arc, narrating retrospectively

cybercrosis, add that to this list of amusing robo-puns, as a play on (I'm assuming) necrosis, aka tissue death

oof, ratchet saying that tailgate ‘lived a full life,’ which is fucking brutal because we as the readers know that isn't true :(

tg is right tho, it seems v uncommon for tfs to die of old age. that's some shit luck right there, espec bc tg is basically a baby who was asleep for 6 million years

ratchet talking abt pharma and looking at his hands...I See That

ratchets bedside manner leaves a bit to be desired hvbhjdsubfjsd jesus dude

and then there's cyclonus, whos also pretty terrible at being tactful

AUGHHHH and then cyclonus, like the emotionally repressed icon he is, goes and claws his own face up in grief rather than express any emotion to tailgate :( I'm in physical pain thanks

rodimus is like, wait...informing my crew about my actions? lmao? uhh what quest...oh yeah we’re on a quest. yeaaaah whatever man

the portal helllllll yessssssss

poor tg drinking away his impending death

oh man, chromedomes weird fucked up skeleton arm

rodimus hhvbhjaudsfbjaskdf he’s like yeahhhh I'm not even gonna pretend to indulge in democracy, we are GOING thru that giant ass space portal whether you fools like it or not

AND THERES THE MFING MOON BABEYYYY!

luna 1!!!!!! they found the missing moon BY ACCIDENT, fucking iconic

still cant believe rodimus’s office is HOT PINK with a FLAME DECAL around the door. unreal

awww I love percy

rodimus, in a shocking show of maturity, admits that rung was correct to be harsh with him about the whole overlord thing

the squad gettin together ayyyy

rodimus reminding us all that this ISNT just a party ship full of frat boys, people have DIED

when you see tg and realize that that was cyclonus’s request ;_;

aughhh and cyc saying ‘never hope. hope is a lie.’ that kills me man aughhhh

like, cyclonus clearly doesn't want to deal with the emotions he’s feeling over tg dying so he’s trying to make sure that tg accepts death and doesn't hope for a cure, bc that would hurt cyclonus MORE, and he’s already unused to all these ‘emotions’ n shit

I'm sorry but the MARBs just look so fuckin dorky bvhjakbdfhsf beep beep here comes the dweeb squad!!! lmaoooo

cd being like ‘can’t we just drive’ and perceptor is right there like :| LMAOOOO

also I love cd saying ‘sometimes I wonder why we even have alt modes’ bc I feel like that's such a witty dig at the fact that in this series about robots that transform into cars, we rarely get to seem them actually DO that

its especially interesting when you consider how important functionism is in this story - alt modes are super important in that context, but we still rarely get to see them. hell, we literally NEVER saw megatrons alt mode, which is still crazy to me

ohhhh man I love that panel where the whole moon lights up, that's just amazing

congratulations, rodimus! it’s....a shitton of babies!

also broooo I ufcking love the fact that you barely even notice that rung ALSO hopped down onto the moon at the same time as rodimus...brilliant

god now I need to go find that ‘am i pragnent?’ video lmaooo

why....why did you have to use the word ‘fertilized,’ jro. why....

cold construction lore time!

do I wanna do my big biology speech here? I'm trying to figure out where it would go best...I think ill save it for later in this arc

god I fucking love brainstorm. his entire little speech about how he ‘went to marches’ for cold construction rights and whatnot is so funny with the added context that he’s an MTO and wasn't even around for that

skids, don't just sit in the spooky oil reservoir, alone, after you just went thru a mysterious portal, you should be more genre savvy than that

what am I saying, this is the guy who wants his memories back even though he’s been told multiple times that it’ll probably traumatize him to death

brainstorm with the 0.1%er spark [eyes emoji]

I love percy just being horrified at the lack of proper scientific conduct from brainstorm like, all the time

I see the cons have their own edgy, weaponed-up version of the MARBs

MINIMUS!!!!!!!!!!!!!!!!!!!!!!!!

I love him aughhh I'm so excited for the stuff w/him this arc

also I totally forgot that you’re supposed to see him introduce himself as ‘ambus’ and be like whoa wait is that dominus????? or someone adjacent to him????

skids vs legislators: part 2!

P H A R M A

DR THOT HIMSELF.....back and immediately making a hand pun, with his chainsaw arm displayed in full glory....amazing

cant believe jro named this one ‘the fecund moon,’ which forced me to google what ‘fecund’ means, which led me to go ‘oh good lord jro WHY’ lmao

I do love that we don't see the ‘part 1 of 5′ til the end - that's a great small reveal that hey, we’re in an arc now!

so there's the end of issue one of remain in light! aughh, I'm so fucking excited for this arc. my first two readthrus this was one of my favorite arcs (my other fav being the time travel arc), and I'm excited to see if its still at the top for me

I feel like the first time I read thru I like this arc a lot cause I actually understood most of it hbvhadjkfbaksjf unlike all the previous stuff, where I was a bit more confused - at this point I at least had a decent grasp on the characters and relationships, so that helped a lot

also apparently one of the songs of this issue is ‘heaven’ by talking heads which AUghhH that song makes me wanna float in the ocean and look at the stars. idk. also I find it a little ironic that that song isn't off the album remain in light lol

either way I love this issue, strong start to the arc with lots of intrigue and worldbuilding, and clearly some incoming status quo changes...cant wait!!

#lj rereads mtmte

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honeyopinion · 4 years ago

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20/20 Albums of the Year

Circles by Mac Miller | Hip-Hop, Soul, Funk Released: January 17, 2020

Best Album For... Pouring One Out for Mac

I wrote a few different drafts of this album summary, and none of them felt like they really fit the impossibly large bill of accurately describing the posthumous importance or brilliance of this album. If you are a fan of hip-hop or soul music of any kind, try to give this piece of work a chance. I for one, used to judge Mac based on his early frat rap days in the late 2000s. But a decade later he came to leave the world with one of the most surprising and frankly impressive artistic evolutions that I’ve been able to witness in real time. RIP Mac.

Spotify Apple Music YouTube Pandora

Start With: “Circles” or “Everybody”

Marigold by Pinegrove | Alternative Country and Folk Rock Released: January 17, 2020

Best Album For… Passing Through a Small Town on a Cloudy Winter Day

Pinegrove was one of the last great concerts I got to experience before the pandemic. And it was my favorite performance of theirs from the last 6 years of seeing them play live. Is this my favorite album of theirs? Honestly, it’s not. But I still find it extremely enjoyable, and the memory of seeing these songs performed live, along with some of their classics, was enough for me to include it on this list. This is an album that marks Pinegrove’s exit from their pop punk roots. It’s still sentimental, but much more country and folk rock focused vs. anything trying to be associated with emo or punk.

Spotify Apple Music YouTube Pandora Start With: “The Alarmist” or “No Drugs”

Watch This Liquid Pour Itself by Okay Kaya | Synth Pop, Art Rock, Folk Released: January 24, 2020

Best Album For… Crywanking at 3am, Bathed in The Dull Light of Your Overheating Laptop

What if Feist and Father John Misty had a secret love child? They might sound something like Okay Kaya. Self proclaimed “Singer ~ Crywanker,” Okay Kaya brings serious BDE to weirdo art pop that she seems like she could be a plant from the mind of Nathan Fielder. Kaya delivers with such deadpan precision as she rolls out line after line of sarcastic joy, staring blankly at our dystopian reality. “Here I am, the whole world is my daddy,” “Netflix and yeast infection,” “Sex with me is mediocre,” “I just want us to do well like Jon Bon Jovi’s Rosê,” and, “My parasite and I are blushing / In the zero interaction ramen bar,” are just a few examples of some of her memorable and biting lyrics. The entire album is both a critique and nihilistic fondness for the absurdity of our lonely technological society, not quite sure how to deal with taboos like repressed female sexuality, depression, and codependency.

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Start With: “Baby Little Tween” or “Asexual Wellbeing”

UNLOCKED by Denzel Curry and Kenny Beats | Hip-Hop Released: February 7, 2020

Best Album For... Nodding Your Damn Head To, Feeling Cooler Than You Actually Are

I had to double check that this was an album. Clocking in under 20 minutes, this collection of songs feels more like an EP, especially with the track titles that purposefully look like file names and placeholders. But for a short album, Denzel wastes no time, furiously zigging and zagging effortlessly over Kenny Beats’ 90s New York-indebted production (ad libs and all). Kenny pulls out samples of an array of pop culture references made by Denzel (like quotes from movies and weapon sound effects like a lightsaber) — as he rotates his flow between admirable impressions of DMX, Nas, and Joey Bada$$.

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Start With: “So.Incredible.pkg” or “DIET_”

Cardboard City by Zack Villere | Pop, Electronic, R&B Released: February 14, 2020

Best Album For… Pal-ing Around With Your Friends From High School, Maybe Quoting Superbad At The Same Time

The first time I watched a music video from Zack Villere, I noticed the top comment said: “how did frank ocean get trapped in mark zuckerberg.” And while that definitely gets at the heart of how Zack Villere presents himself, he is not a phenomenal singer like Frank Ocean is, nor does he come off as an asshole like Mark Zuckerberg does. I would say that he is just a slightly awkward nerdy white guy who loves hip-hop production and R&B melodies. So the better question is really, “how did drake get trapped in michael cera?” This premise should not work at all, but somehow it does. This is only Villere’s second album, but he shows some serious production and songwriting chops, plus a commitment to his delivery that comes across as genuine, charming, and unique.

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Start With: “Grateful” or “Superhero Strength”

The Slow Rush by Tame Impala | Psych Rock, Synth Pop, Disco Released: February 14, 2020

Best Album For... Throwing a Silent Disco For One

Tame Impala continues on their now 10 year streak of psych rock dominance. Along the way we’ve seen Kevin Parker master and stretch the boundaries of psychedelic production. This has resulted in his music coming as close to sounding like the best aspects of The Beatles, while also expanding into hip hop drums, R&B hooks, plus more and more electronic elements. This is an album that I was not super impressed with when it initially came out, but as we entered the pandemic and were tasked with finding small joys in staying at home all the time, I found myself going back to this album and appreciating the themes of solitude and self reflection that Parker has drawn from throughout his career.

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Start With: “Posthumous Forgiveness” or “One More Hour”

1988 by Knxwledge | Hip-Hop Released: March 27, 2020

Best Album For... Pumping Your Brakes and Driving Slow, Uh *Homie* Although this album is named after a year in the 80s, the sound here is a perfect portal back to 90s golden era hip-hop, with all the gospel, soul samples, and the kind of deep bass you want to feel in your chest. This is the rare, largely instrumental hip-hop album that I find myself going back to, other than works from the legendary J Dilla and MF Doom. Knxwledge is good friends and a frequent collaborator with Anderson .Paak (in the form of NxWorries). Here we get Anderson to grace us with his presence on the track “itkanbe[sonice]”, and of course it sounds just like an authentic vintage soul sample. When I hear this collection of songs it makes me wish I still had a car, so I could inevitably damage my speakers listening to this.

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Start With: “dont be afraid” or “thats allwekando.”

Future Nostalgia by Dua Lipa | Pop, R&B, Funk, Disco Released: March 27, 2020 Best Album For... Alarming Your Pet With Your Enthusiastic Lip Syncing

This album is a pure sugar rush. Like Bruno Mars with the help of Mark Ronson, or Calvin Harris a few years ago, Dua has harnessed a nostalgia (it’s even in the title, wink) for disco, funk and R&B, and is instantly a sexy, catchy, not-so-guilty pleasure. It’s sad that the majority of these songs are all bonafide club hits that didn’t have a proper home this year … except for my living room. And hopefully yours.

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Start With: “Pretty Please” or “Future Nostalgia”

Hold Space For Me by Orion Sun | Alternative R&B and Hip-Hop Released: March 27, 2020

Best Album For... Wishing Frank Ocean Was Your Dad

“Alternative R&B” is a contentious term, but what else would you call one of a few R&B singers cool enough to make it onto (NYC indie darlings) Mom+Pop Records?? On one hand, she brings the vulnerable and introverted lyrics of an indie singer songwriter like Tracey Chapman, crossed with the raw presence and sweet melodic delivery of a true R&B star like Aaliyah. I’d even go far enough to refer to her as the musical stepchild of Frank Ocean and SZA.

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Start With: “Ne Me Quitte Pass (Don’t Leave Me)” or “Lightning”

You and Your Friends by Peach Pit | Indie Rock and Dream Pop Released: April 3, 2020

Best Album For... Going Back To Your College Town To Crash A Party

Peach Pit seem like they would be cool dudes to hang out with. You have no problem picturing them as the band playing a house show in an indie movie about college kids. And that’s because there’s a familiarity to the scenes that their songs portray, of stumbling through your 20s, either being too dumb or having too much fun to notice. It’s funny to refer to this as “Indie” rock since this is Peach Pit’s major label debut with Columbia Records. But It has all the trappings of Indie; sticky melodies, gentle reverb, an “I’m not trying that hard” vibe, and lyrics that are oddly specific enough to be interesting, but still vague enough to be relatable.

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Start With: “Feelin’ Low (Fuckboy Blues)” or “Shampoo Bottles”

Heaven To a Tortured Mind by Yves Tumor | Psych Rock, Indie Pop, Post-Punk, Alternative R&B, Experimental Electronic Released: April 3, 2020

Best Album For... Tearing Up The Fucking Dance Floor With Your Hot Robot Girlfriend

If Tyler the Creator, Alex G, King Krule, and Blood Orange all got into the studio together and dropped a shit ton of acid on Halloween, their recording session might sound something like Heaven To a Tortured Mind… And even then, you still might have trouble putting your finger on exactly what you’re hearing. “Dream Palette” is a good reference track for Tumor’s most wild and mesmerizing qualities. The biggest styles of the past half century of music have been loaded into this gleefully effective genre blender, with blades of dissonance slicing everything up, creating a surrealist sonic smoothie.

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Start With: “Super Stars” or “Dream Palette”

The New Abnormal by The Strokes | Indie Rock, Dirtbag Disco, Synth Pop Released: April 10, 2020

Best Album For... Mixing Yourself Another Drink This Saturday Night

Back from the dead, The Strokes return with their first album in 7 years to turn some heads and settle back into some old habits. The charming messy haired garage rock of the early 2000s still pops up here and there, but this is really a record where the group is mature enough to show you that they actually are trying, and are unafraid to take joyous swings for the fences. Julian Casablancas pushes his scratchy alley cat yelp of a voice into something more vulnerable, sunny, and sweet, like he asked for a piña colada (you know, with one of those little umbrellas) instead of a double shot of scotch before hopping up on stage… Or maybe he did both. But these days, everyone is looking for some sort of break from our groundhog day lives any way that we can. Sometimes that sounds like selling out, or depending on how you look at it, stepping up. This album is the result of a group of old friends who got together to make music they simply want to make for themselves. Now far removed from the 2000s New York scene where their younger selves were acting too cool and disaffected to care about having fun.

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Start With: “Eternal Summer” or “The Adults Are Talking”

The Loves of Your Life by Hamilton Leithauser | Indie Rock and Alternative Country Released: April 10, 2020

Best Album For... Drinking Down At The Docks, Watching The Sun Set

While I am a fan of The Walkmen, I have no idea what their frontman Hamilton Leithauser looks like or how he dresses. But hearing these songs off of his latest solo, I imagine the following: a member of Mumford and Sons if they were edgy and cooler, giving off a “cowboy rocker meets depression-era dock worker” aesthetic. That’s exactly how his music comes off to me. It’s a convincing blend of blues rock, Americana, and old timey country music. All expertly narrated by dusty country guitars and standup bass, tarnished horns and flutes, and what I imagine to be a restored saloon piano. The Loves of Your Life originally started as a collection of short stories, each about characters based on both people he knew and strangers. Leithauser then wrote the music separately, and finally came to mix and match their parts together in a surprisingly convincing fashion to create the album.

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Start With: “Wack Jack” or “Cross-Sound Ferry (Walk-On Ticket)”

What Kinda Music by Tom Misch and Yussef Dayes | Neo-Soul, Electronic, Hip-Hop

Released: April 24, 2020

Best Album For... Cooking For Someone You’re In Love With

Exactly what kind of music do Tom Misch and Yussef Dayes make? It’s orchestral, it’s jazz-infused, it’s hip-hop beats joined with gentle soul. It’s a little sexy, it’s a little mysterious, and you’re going to want to listen to it a whole lot. That’s it. That’s what kind of music it is! Send tweet.

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Start With: “What Kinda Music” or “Storm Before The Calm”

Petals For Armor by Hayley Williams | Electronic Pop and Art Rock Released: May 8, 2020

Best Album For... Browsing Depop for Your Next 80s Normcore ‘Fit

Hayley, Hayley, Hayley. You are too good for this wretched world!! After exploring more adventurous sounds and genre hopping over the last few Paramore records, Hayley decided to go out on her own. This really frees herself from the expectations that come along with being the face and heart of a wildly popular band for the last 15+ years. Thom Yorke fans rejoice, because Hayley Williams has a clear admiration for Radiohead’s haunting indie electronic vibe, while emoting some pain and darkness atop her love for 80s pop and art rock (think Genesis, Devo, The Talking Heads). This is a promising new avenue for Hayley to explore herself and process her pain and desire completely on her own. I see this new project of hers only blooming further from here.

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Start With: “Simmer” or “Sudden Desire”

Set My Heart On Fire Immediately by Perfume Genius | Indie Pop and Art Rock Released: May 15, 2020

Best Album For... Daydreaming That You Were Somewhere Else

For his 5th studio album, Perfume Genius enlists production wizard and guitar god Blake Mills, along with Grammy Award-winning arranger and multi-instrumentalist Rob Moose to create a beautiful swirling mosaic of 80s pastel pop that also packs serious classic rock grandeur. Bass guitar dances between satin smooth lines on one song to churning distorted currents on the next. Sparkling string arrangements and organs bleed together to expose a fading sunset that you’ll want to try and hold in your hands to keep it in sight. Perfume Genius is unafraid to challenge traditional masculinity, packing a 21st century queer machismo into both the quiet moments and jubilant explosions.

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Start With: “Without You” or “Describe”

græ by Moses Sumney | Indie Pop, Art Rock, Neo-Soul, Psychic Folk Released: May 15, 2020

Best Album For... Astral Projection 101

I mean this in the best way possible, but I think that Moses Sumney is a witch. Or maybe a wizard? There’s no other reasonable explanation for the level of creativity and wonder that he summons. This album feels like a private concert by a waterfall (similar to one on the cover), with ethereal pleas, and heavy ideas—like meditating on what lies beyond the constraints of the physical self and reconsidering how well we can actually trust memory and the mind. Sumney layers his voice to create the effect of a ghostly choir, accented by a stark intimidating falsetto that reverberates through the ruins of an abandoned temple where Sumney is the only one in attendance.

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Start With: “Cut Me” or “Polly”

WILL THIS MAKE ME GOOD by Nick Hakim | Psychedelic Neo-Soul Released: May 15, 2020

Best Album For... Playing Pool in a Hazy Dive Bar

Nick Hakim is a silky smooth smokey crooner who paints with warbly piano loops, dreamy reverb-heavy guitar, boom bap beats—not to mention a falsetto that would make Smokey Robinson jealous. Clearly a fan of Motown and 60s jazz, Hakim could be considered a peer of Thunder Cat and Anderson .Paak’s to a degree. I remember seeing him perform at Music Hall of Williamsburg a few years ago. The performance ended with him falling down on stage (presumably from being under the influence of multiple substances). But while the song continued he popped back up and belted an impressive high note like it was nothing, drink in hand. And it’s that kind of messy beauty that also makes this album so engrossing. Like watching the eye of the storm get closer and closer, but unable to look away from the sheer magnetism that nature can wield.

Spotify Apple Music YouTube Pandora Start With: “All THESE CHANGES” or “ALL THESE INSTRUMENTS”

RTJ4 by Run The Jewels | Hip-Hop Released: June 3, 2020

Best Album For... Making Your Next Protest Sign

Run The Jewels’ fourth outing might be the most unapologetically angry rap album in the “fuck this” year of 2020. And it reminded me that I should absolutely still be furious about everything that happened during this groundbreaking yet terrifyingly familiar year: country wide protests over the continued murder of innocent black people at the hands of the police, government drone strikes and detaining kids in cages, the state of our environment worsening—and that’s not even addressing the pandemic or election. Killer Mike and El-P are here to scream from the rooftops that our current system of cutthroat capitalism and white supremacy is killing the planet and its inhabitants, and I’m glad that they’re using their platform to continue to sound the alarm.

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Start With: “out of sight” or “ooh la la”

Your Hero Is Not Dead by Westerman | New Wave Revival and Indie Pop Released: June 5, 2020 Best Album For... Wanting Your Old School MTV

The cover of Westerman’s first proper album is mostly black and white, except for the title, which is scrawled out in lettering which spans the Crayola color spectrum. It’s an album that on the surface is cold and buttoned up, but when these choruses open up, the maximalist 80s power pop bursts like the bulbs of a neon sign. There’s a level of even-keeled cool and confidence in small moments on display here that makes this relatively new artist seem well beyond his years. Having seen him play at Rough Trade a few years ago (opening up for the stellar Puma Blue), the songwriting growth on display on this record is impressive. I’m only sad that there wasn’t an opportunity to have seen him play these new songs live.

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Start With: “Easy Money” or “Confirmation (SSBD)”

Punisher by Phoebe Bridgers | Indie Rock and Alternative Country Released: June 18, 2020

Best Album For... Burning Incense and Breaking Out a Ouija Board to Talk to The Ghost of Your Former Self

This is without a doubt, a career defining release for Phoebe. Taking everything she’s learned from writing, performing, and touring with the likes of Lucy Dacus and Julien Baker (in boygenius), and Conor Oberst (in Better Oblivion Community Center), Bridgers levels up to become the truly prolific singer-songwriter she’s been telling us she would always be. Bridgers has explained her personal definition of “a punisher” as a well meaning person who’s, “just talking to you and they don’t realize that your eyes are glazed over and you’re trying to escape.” Vital to understanding this album and its central message is that Phoebe finds herself caught between the contradiction of falling victim to this phenomenon while also doing it herself, especially if she ever met her musical idol, Elliott Smith. Punisher serves as a warning to her audience that if you focus too much on trying to find yourself through other people (via escaping through fandom, drugs, toxic relationships), you’ll always feel lost and dissatisfied, without the proper self awareness to ever quite know why.

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Start With: “Garden Song” or “ICU”

Women In Music Pt. III by HAIM | Rock, Pop, Folk, R&B Released: June 26, 2020

Best Album For... Preparing For A Better 2021, lol

With this album, HAIM skyrocketed to the #1 position of family bands that start with an “H.” Sorry, Hanson! But seriously, HAIM has outdone themselves on this one. If there was one album from this list that I would dub my personal AOTY, this would be it. You might wince at any tracklist longer than 10-12 songs these days (I know I usually do), but almost every song proves itself worthy, pulling at a different thread of my heart until there’s nothing left. Sunshine State Beach Pop? Check. Blues Tinged Dad Rock? Yup! Dive Bar Country? Mmhmm! No, wait, what’s that you say, Glitched-Out R&B? Yes, yes, and yes. You can have it all, sister! ‘Cause when you’re Haim, you’re family! ;) And these three “women in music” continue to prove that they are just about the best Assorted Pop Rocks(™) act in the world right now.

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Start With: “I’ve Been Down” or “Don’t Wanna”

Lianne La Havas by Lianne La Havas | Neo-Soul and Indie Pop Released: July 17, 2020

Best Album For... Sipping Coffee and Journaling on a Weekend Morning

This album exudes a warm vulnerability, like a comforting hug we all needed this year. On her third album, Lianne La Havas makes the risky decision to self title it, a move that artists make when they believe that it is the piece of work that they most want most directly associated with their name. It’s one thing to name your first album after yourself if you can’t think of anything else at the time, but to make a self titled album in the middle of your career, it means that you are sure about having captured who you really are and who you want people to remember you as. “If I love myself, I know I can't be no one else,” La Havas admits on the standout track, “Paper Thin.” She knows that she will meet her destiny and reach self actualization, but only through self love. And finally, I cannot overstate how breathtaking La Havas’s voice comes across on this album. The strength and control on display in her vocal tone and vibrato is quite a spectacle.

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Start With: “Paper Thin” or “Sour Flower”

Limbo by Aminé | Hip-Hop and R&B Released: August 7, 2020

Best Album For... Trying and Get Over Kanye With

On Limbo, Aminé establishes himself as one of the torchbearers of soul-sampling, lyrics-driven hip-hop that still cares about storytelling, skits, and presenting vocals clearly. Kanye West, Drake, and J. Cole all paved the way for someone from the next generation like Aminé to keep the dream alive and avoid succumbing to the “feel good, don’t think” form of passive listening that mumble rap has made the standard for mainstream hip-hop.

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Start With: “Pressure In My Palms” or “My Reality”

Shore by Fleet Foxes | Folk and Indie Rock Released: September 22, 2020

Best Album For... Running Along The Beach With Your Arms Stretched Out

It was really kind of Robin Pecknold and co. to have released an album this triumphant, calming, and awe-inspiring during the year of our Lorde 2020. On behalf of myself and anyone else who suffers from Seasonal Affective Disorder, the SAD people of the world really needed this, man. And to anyone who is quick to judge these beard-o’s of being boring, you’re simply not using your ears properly. Yeah, you know those two things on either side of your head? Get the gunk out of them! That way you’ll hear the choir of angels with acoustic guitars who are here to guide us through quarantine and beyond.

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Start With: “Can I Believe You” or “A Long Way Past The Past”

Listen to all of these albums together in our playlist.

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courage-n-kindness · 5 years ago

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So today, there isn’t going to be a big ranty post unfortunately lol. Instead, I thought I’d talk a little bit about my favourite music:

1. Mindless self indulgence

Mindless is my favourite band ever and I really can’t tell you exactly why. I really like the chaotic and unapologetic music that they put out because it’s high-energy, and really boosts my confidence when I listen to it. When I listen to it, it feels like nothing can stop me and it invokes that feeling where you think you could do anything and get away with it. My favourite song by them is either Molly or Animal

2. PVRIS

You can listen to PVRIS no matter what mood you’re in- they literally have music for any mood. A lot of the music they do is kind of lowkey, but when they go all out, they REALLY go all out. A good example of this is Eyelids vs White Noise - you cannot get any different than that lol. My favourite song by them is either Anyone Else [because it reminds me that I belong to myself, and no one else can control me] or No Mercy [because it’s so empowering and has that message of “I dare you”, which I really love]

3. Kendrick Lamar

This is a little different from the rest of my music lol. I just really enjoy Kendrick’s music because there’s such a wide variation of feeling in it, especially in DAMN. Even though I can’t really relate to a lot of issues that he talks about in his music, I still connect to it on a really deep level. My favourite song is probably Love because the contrast between the rap and Zacari’s vocals just works so well. It’s so unexpected but both parts emphasise and enhance one another and it’s just really beautiful

4. My Chem

My Chemical Romance is one of the bands that shaped me as a person. I found them during my peak emo phase, but went off them when I came out of it. Recently, however, I’ve been listening to their music again, and no matter how hard I try to cringe at the memories, I just can’t. Their music has always had such a strong message that really speaks to me about being myself and not giving in to my demons. I absolutely LOVE Danger Days because the concept of this album is so interesting to me and the vibe of the songs is so much more upbeat and more punk than emo, which I really like. I think my favourite song would either be Early Sunsets Over Monrover or Na Na Na.

5. Melanie Martinez

I’ve only recently become a fan of Melanie Martinez after the release of K-12. I thought that the concept of K-12 was really interesting, especially thinking about how it links in to Crybaby, however, the scripting was a little questionable lol. I know I’ve said this before, but you can listen to any one of her songs in any mood. For example, Recess has that vibe where you can listen to it while crying, but you could also listen to it when you’re perfectly fine. I really really love Tag, You’re It and Wheels On The Bus.

6. Post Malone

Posty is so precious and we should protect him at all costs. His music is just so kind of chill. It’s the kind of music that I picture myself listening to in the height of summer, sunbathing on the beach, you know? It’s kind of upbeat, even though some of the topics of his music are kind of the opposite lol. I think my favourite song is Sunflower [from the Spiderman into the Spiderverse movie, I know] or Rich and Sad

7. Asking Alexandria

Oh my god, you would not expect that I listen to this if you saw me. It’s just the best kind of music to listen to when you feel angry or want to work out. Even though a lot of their older stuff involves screaming, it’s still just the perfect music to listen to- when I listen to it I feel like I could get away with murder. I think my favourite song that they’ve done is either Under Denver or Don’t Pray For Me

8. Panic! at the disco [not the most recent album]

Okay, so I love a good bit of Panic [excluding the most recent album], but my favourite album is probably either Pretty. Odd or Too Weird To Live Too Young To Die. I just love how different each album sounds, so you really don’t know what to expect when they release a new album. I’m really not a fan of their recent album because I feel like it just sounds very childish [?] in parts, especially in Dancing’s Not A Crime, and there’s just something missing from what made Panic! At The Disco different from other bands. It just seems like they’ve started to blend in with the rest of the top 40. But Pretty. Odd. SLAPS so much, it’s their own kind of genre, mixed with 50s-60s-esque music. I think my favourite song is either Nicotine or These Tables Are Numbered...

9. Wet

This is kind of a lowkey band that is SO chill. This music is the kind of music that can move you immensely but also send you to sleep. I can’t really describe this music other than beautiful. It’s so different from anything I’ve ever heard, and I’ve tried on multiple occasions to find similar artists, but nothing is the same. My favourite song that they’ve done is Weak. It’s one of those songs that I would love to listen to for the first time again. It’s just so moving and always gives me goosebumps whenever I listen to it

Thank you for reading lol. I hope you enjoyed it!

Remember to stay positive :D

#panic! at the disco #panic #mcr #my chem #my chemical romance #kendrick #kendrick lamar #msi #mindless self indulgence #wet #aa #asking alexandria #posty #post malone #melanie #melanie martinez #pvris #music

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a-wandering-ghoulette · 6 years ago

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Ghost: Tobias finally revealed himself! From MyRock n°57; March/April issue; a FR->EN translation.

Enjoy a 2 page exclusiv interview fully translated from french to english; 3 full-page pics by Amanda Demme and a bitter live report of Zénith de Paris ritual (under the cut at the end of the post)! Note that I’m not perfectly bilingual so any of you who have a better english lvl than me are free to correct any mistake I could have done!

Tobias, master of the Forge

(Translation Note: Yes, we are french and we like dumb puns. So yass, he leads this band, thx)

Few hours before his appearance at Zénith de Paris, Tobias Forge has opened his lodge’s door to us. Decontracted and unmasked, the autoproclamed Ghost’s spokesperson frankly discuss about the band news and about his sudden notoriety.

Interview by Thomas Mafrouche; photos by Amanda Demme.

“In the colllective mind, doing metal is wearing black and shouting in a mic. People believe it’s easy when it’s a music requiring a lot of work and precision.” Tobias Forge

The last time we saw you at Zénith de Paris it was for Slayer and Mastodon’s opening. Tonight, you are the headline and your show is full. You must feel very proud! Tobias Forge: Oh I’m fulfilled! It’s fantastic! I’m very happy with what is happening. Not for the success, but because it allows me to finally have the means to do shows of the scope I always wanted. I always wished Ghost to be big, that our concerts dazzle! There’s nothing which annoyed me more than when you look small on a stage. It’s the case during some opening, or festivals prestations, when we have to play during day time... Ghost isn’t a band built for small stages. It’s a full experience, the spectator must imperatively get what’s coming! But, it’s a monstrous organisation, with a lot of logistical problems to solve beforehand. The more people there are involved in this adventure, the more risks there are for the machine to derailed. But, well, it’s the challenge to achieve when you bring a choir of 40 nuns on stage (laugh). In the end, what matter is that the spectator enjoy it, that they spend a good and phenomenous evening with us.

It is said that you are scrupulous about each detail, even the lights. Is that true? T.F.: Yes... I’m a “control freak”, I must admit it. (laughs) But this hunger for perfection, it’s also what brought me here tonight. This thirst for controling everything, it also came from the fact I’ve often been right by the past, but I was often dismissed... I have long tried to fight against this facet and to let people speak. And in these cases, it often narrowly avoided a catastrophe. So now I assume it. It pisses me off to have become a control maniac, but I’m used to it now, because it’s what’s best for Ghost, and thus, for the public...

Influenced by Candlemass & Metallica

To open your concerts for this tour, you have chosen your fellow countrymen from Candlemass. You’re fan, we guess? T.F.: I’ve been listening to them since I’m eight! They are my heroes! Their album Tales of Creation is one of my cult record! A decade ago, I had the chance to meet them and today we became very good friends. We are often seeing each others, our wifes and children are getting along pretty well too. Candlemass, it’s family! Their music had a direct impact on my way to compose. Plus, there’s all the imagery! I’m not talking about costumes, but the typography and the biblical visuals which always had greatly influenced me. I’ll even confess you something: The first album of Ghost, Opus Eponymous, was written for Messiah Marcolin’s voice [2nd singer of Candlemass, Redaction Note]. At the time, I didn’t wanted to be the singer of Ghost. Then I asked him to join us, but he had declined the invitation, saying he was busy with another project. So, when time has come to sing, I did it with his head voice. Last year, musicians from Candlemass also supported me on stage during Polar Music Prize’s ceremony [Swedish equivalent of Victoires de la Musique, but with guitars, RN (T.N: ouch, it’s a nice shot in our national music award ceremony face, since they never reward rock/metal artists... So yeah, national sized Grammy’s ceremony)]. We covered “Enter Sandman” by Metallica, in front of Sweden’s King and Queen. Robert Trujillo an Lars Ulrich were there as well. It’s an unforgatable memory! My wife and I, we even had dinner with one of Sweden’s princesses, after the ceremony.

Would the princess of Sweden be a metalhead?! T.F.: I won’t go this far, no (laughs). But she was very sociable, we even toasted. It was exquisite!

“Now, I will represent Ghost unmasked. Tobias Forge will be the official interlocutor, the same way George Lucas was the unique spokesman of Star Wars.” Tobias Forge

Speaking of Metallica, you’ll open for them at Stade de France, on May 12th. There, as well, it’s consecration! T.F.: It’s crazy! I’m going to tell you a funny anecdote. I’m not passionate about football, but it turns out that I was in Paris in 1998, during the World Cup. I wasn’t at Stade de France, but I saw pictures in the city, on big screens. And, at this moment, when I saw the final, that you amazingly won, I told myself that one day, I will play in Stade de France as well. It took me 21 years, but this day finally has come! this is proof that you have to believe in your dreams!

Metallica, it’s an institution for many people. For you as well? T.F.: There isn’t a superlativ strong enough to say how much I love these guys! Especially since they became friends. It’s an honour to have been chosen to support them on stage. Notably because they’re one of the reasons which pushed me to do music.

Which is your favorite album? T.F.: Ouch, that’s not easy! From a strictly personnal point of view, I would say Ride the Lightning and Master of Puppets. But from a professional one, as a composer, musician and producer, it’s clearly the Black Album. It’s their best record, the most complete. Reaching this level of perfection, it’s any musician’s dream. Everything is here, the writing is bold, with a lot of character, and the producing is impeccable. I know it’s a record which make polemic amongst purists, but objectively, it’s one of these albums which had contributed to forge the metal we know today. In the colllective mind, doing metal is wearing black and shouting in a mic. People believe it’s easy, when it’s a music requiring a lot of work and precision. The Black Album, it’s the result of a huge amount of work, it’s months and months of work!

Papa Emeritus vs Darth Vader

The Black Album is also the record of notoriety, the one which propulsed Metallica with the general/mainstream public. This exposure, it’s something you’re living since the release of Prequelle. Recently, your appearance in the TV show Quotidien created a conflict amongst fans. To have a guitar solo cut during a live stream, is it the price to pay when a metal band enter the great mediatical circus? T.F.: Of course, it’s a sacrifice to do. Let’s say that, with Ghost, our relations with medias hasn’t always been good. I long refused to play their game. For a long time, these mainstream televisions had asked for interviewing Papa Emeritus. I always opposed them a categorical no. You can’t interview Papa Emeritus, the same way you can’t interview Darth Vader. You can meet James Earl Jones, who borrow him his voice, or the actor David Prowse. But Darth Vader, nobody can speak to him. It’s the same for Papa Emeritus. Today, in order to reach the next level, it’s time to play the game, but in our way. Since I can’t relate on Papa Emeritus to do the job, I accepted to do this interview unmasked. The problem is that journalists hadn’t the necessary keys in hands to understand Ghost. Of course, I’m not talking about you, because rock press know very well what we are and who we are. You tell me about Candlemass, about Metallica... It’s something else. You, you know your subject. Mainstream medias, them, what’s interesting them is to make the buzz, it’s to have a bone to gnaw. Sometimes, I wonder why I accepted to do such mediatical things... It’s not like I needed them, moreover my concerts are full! But, well, I decided that now, I will represent Ghost unmasked. Tobias Forge will be the official interlocutor, the same way George Lucas was the unique spokesman of Star Wars. The person you have in front of you today, it’s kind of Ghost’s director.

Otherwise, what are the future projects for Ghost? T.F.: There will be a release before the end of the year, but it will not be an EP of covers like we often did so far. It will be something else, but it’s not done and I can’t tell you about it yet. But I recorded some things... The rest of the year, I will spend it on the road, it will be very long, with, notably, dates in South America. I scheduled to go in studio early next year, to realease an album in 2020. You have to strike while the iron is hot!

(Under the cut you’ll find a semi-bitter live report. Take this line as a trigger warning maybe...?)

Tobias Forge at Zénith?

It took 4 albums, 2 EP and a lawsuit before Tobias Forge, Ghost’s mastermind, offer to the french public an indoor show worthy of the name. The rendez vous is written down for early february, at Zénith de Paris.

Live report by: Roseline Artal.

6 000 persons

Concert: 3/5

Public: 3/5

We was told the show in the capital is full of capacity, but some stands are inaccessible and guarded by vigils. It’s certainly to allow everybody to be dazzled that the band decided to not fill the venue at its maximum capacity, but it’s a shame for those who would have liked to be part of the lucky ones. After a Cigale and an Olympia much comparable to festivals prestations, Ghost decided to put every efforts here. Finally! Candlemass, coming from Sweden, open the ball, remaining on the very front of the stage. Songs flow, some blunders can be heard, notably when the singer Johan Längqvist mix up “A Sorcerer’s Pledge” and “Solitude”, but the crowd seems to appreciate. They rise their fists up in the air when needed, some heads are banging here and there, and we notice a semblance of circle pit down in the front right. However, it’s hard to remain enthusiastic very long in front of the relatively flat performance. Musicians are playing the game and are having fun, which is something at least.

A cathedral stage It’s almost 9 p.m when lights turn off and the black curtains disappear, reaveling the magnificent stained glasses awning over imposing stairs. Such ornated, the Zénith stage is standing out! It’s with “Ashes”, perfect for an appetizer, Ghost offert themselves to their audience, but it’s “Ritual” which receive all suffrages on this show begining. As for “Devil Church”, it end on a duel between guitarists. When “Miasma” first notes resonnate, one question is on everybody lips: “Will Papa Nihil show himself?”. And the answer is yes, for our greatest pleasure. “Jigolo Har Megiddo” is beautifully interpreted acoustically, allowing us to rest down our ears for a short time. Indeed, the sound is unbearable, at least without appropriated protections. Fortunatelly, the view isn’t unpleasant, thanks to a Tobias Forge of many personnalities as funny as worrying.

Papa Emeritus as a mafiosi (well, it’s obviously a confusion between Papa and Cardinal from the reporter here, I’ll correct it for the rest of this paragraphe, T.N) It’s well and truly the last album which is highlighted tonight, which is appreciated by fans. They are indeed ready to sing in unison and turn on there phone on “Life Eternal”, while Cardinal Copia play the romantic mafiosi, all in white dressed, thus marking an end to the first act. 15 minutes of break are offered, without a reason being given. Indeed, when the entract ends, the setting hadn’t change and musicians are wearing the same costumes. What if Tobias Forge became the new Axl Rose with his manic to leave the stage for ages with no valid reason? We’re picky, but these minutes could have been used to play other titles, such as the amazing “Elizabeth” which has disapeared from the setlist for years now... Nothing better than “Year Zero” sing by everyone and the cover of Rocky Erikson’s “If You Have Ghost” in order to put us in a good mood. However, the band found a way to ruin it all by dragging the members presentation out for long minutes. What a shame. “Dance Macabre” and “Square Hammer”, which we all keep loving during live, reconcil us with the swedes, then, without surprise, we’re leaving on “Monstrance Clock”, an ode to femal pleasure. When the lights turn back on, we can’t help but thinking this show was both a success and a disappointment notably due to useless dead calm.

#the band ghost #tobias forge #interview #cardinal copia #Nameless Ghouls #a pale tour named death #prequelle #MyRock #translation #scan

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notesonnotes · 5 years ago

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Rosedale. Herkimer 2009. Some friends and I had followed Honor Bright; The Doppler Effect and Lacerda to a show in Herkimer, NY. We'd never seen Rosedale, or heard of them. We didn't know what to expect when we saw them setting up. I was in awe of the sheer height of their front-man, Mike. (I am a over a foot shorter than he is, and at that point he was the tallest person I'd ever met.)When they started playing, I was in awe of their drummer, Emerson Tavares (he played faster than most drummer I'd seen). After the show, we saw a big purple bus, and we had the chance to hang out with Mike and Emmo. A week later, we'd get to meet Mitch and Zan in Watertown, NY. We were hooked. Soon after, we got them to our college in Northern New York.Since then, I've watched Mike progress from the 4 man band to the last solo act in Toronto in 2018. He is multi-talented, and probably one of the most down to earth people I've met. He takes time before, during, and after shows to talk with as many people/fans as he can, and has been an inspiration to many that have followed his journey.Today, we're going to take a look at where he came from, and where he plans to go. Take a few and read through. It's the anniversary feature for Notes on Notes! What better way to celebrate that with the one who inspired it all?!

NON: Rosedale was an early project of yours as a teenager in Brampton, ON. What brought you and your then band mates together?

ML: Pretty much skateboarding sparked it all. The skate scene was really booming in Brampton (and everywhere) as I was becoming an adolescent. Tony Hawk Pro Skater was huge, all the skate magazines were doing well, all the local skate parks were packed and hosting contests, pro skaters were celebrities- it was wild! I've always been pretty awkward on a skateboard and could never really improve past the basics, but I was definitely making progress on the piano so my parents finally granted my wishes to switch to classical guitar, as I'd been begging for years and the skate culture was surrounded by a lot of guitar music. After about a year of struggling to figure out how to play "cool guitar" I started convincing my friends to learn drums and bass and would try to jam with them. That led me to connecting with a friend I hadn't really seen since kindergarten; Nick, who was a pretty solid drummer. So I started showing him songs I'd written and we'd jam at his place on weekends. I think it started lighting a fire for a few of my school and skater friends as they started getting more serious about learning instruments and starting bands. We'd eventually teamed up with Mitch and Jon's band, as their drummer, Emerson, was still figuring out how to drum. Fun fact, there was about a month or two where I was kicked out of the band because my squeaky voice, cheesy lyrics, shrill guitar tone, awkward stage presence, and thick wavy blond mushroom cut were all just too unbearable. (They were very blunt and honest with me on that phone call...) So Jon started singing and they eventually called me back into the new band to play guitar, piano, and sing super high emo backup vocals. From there; we replaced Nick with Sam, named the band Rosedale (because when our gear was stuck at Nick's house we'd walk up Rosedale ave to the local music store to practice and write). Then we eventually replaced Sam with Emerson. Me and Jon started taking vocal lessons from our friend Steve, who was a drummer and backup singer in one of our favourite local bands, By Permit Only. Eventually we just asked him to be our lead singer and after recording our first EP with him, he quit the band and I took over lead vocals again. I met Zan in our high school, Mayfield. He was a bassist in the music program so I'd jam with him from time to time during lunch in our school's practice rooms. He eventually replaced Jon... I guess I could have just summed it up with "Skateboarding and school" but we all have a little more time these days so why not take a trip down nostalgia lane!

NON: You've had 5 EP's and albums over the years; could you describe the progression of your creative process through the years?

ML: It's pretty crazy for me to look back on. We recorded Past Times With Old Friends in Sean Andrew's little bedroom on a Line 6 bean-shaped Pod with Cue-base on his laptop. We'd tried to record about 3 demos with 3 different producers prior to that EP but nothing ever got finished. Each time we'd record I'd learn a few more things about how to engineer. Back when we had Sam in the band, one of his dad's friends "Stereo Mario" (one of the 3 producers that we'd demo with) would teach me the basics of Pro Tools and I was very eager to learn more. Before ever using any real recording equipment/DAW I'd multi-track covers of my favorite songs onto three-and-a-half inch floppy discs with my Yamaha Clavinova (a multi-patch midi amplified keyboard from the mid 90s), drums and all! So I kinda came full circle back to being a solo, multi tracker, multi-instrumentalist after having several different band mates and methods. The big turning point in my progression as an artist and producer, though, came when I started an internship at Drive Studios in my senior year of high school. I believe everyone needs a roll model and mentor to really progress and the owner of that studio, Steve Rizun, took me under his wing and pulled me in the right direction. Not only did he train me to be a sound engineer and let me work with some world class punk/prog/metal/emo bands, but he also would show me how to make additional production for Rosedale's sound and how to bring it to our live show. I became obsessed with songwriting and production and as soon as I graduated I worked to save up for a Macbook and an audio interface...and a lot of other gear! Had it not been for Steve, I probably would have wasted a lot of money going to a college to learn a fraction of what he was teaching me for free; hands on in the most punk rock environment! Since that internship he's mixed and mastered all the Rosedale records, mixed a handful of my live shows, he even showed me the ropes of being a live sound engineer, and continues to be a great ear to for mixing and advice! I've had a lot of other great friends show me how to edit video, hold a drumstick, where to book shows, gear advice etc. Even though I'm kind of a "Lone Wolf" I guess my process has always been to keep creating and ask for help and advice along the way from those who are more experienced (and YouTube tutorials, of course). Now that I'm in a new market playing with a new band (Mainsail in San Diego) I feel like I'm teaching and working more often than I'm learning. And that's been really healthy too!

NON: How has the journey from "Past Times" to your most recent projects helped you grow/learn as a musician/artist?

ML: What a journey it has been! As I'm sure any artist or even entrepreneur could relate, The Faces sang it best; "I wish that I knew what I know now when I was younger!" I think the biggest difference is the decision making ability. I used to take so damn long to make such bad decisions! Debating who, what, where why- it's important to think things through but sometimes you gotta just leap and learn from it. If you keep questioning things you'll never know. Also, the more I learn the more I realize how much more I still don't know! And that's part of the climb. Even now, being in the beginning stages of getting my 10,000 hours on the drums, I look back to how I used to play, say, 100 hours ago- and shake my head. That can sometimes be humiliating and demotivating while knowing you're still at the bottom of the mountain- or even just dealing with the ongoing yin and yang of confidence/hope vs. doubt. But what usually gets me to keep on going is to remind myself to just be better than I was yesterday. For a long time I was holding myself to the standards of my heroes which usually just creates inauthenticity, bad technique, bad decisions, clutter, and setbacks. Sometimes I'm worse than I was yesterday so I need a little push and that's okay, too! The journey from Past Times to Again was a big balancing lesson of letting things go while learning you can always do more to improve. And it's no surprise; but the newer the album, the more proud and less embarrassed of it I am!

NON: You've played bass in Mainsail for roughly a year, maybe a bit more; how did you meet up with them? What spurred you joining?

ML: Yeah since February 2019 I've been in Mainsail. I've been friends with them since 2017 and they really helped me get my show in front of a lot of people in San Diego. When I finally moved out there Nick was really cool about bringing me out to shows and jamming together. They needed a new bass player so I figured I'd offer and it just all escalated really fast. Since finally accepting that it was time to move on from the name Rosedale I've had a lot of luck with being a sort of "yes man". I'm usually very strict with staying on the path to my vision, as it requires a lot of time, but since moving and letting go of the past I've been finding that sometimes letting the wind take you where you're needed can be really beneficial. And a lot of great things are starting to happen for Mainsail so it has been fun. It has also kind of kept a stream of new listeners seeing what Rosedale is all about too so that is a nice bonus.

NON: You've performed at the House of Blues in San Diego; how was the experience for you?

ML: It was one of the best moments of my life playing that stage in front of so many great SoCal people, some who have been supporting Rosedale over the years. That has always been one of my favorite venues and since moving to San Diego I've seen a lot of amazing shows there. House of Blues is always great in Boston and Anaheim too. I'm really grateful that they give independent acts like myself not only a chance to play there, but they really give you the same professionalism and respect as they do to the giant national acts, it's pretty remarkable. I really hope they're doing okay during this pandemic and I hope all venues find a way to pull through this. I can't imagine how tough it's getting for some.

NON: You've toured the U.S. and parts of Canada multiple times; played on a stage at Warped Tour, and toured Europe: What would you say is your most memorable moment?

ML: That is a great but very tough question. Playing in Vienna Austria in 2016 to a bunch of kids that knew my songs is definitely up there. But 2012 Warped Tour was probably the most fun and rewarding summer of my life. It was a grind and very uncomfortable at times, but there were so many epic moments packed into that summer that I look back on in disbelief. The biggest turning point was about two weeks into the tour in Minnesota (I think it was Minnesota...) I got called into the Warped production office and was told to check in with Kevin every morning for any open stage time, given a wristband, and some tasks to help out with in production. I played my DIY one-man-show in the parking lot that same night as kids were leaving the festival (as I would every night) and while I was standing at my merch table selling stuff and taking photos, I noticed that Ryan Dawson (from All Time Low) and Anthony Raneri (from Bayside) were hanging out watching. Once things slowed down they came over and bought 10 CDs each! It was so cool of them to even give me the time of day, let alone buy CDs to (probably) give out to people on the tour. I had a similar experience with Caleb Shomo (from Attack Attack/Beartooth) the year before outside of Cuyahoga Falls Warped tour. I had a drummer and bass player with me at the time and Caleb stood front & center to watch our whole set while kids kept coming up to him for autographs and I could see him pointing at us saying good things to all the kids. After our set he handed me all the cash he had in his pocked and apologized for not having more, I gave him some merch and we chatted for a good 15 minutes about how being an artist is a roller coaster and good things come and go, encouraging me to hang in there. He kept emphasizing how he just considered himself and everyone on the main stages lucky. All of those memories are enough motivation to last a lifetime and they're also reminders to pay it forward.

NON: Touring as much as you have, there must have been some odd things that have happened. What has been the strangest thing to happen to you while you were on the road?

ML: Lots of strange tour stories for sure. The little ghost girl I caught on camera in the former German concentration camp was pretty crazy. (You can find it in the RosedaleMike Europe Tour Blogs via Tumblr if you don't believe!) It always freaks people out when I show them. And I remember everyone's reaction in the van right after I caught the footage. But the craziest thing that happened to me...there's been so many hard luck slaps in the face, as so many touring bands have also experienced, I'm sure. One time I had this great opportunity to be the opener/direct support for Everlast in Colorado Springs. I had just released self-titled, the tour was going well, and this Everlast show was sold out at Black Sheep (a great venue!) I had a day off so I got to town a day early to be extra prepared. While at the gym I received an email from the venue that Everlast had to postpone due to weather conditions. So now the show was cancelled and I offered to find local bands to fill the night for the venue so that I can still play for my small crowd. I went straight to a library for wi-fi and started plugging away on my laptop, emailing bands asking if they wanna do me a solid and play a last minute show at Black Sheep tomorrow night. I had two confirmed, told the venue, and they announced on the Facebook event page that there will still be a show but Everlast will be rescheduled, and they made me a host so I could update the event as I confirmed new acts. Some kids in Montana saw this and started saying that Rosedale cancelled the Everlast show! It turns out that they just randomly decided to troll me. They were even sending pictures of these little ridiculous hand written notes they made that read something like "I am cancelling the show - Rosedale". They were leaving random comments claiming that they were Everlast and bashing my fans as they tried to help clear the confusion. People were messaging me asking "Why'd you cancel the show?!" I had to explain to them and the venue what was really going on. The venue was in shock watching it all happen too and they said they have never seen anything like that, ever. I went to a local show that same night and convinced a couple of the bands to play Black Sheep tomorrow. All four locals were really awesome and the show ended up turning out to be pretty well attended. Even some people that had Everlast tickets came out and had a great time. The venue was really impressed that I pulled an event together so last minute and I was stoked to have built another great venue relationship. I got in my van and started to drive to my next show in Flagstaff, AZ. As I was climbing a rocky mountain pass, some slick snow started coming down. I was pulling my trailer and sliding pretty bad until eventually I couldn't move anymore and was stuck on the side of the road. As the sun was coming up an emergency truck pulled up and started laying sand down in front of my van so I followed him until my wheels started spinning again and one wheel gripped to the sand while the other spun and blew my transmission and rear differential. I didn't make it to Flagstaff or the next five shows. $4600 repair bill. And the next show back in Encinitas was an afternoon show at a biker bar where I was told after my first set (of three) to pack up and only received one sixth of my guarantee as my fans started showing up for the second set. There ended up being some good intertwined in all of all of that but it was just such a frustrating and confusing week. Sometimes I swear I'm in a movie like The Truman Show.

NON: You draw a lot of inspiration from The Used; Blink-182 and Angels and Airwaves: Who else has inspired you along the way?

ML: I definitely have a lot of heroes. Death Cab For Cutie and The Postal Service, The Ataris, The Starting Line, Metro Station, Dashboard Confessional, Boys Like Girls, The Matches, Underoath, The Almost, Motion City Soundtrack, Red Hot Chili Peppers, All Time Low, The Band Camino, Owl City, Radiohead, John Mayer, Coldplay, Paramore, Yellowcard, Moneen, Boxcar Racer...That's probably 10% of them. I've been to a lot of great concerts and being six foot nine gives me a good view and very memorable experiences.

NON: Do you see yourself continuing making music or helping others in music in the future?

ML :Both!

NON: What song that you've written do you connect with the most?

ML: That's always changing to be honest. Depending on where I'm at, what I'm doing/going through. It's usually the most recent song or idea I've written which doesn't get released for sometimes a year or two after. Of the songs I've release, that would be Sustain. That is the most recent Rosedale song I've written. I wrote it right before we started tracking Self Titled and Again and its kind of about being in both shoes of that Warped Tour situation I just mentioned. People sometimes ask if I'm referring to myself as the Star or the Kid in that song and the answer is both! I'm still that star struck kid who can't wait to ask my favorite artists a thousand questions but I also get a lot of questions from fans who are trying to start their own thing or make their passion their career.

SHOUT OUTS

Mainsail, Palapalooza Podcast, Time & Distance, I Set My Friends on Fire, Alex Baker, Plans, The Home Team, OCML, FXav, Adam Sisco, my parents and family, everyone at Gnarlywood, Abby Lyn Records, Jonny Cooper, my old band mates and everyone who's ever come on tour with me- Thank you all. And all the bands, artists, venues, studios, street performers, restaurants that are trying to make it through this lock down. Hopefully all this is over soon and there is a light at the end of the tunnel. Believe things will get better eventually and use this alone time to improve yourself. Keep supporting live music even if you're stuck at home. And if you need help reach out and ask. Let's all stay safe and help one another

LINKS

Facebook

YouTube

Instgram

Twitter

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luckylq47-blog · 4 years ago

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beatsfortheillperth · 4 years ago

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Words with Twin Nemesis

The United States is the homeland of a lot of the creatives we've had words with over the years, and Soph and Sylv, the masterminds behind Twin Nemesis are just two more US beat-smiths and creatives who just so happen to be cohesively moving sound-waves over in the USA.

The girls are tweaking valleys of bass that display a musical landscape that is infused with funk and wave wonder and this duo will intrigue like the piper, tame ones head to bop and, damn feet to tap with their select but distinguishing variety of tracks.

Twin Nems sound will either have you wishing you were out in an underground nightclub, bouncing by the speakers or, chilling at home on a rainy day with a hot cuppa. It can go both ways with these talents, something that's not easy to encourage, but these beat-smiths do so in the most pleasing matter.

Keeping their minds well and in tune away from producing through their studies in University and Med School. These two are not only fuelling their minds but the minds of their listeners worldwide.

Thank you Twin Nem and please don't let the studies led to a musical disappearance, Bass needs you both to continue your relationship and we need you to stay together, for our speakers' sake.

Much love and enjoy words with these unique talents.

Listen to Twin Nemesis, Saying Hello on Spotify -https://open.spotify.com/artist/0aSDNbyGRzbragp1DE9ZKk

Hey, Twin Nemesis thank you so much for taking the time to share words. I thought we would start will a few quick questions.

Favourite Food: Sophie - Mac and Cheese Sylvie - I love food, so that's gonna be hard! I'd say sushi, vanilla berry cake, gummy candy or Thai food :). Oh, and a juicy burger and onion rings. Favourite Beverage: Sophie - Mojito ;P Sylvie - Plain and simple, water! Stay hydrated, folks! Last track you listened to: Sophie - The Suburbs- Mr Little Jeans Sylvie - Jon Casey's 20/20 mix! That part at 1:30 is insane!! A childhood memory in regards to music: Sophie - The first song I remember is Karma Police..my mom was playing it in the car when I was like a few months old and it stuck with me. I heard it again maybe when I was 14? It was like a shot of lightening. I felt this nostalgia. It was insane. It's my favorite song. Sylvie - Without a doubt, driving with my dad in the car to Sergio Mendes and the Beatles. I grew up on Bossa Nova and Classic Rock :) First Album you ever purchased: Sophie - Ok Computer Sylvie - Sheesh, I can't recall to be honest! Most likely something from Sergio Mendes. Last Album you purchased: Sophie - Don't remember tbh Sylvie - I stream on Spotify, so I haven't quite been purchasing! Views on Cheese: Sophie - Give me all the cheese, just not the weird french ones Sylvie - Cheese is godly. The music you were listening to in Middle School: Sophie - Dubstep (UKF, etc) Sylvie - In Middle School, I was a huge fan of dubstep and drum and bass! UKF releases were the bulk of my then ITunes (rip) library! Still love both genres, especially the soulfulness of liquid drum n bass! What you like to do in your downtime: Sophie - Run around, play videogames, music Sylvie - I'm almost constantly studying, to be honest. However, if I do have a moment, I'll be reading medical journals or watching operations. I want more than anything to be an Emergency Room Physician, so I'm constantly reading articles about the ER when I find good ones.

I'll also often hop on a shift to volunteer for Crisis Text Line, a truly powerful platform where you can be there for people in difficult times <3. Spreading love and reaching out is incredibly important to me. I also spend a lot of hours as well training for fencing and at the gym for cross-training... Not much "free time" I suppose, but that's exactly how I like it! I'm a busy bee. :D Your ideal feast would consist of: Sophie - Pizza, mac n cheese, nugs. Basically all the foods that will send me to the grave. Sylvie - Probably too much food to realistically procure for one feast.

Thanks for that, so I'd like to start by asking, how did you both meet? Had you known each other long before you started making music together? Sylvie - We met in fencing in middle school and instantly became best friends. We just clicked! About a year into our friendship, I mentioned in fencing practice that I produced music, and Sophie wanted to join. We learned the ropes of Maschine together, and she picked up Logic faster than I did. Sophie proved to be a natural, and things just flowed from there!

Sophie - We went to the same middle/high school but met during fencing practice! We both fenced sabre for a couple of years and bonded through that. So probably like 2-3 years before we started making music.

How did your musical relationship start and at the beginning were you both making your own music separately? How long have you been making music together? You've been releasing music on Soundcloud for 5 or so years under Twin Nemesis. Had you been making music together even before releases such as "Nocturne"? Could you share a memory from your early days making music together that has inspired you to continue creating? Sylvie - Sheesh, I would say it's been 6 years. We waited a year before releasing. We're both perfectionists. Before Twin Nemesis, I was releasing creations on my personal account. Sophie vibed with them, and before long we were producing together. In high school we would have "production nights" where we would stay up all night and produce something on one computer, one Maschine. Right after? Dance party time. These have been some of my best memories to date. Sophie - Sylvie taught me everything about how to use Logic and Maschine when we first started! I remember during fencing practice she was talking about producing beats and I thought that was so unique and interesting since I didn't know anyone who did that. We started hanging outside of fencing at her house experimenting with the Maschine and I just fell in love.

What equipment do you guys use to create your sound? Also if it applies, what musical instruments do you both play? Does knowing how to play an instrument necessarily benefit someone trying to make beats more? Sylvie - I have background in drumming, so I gravitated towards the Maschine. I'm actually a classically trained violinist, and have been playing for 16 years! I also play the bass and drums. In terms of helping beat-making, I'm not quite sure. Plenty of really legendary beat-makers don't play other instruments-- I don't think it's needed to play anything. But I like to incorporate classical or jazz elements into my music when I can. Sophie - I do not actually play any instruments but I use Maschine as well as Logic and Ableton. I wish I understood the theory behind a lot of the music being put out today but playing by ear has worked out so far. Could you share a paragraph of what Twin Nemesis represents to you individually and also what Twin Nemesis represents to you both collectively? What inspired the name Twin Nemesis? Love it. Sylvie - Its really special to be able to make music with your best friend. To me, Twin Nemesis represents a creative outlet where we can express our feelings through a medium that has no words.

We're able to pinpoint that feeling, and hone in on the sonic experience that can deliver a sense of it into our listeners. I want to be able to uplift them, be there for them, show them that they're not alone, be their shoulder to cry on, and help them if I can with our music.

To me, it's my hope that we can help heal people with the joy of music, (cheesy as it sounds). There's no greater joy than helping others, and I hope we can do that not just in our day- to-day lives, but in our music as well.

Sophie came up with Twin Nemesis actually, and it's ironic, because I'm an actual twin. We are far from nemeses, my twin is a best friend as well, and I'm extremely lucky to have her. So there's no connection there, Sophie just thought it sounded cool. She's creative as heck!

Sophie - I think I came up with the name and honestly I think it came from the fact that Sylvie and I just looked very different (blonde vs brunette), yet we're both girls so I wanted to keep that dichotomy but also, yeah, it just sounds cool haha.

For me Twin Nemesis is a great way to relax. I just finished my BS at Cornell University and am starting medical school at UCSF so my life tends to be very busy and stressful. Making music really grounds me and I found during the most stressful times of my career I tend to create the best music. Going back to your track "Nocturne" I wanted to discuss it a little further as it is Twin Nems' earliest release that I felt contrasted it's follow up release on Soundcloud delightfully. That follow-up release was "Nostalgia". Were the contrasts in these two releases intentional or are the tracks unrelated? Can you share what making Nostalgia and Nocturne was like? And what you were trying to portray with each track? Sylvie - The two of those tracks were meant to be lofi hip-hop-esque. They were meant to evoke feelings of, well, nostalgia, from two different waveforms. For these two, we busted out our Maschines, and went for something as groovy as it was soulful.

The process was relatively simple, as we were still figuring out the ropes- chop up a sample, lay down a bass-line, and of course, drum out a groovy, swinging drum pattern. That was really it, admittedly, but we felt that there was a special soulfulness in these tracks, so we released them. Sophie - Skipping, tbh don’t remember much other than I was going thru a bad breakup and these songs helped haha I just wanted to add, back in 2015 Twin Nemesis released a track called Chapel of the Devil via Bandcamp and the sounds displayed in that beat could easily nurse a rap, you guys had skill even back then, much love. What was it like for you making Chapel of the Devil and how do you feel your style has adapted over the years since? Do you feel more confident with each release over time, or do you feel you were more confident with your earlier releases? Sylvie - Mmmm. Good question! Sophie was more involved with that one. She found the sample and chopped it nicely. I can't really take much credit for that. In terms of style, I've began to shift into more bass-music, experimental types of music and have started to produce a fair amount of lo-fi hip hop.

What does making a beat do for you? Does it help you in any personal sort of way like offer an escape? What is it that you think draws more and more people into wanting to create their own beats? Sylvie - Making a beat is an outlet where I don't have anything to lose. When I'm making music, I tap into my emotions, and if not mine, my boyfriend's, my close friends', the worlds', or even my dog's (I'm obsessed with her). More and more people are gravitating towards beatmaking because it's become more culturally relevant with the rise of Soundcloud- the ability to share your creativity with the world is unique, and the fact that everyone has access to that upload button makes music production rather appealing.

We live in a world of music-- it's all over us. To be able to create your own tunes has been an ever-present drive of humanity-- it's visceral. I gotta give one of my best friends, (an extremely talented classical pianist), Phoebe some credit for coming up with a quote that sums up why music itself is so powerful, especially in times like these--

"There’s nothing like the comfort of listening to a song that gets you. And that’s why music is so powerful, it can relate to any kind of person and make him or her feel safe and understood."

People are looking to make that song that gets them, to find that exact feeling that resonates with them and express it without words, in, what my boyfriend Jackson, (a phenomenal guitarist), describes as a medium that is visceral and can touch each and every person that listens differently.

He believes some of the beauty of music is the ambiguity of the meaning as well. I had to credit these two here for their deeply insightful thoughts.

Sophie - Refer to previous question, my life is very academically stressful so I use it as an escape away from the pressures of school. Twin Nemesis is also responsible for some bass-driven mixes that are just timeless. Listened to your minimix "That Wavy College minimix" which you both made two years ago and it is still relevant, thank you! Had you both always been into mixing or was it something you picked up along the Twin Nem journey? What gets you in the mood to want to create a mix and what inspires the tracklist you curate? Sylvie - YESSSSSS BASS MUSIC :) Mixing was something we picked up on the way. It really depends on who is making the mix. If it's Soph, it will be more melodic and rap-driven usually.

If it's me, it will be all about the drums. These are pretty consistent distinctions. The track-list is based on what has me bobbing my head and making the stank face at the moment. :)

Sophie - Sylvie makes most of the mixes and I loooove listening to them, especially when I'm studying. Her music taste really vibes with mine. I've tried making mixes but have yet to post anything....maybe soon... Twin Nemesis will also be doing a beatsfortheill mix which we are super humbled about, thank you both. What can our readers and listeners expect with this up and coming mix? Sylvie - You'll see ;) Bringing the timeline forward to a year ago, we have to discuss your track snüp, one of my personal favourites by Twin Nem that I feel perfects the sound you'd want any beat to create when you're trying the lay back, much love. How did you go about creating snüp, how long did it take you guys to make and what inspired it's creation? Sylvie - It was rather simple as well! Snoop Dogg acapella + sample chopped up + infectious drum groove + bass. Done. I would say it took us about 3 days actually.

The both of us love jazz, old school hip hop, and soul music, so we wanted to integrate the sound of old school hip hop with more "new school".

Adding the vinyl-ridden sample to a Snoop Dogg vocal was a contrast that we found worked very well, so we followed through with the idea and released it.

Sophie - I'll let Sylvie answer this one You also released a track called Echoes of the Past in the same year and it was a track that showed me that you guys could tackle any genre. It's chilled, slightly romantic and soothing on a lofi lovers ears, thank you for creating this track. What inspires your shifts in sound in general from genre to genre? And on the subject of this particular track, what was it like to put together? Were you trying to share anything subtly with this release? Sylvie - Shifts in genre are because of our extremely diverse tastes in music. We listen to music spanning almost all genres, (save country, and for me, indie).

This allows us to want to produce along the gamut of vibes! When we're especially enjoying lo-fi, like we were when we were making Echoes of the Past, we'll make lo-fi. If we're inspired by left-field bass/trap, we'll make something like Hello.Jpeg. It all depends, and there really is no specific reason for why make what we make, when we make it. It just happens that way! I wish I could say that I was trying to convey something... In regards to music-making, what draws you in about a certain sound or vocal that makes you want to sample it? Sylvie - For me it's all about the groove. You know, when a groove is just *so infectious* that you can't help but bob your head and get those chills down your spine and turn the volume up higher.

I'm a sucker for creamy keys as well, like a Rhodes sample, the Korg Triton, jazz chords, 7ths. I love old soul and jazz music :)

But also, I equally enjoy warping glitches and harsh sounds. For drum samples? Drums. Must. Slap. They have to cut through the mix and be powerful and beefy, with a liberal amount of syncopation added for that off-kilter groove. Sophie - I love oldies and sampling classical music, so if I'm listening to a random track and hear a catchy melody I download it right away and create something with it. I also am drawn to sadder more melancholy melodies. Not sure why but it's always been like that. The song that introduced me to your sound was "Hello.Jpeg" and I was blown away with this track. The intro reminded of something N.E.R.D could have produced and the bass will convert any avid bass listener, thank you again. What were you going for with this release? Did it take long to put together? Also, what do you enjoy most about this track? Sylvie - Awww sheesh, thanks! We were going for my favorite musical element, bounce. For me, that's what makes a track (in bass music).

It's gotta have that bounce. We'd been listening to Jon Casey, Tsuruda, Explore, Mr. Carmack, etc. for ages, and were hoping to achieve a similar bouncy, stompy feel.

This track by far took the longest to put together-- probably upwards of 2 weeks? There were a lot of elements there. As for the last question here, I think you can tell what I'm proudest of in this track.... (hint: the bounce). Sophie - We love experimenting with different genres and Hello.Jpeg was our jump. It was extremely fun and very natural to make...we're probably going to create more of that type. Do you have any Musical Recommendations you could share? Sylvie - Ahhh, yes. I'll go by genre.

In terms of bass and future beats, the "20/20" mix by Jon Casey is impeccable. Check out that 1:30 time stamp. "Spit That" by Chee has that groove and bass that keeps me wanting to come back for more. "Neptune" by Sam Gellaitry has an incredible groove in the second part that will have you bobbing your head, with that lush bass swirling around. You really can't go wrong with Mo Vibez either. "Hammer" by Tsuruda, "Deception" by Herzeloyde, and "React" by Chromonicci have that signature bounce that I love as well, I'm always scouting for bouncy songs.

In terms of more hip-hoppy stuff, I'm gonna have to recommend Tek.lun's "Seshat". It has that bossa nova feel I've always loved, blended with hard-hitting drums.

Drum and Bass! "Progression" by Flite. Anything by Dawn Wall. It's rolling and soulful. Speaking of soulful, soul!

Tom Misch nails it every time, and I cannot recommend Gareth Donkin's track, "Catharsis" enough. It's beautiful. See for yourself. Classic rock, bossa nova... okay, should I just make a Spotify playlist for y'all?

This could be too long.

https://open.spotify.com/playlist/27nkDj0eqPrzOl2CLGNikJ?si=btVmbVLST5SOFRqSgDs6Fw Sophie - I love Sasha Marie mixes. I've found so many songs and artists through her soundcloud page. Give it a listen. Any up and coming releases we should keep a lookout for? Sylvie - Again, you'll see ;)

Any Last Words? Sylvie - Yeah! An important part of my creative process and just, my life in general, are my amazing boyfriend and best friends, and my family, (yes, that includes my dog, of course).

Just wanna give them a shoutout here. They're always cheering me on, and I'm absolutely so blessed to have them in my life. I cannot thank them enough. Sophie - Thanks so much for all this, truly blessed to be interviewed! Support Twin Nemesis Here: Soundcloud - https://soundcloud.com/twinnemesismusicofficial

Spotify - https://open.spotify.com/artist/0aSDNbyGRzbragp1DE9ZKk

Bandcamp - https://twinnemesis.bandcamp.com/ Instagram - https://www.instagram.com/twinnemesismusic/?hl=en

#beatsfortheill #soundcloud #twinnemesis #interview

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darlingnisi · 6 years ago

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Celebration 2019 VIP Day 3

Opening Session

Spirited start to the day! Fams started a party line around the soundstage to Let’s Work.

JD Steele also led us in a sing along of Raspberry Beret

Bob Cavallo

Moderated by Bobby Z

Earth Wind and Fire’s studio the Complex was the inspiration for Paisley Park. They filmed pickups for Purple Rain there and Prince told Cavallo “I want want one of these”

WB didn’t know much about Purple Rain until it was almost done. It was financially backed by Prince and Cavallo ( Cavallo said he only contributed about 20%...the rest was Prince’s money or advances on his royalties)

Cavallo’s management agreement was about to run out. He told Steve Fargnoli to try to get a Prince to sign a contract for 5 more years. Prince said “I’ll sign one if you get me a movie and not about some drug dealer and jeweler...and I want my name above the title.

They had trouble getting people on board to write the movie William (Bill) Glenn (of Brian’s Song) wrote the first version but it was “not edgy enough...too TV”

No director would sign with them

Watched a movie called Reckless. There was a kid sitting behind him who asked what he thought. Cavallo said it was okay...the kid said “Well I edited it.”

Cavallo had dinner with Albert Magnoli the writer of that movie to see if he’d sign on for Purple Rain. He initially passed. Cavallo “You passed? You don’t have a pot to piss in and you pass? I’d pay you 75k and you’re passing.” Magnoli thought it was too square. Cavallo “Then rewrite it”

“Mo Austin didn’t have anything to do with Purple Rain”

“He made that movie Paul Simon made. That was a failure.”

WB passed on producing the movie, Guber Peters also passed, as well as others

Richard Pryor’s company Indigo Films did NOT pass! Jim Brown (the football player) was CEO at the time. Both Richard and Jim were thrilled to do it! However Jim got mad that Cavallo hired a cinematographer without checking with him as he wanted to hire Black staff to support the project. Bob said he didn’t have time to wait to find some so Indigo dropped the project.

They had a completion bond gaurantor for the film and ended up being 3-4 weeks behind at one point. To catch up, they got more cameras and filmed the movie at multiple angles vs doing several takes. This caught them up.

Promo department thought When Doves Cry was a flop. They wanted Let’s Go Crazy to be the lead single.

Cavallo managed Earth Wind & Fire. (Other info about Cavallo opening a night club his senior year of college which was very successful. Bill Cosby opened for acts when he was coming up on the scene. “He met his wife there and I guess he did other things...” *groan from the audience

On how Cavallo and Prince first linked up Prince had gone to an EWF show and said “When I saw that show, it scared me. I don’t know if I can do something that good.” Asked to meet their manager. Cavallo went to see his show...where he was wearing a Trench coat, panty hose, and g-string. He said “Well young man...show was great....but I don’t think it’s alright to go out on stage in your underwear.”

Prince : Okay I’ll take them off.

He said there was maybe 20 people at that particular show

Purple Rain was made with 7.6 million dollars

They had to fight to get it into theaters to show it. “It was the race thing”

Even WB wasn’t on board at first as a distributor. Cavallo was trying to rally them “If you’re a young Black person age 11-30 and you see Prince headlining his own movie, you’ll go see it opening night.”

At first they could only get a couple of theaters...and were told they couldn’t do it in the south because they were worried about race riots.

Cavallo went to the Chairman of WB with his case and he was on board “Get me 800 theaters or I’ll get someone who will”. (These days movies open in about 2k theaters in the US)

Prince got 15% gross cash guarantee for 3 films

The Purple Rain sequel pitch Cavallo had for Prince was Purple Rain 2 : Further Adventures of The Time. The Time went to Vegas and got in trouble with the mob and cops. Only showgirls liked them. Prince wasn’t in it except for a cameo to give advice.

He also tried to get P to get Madonna to star in Under The Cherry Moon

Prince wrote Under the Cherry Moon even though there’s another name on it.

Cavallo wasn’t a fan of Kristin Scott Thomas as the star. He gave Prince a tape of the options for actresses and put her last.

Prince : “I see why you put her last in the group of girls you figured she would outshine the others!”

Cavallo went on to manage the Disney music catalog among other numerous things.

“The greatest joy I had in the music business was with Prince”

A memory : Prince calls “When are you gonna stop beating that dead horse?”

Cavallo : “What dead horse”

Prince : Earth Wind and Fire

Cavallo scolds him for saying such things

Prince : If you knew how good I was, you’d be meet me in Minneapolis

Cavallo thought about how cold it was there and sent Fargnoli instead

Tour Part 2

Video editing bay