#Dylan Gossett

[mysunshinetemptress]

Coal

Leah Williamson x singer!reader

Warnings: TW suicide, past abuse, child abuse, alcohol abuse, funeral. If I missed anything let me know. Also thank you to @pers1st for first of all listening to my idea and telling me to write it when I had my doubts about it and secondly for reading over it and helping me, I hope it doesn’t disappoint

You knew the minute he didn’t answer the phone and the unnerving feeling of dread filled your chest that this was it, that you were the last man standing from a life you thought you had both out run, out lived but this, what your brother had just done showed that no matter where you went, how fast you ran you couldn’t leave the sick and twisted past you both had lived through it was a heavy bag you would be forced to carry for the rest of your life.

You and your brother Luca had been born twins in a quite little, middle of nowhere town in New England to a mother who would end up leaving you both in the middle of the night with a heavily abusive father, who would never be charged for the unthinkable things he had inflicted on both you and your brother as he was to high in the police force in your stupid little town, best friends with the Chief had some perks it seemed.

You and your brother had grown up constantly relying on one another to get through the hard terrifying nights, where all you both could wish for was for someone to whisk you both away from it all but this is the real world and the only people who could save you from the nightmare was yourselves.

You had a talent that you had only discovered when you where 13 after a teacher had approached you hearing you singing in the hall, before asking if you wanted to join the choir, you began thinking an extra hour away from home wouldn’t be so bad agreeing only on the lines that Luca could come and sit in the pews as you practiced not wanting to leave him alone to face your fathers abuse alone.

As you both got older you found ways to escape through singing and music, Luca taught himself the piano and you learned guitar before teaching the instruments to each other before you both began recording videos of yourselves and posting them to YouTube while also beginning to write your own songs.

It would take till just after your 19th birthday for both you and Luca to make it out of that stupid little town in New England, both of you deciding to get as far away as possible flying to London England just as your first ever song written by you and produced by Luca blew up “Homesick.” Loving the way stories could so easily be told through country music you decide that it would be the genre you both would focus on, you writing and performing and Luca writing and producing stating he was much to bad of a singer to ever try.

Living in London was a cultural shock for you both coming from a quite town to a big bustling city sure was a change but you couldn’t help but enjoy the fact that not everyone here knew everyone and that you both got to start fresh.

Your label had rented a small two bed apartment for you both in Islington, just north of Central London where you both set up a small studio from the equipment supplied to you both and began working on an EP.

The EP was called Horizons both you and Luca had looked out on a same horizon every morning your entire childhood and hoped it would bring about change, only when you left to London did your Horizons change and so did your life finding it fitting you brought it to your label along with six songs on the EP one of which had already been released as a single.

Horizon

Track 1: Homesick

Track 2: Northern Attitude

Track 3: False Confidence

Track 4: Heavy Eyes

Track 5: Heading South

Track 6: Something in the Orange

Your label loved it approving a date that saw you and Luca able to preform at Country to Country in the O2, with your small set and unknown names your both were one of the first to perform, but feeling the rush of the crowd just after leaving the stage singing songs you both had written about parts of your childhood and leaving it behind felt magical and the crowd seemed to love it.

But that night wasn’t just the night you had both agreed that this is what you wanted to do, it was also the night you swore you found a four leaf clover. Leah had been standing in the crowd with Lydia Williams both big country music fans when she felt her breath hitch in her throat at the sight of you. You stood on stage in a simple pair of black jeans, white top with some red writing she couldn’t make out and a guitar smiling at the boy at the piano before nodding to the band and when you began singing Leah swore she had felt her heart stop from how quick it was beating.

You and Luca had made your way down to the crowd Luca nudging you saying he was going to get a drink as you nodded making your way to stand at the back keeping an eye on him as a blonde girl strutted over to you ever so confidently “Hi.” You turned taking your eyes off of Luca as you turned meeting deep blue eyes “Hi.” You smiled back “I’m Leah.” You grasped her hand shaking it your cheeks beginning to hurt from smiling at the blonde-Leah “hi I’m Y/n.” You didn’t notice that Leah seemed to forget to let go of your hand as you both began talking the English girl complementing your set as you complemented her outfit.

Luca turned back from the bar after downing yet another shot and beer looking to see where you had gone chuckling at the sight of you talking happily to a girl still holding her hand, sighing he grabbed three more beers and began walking over to you before clearing his throat and putting on a stern face “Y/n.” You unhappily tore your eyes away from Leah turning to see Luca “Luca this is Leah, Leah this is my twin brother Luca.” Leah’s shoulders seemed to relax at the confirmation he was in fact your brother and not your boyfriend “Beer.” You smiled thanking him before letting go of Leah’s hand and taking it before turning to look at him in surprise as he handed one to Leah “what can’t let your future girlfriend be left out of it can I.” You shoved him slightly as Leah choked on the beer coughing slightly as you apologised rubbing her back. Leah stood up shaking her head “well I better ask you out first then.” You laughed nodding agreeing to give her your phone number before saying goodnight and walking back behind the stage.

In the coming months yourself and Luca travelled promoting your EP both in the Uk and Europe as well as in the States refusing to step foot in New England just incase your father decided to show up, during this small tour you and Leah began talking nonstop either texting or FaceTiming and although Luca wanted to throw a pen at your head and tell you that there was an album that had to be written he couldn’t help but smile at the way your eyes lit up and your entire mood changed when the English girls name appeared on your phone.

Once the small tour was over and you had settled back into London, Leah had worked up enough nerve to officially ask you on a date. You had bid Luca goodnight telling him to not wait up as you ventured into Central London with the blue eyed girl excitement building for your date.

London was everything you ever wanted, you and Leah had been dating for a few months now and not wanting to keep secrets you had sat her down and told her everything, everything about how your mother had decided she couldn’t take it anymore and left both you and Luca stood crying on the porch step as you watched her run down the driveway aged four in the middle of the night, how your fathers abuse only got worse from that point, how as you got older you both felt so hopeless as no one would do anything as he was a police officer and best friend to the Chief of police, how he thought he could change you from being gay when he saw you walking holding another girls hand. Leah had sat eyes pooled with tears grasping your hand so tightly as you told her eyes racking your body and zoning in on every little scare she could see before pulling you into a hug “I’m sorry, I’m so so sorry Angel you don’t…you didn’t deserve any of that.” You didn’t cry but simply went limp against her as you felt the weight be lifted off your shoulders now that she knew, Luca had come in a short while later and Leah had moved you off her gently before grabbing him and pulling him into a hug, you watched eyes soft as your heart swelled they way she held him just as tight apologising for his trauma too, trauma she had never inflicted but felt so sick that no one in your town would help you both to scared of the consequences.

You had called Leah your four leafed clover, she was the luckiest thing you had ever found and while your relationship grew and your introduction to both her family and teammates saw that Luca turned to alcohol more than he ever had before.

You were both working on your first album when you had noticed how bad Lucas dependency on alcohol had gotten, writing songs often turned into nights you had to put him to bed he was to drunk to continue, or he wouldn’t show for meetings with the label, or dinner with you and Leah, or Leah’s family to busy sitting in a bar in London. You had called the label after a particularly bad day at one of Leah’s games at the Emirates, where your brother spent the entire match inside at the bar since he couldn’t drink alcohol in view of the pitch, drunk and moody you bid the Williamson’s goodbye apologising for your brother and sending Leah a quick text before dragging him home. The next morning you decided enough was enough and sat him down surprised when he broke down in your arms apologising over and over again that it was the only way he could find peace from it all even for just a few hours, that music simply wasn’t enough at the moment and in a way you understood, Leah gave you the same peace alcohol gave Luca but you knew it wasn’t a healthy option so you gave him an ultimatum, rehab and therapy or no more music, no more writing no more tours nothing. Agreeing to your ultimatum you rang your label telling them that the Album was on hold till Luca was healthy again before dropping him off.

You spent the month Luca was in rehab leaning on Leah and her family’s support, you had told them about yours and Lucas past the same day you dropped him off, and for the first time you knew what it was like to be loved by a mother and father. You cried into Leah’s chest that night until you fell asleep,nothing she said or did could make you stop and she quickly realised you needed this you needed to cry so she let you holding you tight and just reminding you of where you were, with her, with her family both you and Luca were safe. Amanda came up after you had fallen asleep to check on you her own heart breaking at the sight of you, you a girl who had the worst childhood imaginable handed to her and still found away to find love and make her daughter feel so loved, you a girl who was trying desperately to hold everything together for her brother because “he needs me, I’m fine I’ve got Leah but he, Luca needs me to be strong so strong is what I am.” Amanda placed her hand on your head “she’ll be ok Bubs, they both will, we got them.”

Luca had been allowed a visit half way through his rehab, the Williamson’s had all asked if they could come but his sponsor Danny had said it may be to overwhelming and asked for it to just be you, that didn’t stop them from waiting in the car park as you went in to visit him. He was different, brighter, happier and you almost cried at the sight for the first time ever he looked to be enjoying life not just trying to get by. You had ran straight for him sighing as you picked you up into a bear hug squeezing tight “Orlov.” You sighed relaxing into his arms at the use of your nickname.

Orlov a diamond, a cursed diamond and any time you tried to ask him why he had chosen it for you all those years ago he gave you one of two reason “Orlov, a cursed diamond that still shines through it all.” Or “Orlov, because pressure makes diamonds, and I just like the name of that one.” You laughed at the second slightly poetic but still funny just like him.

You had told him how supportive the Williamson’s had been for the both of you, how they were currently sat in the parking lot waiting for an update on him when he grabbed your hand “I’m glad you found people like them, to look after you.” You squeezed his hand “us, look after us they love you just as much.” Lucas didn’t want to believe you but you knew he did deep down, he knew it wasn’t just you that loved him anymore. You proceeded to tell him about you current life as a wag as well about the many songs you had been writing, some of them about your past, but for the first time ever you had also written about love and being in love with Leah. Lucas had told you he had also returned to writing and had a few stacked up ready to go when he was finished and for the first time he seemed happy about what he had written normally you had to tell him it was good, recording worthy and you couldn’t help the hope that bubbled.

15 days later Lucas got out of rehab with his therapy sessions block booked for the next while and for the first time in two months you guys began writing songs together trying to complete the album. Lucas was a changed man, he went to dinner without alcohol something you also did to support him, he attended Leah’s matches with you and actually watched and cheered instead of hiding in the bar and for the first time he seemed to be living.

Leah and her family had supported you both tirelessly and you couldn’t have asked for more, they were the family you had always wished would come and save you both as kids. Leah was around for nearly all of the album creation, Lucas teaching her piano and when he finally deemed her good enough you both agreed she could record it for the album.

Life was good, you both were happy in London writing and hanging out with friends and your found family so why had you woken up in the middle of the night with a feeling of doom looming over you as you untangled from Leah. You had gone into Lucases room to check on him something you had done since you could walk, wanting to make sure his chest would still rise and fall when your father had given you both a particularly hard beating. Only this time his bed was empty, walking into the hall you noticed all the lights were off so where could he be. You decided not to panic and not to wake Leah either instead getting your phone to call him.

You knew the minute he didn’t answer the phone and the unnerving feeling of dread filled your chest that this was it, that you were the last man standing from a life you thought you had both out run, out lived but this, what your brother had just done showed that no matter where you went, how fast you ran you couldn’t leave the sick and twisted past you both had lived through it was a heavy bag you would be forced to carry for the rest of your life.

As you recounted every move you both had made over the past three months it was obvious, Lucas had been getting all his ducks in a row, checking in on everyone and making sure the album was complete before leaving, but now it was done and set to be released next month he felt it was time.

You felt numb as you sat at the bottom of the stairs, you didn’t know how you knew he was gone, but you had all of a sudden just had the feeling of a missing piece, maybe it was your twin telepathy you both had so wished to have growing up, this was a sick joke if it kicked in now, now when he was gone.

You sat at the bottom of the stairs until you felt Leah’s hand touch your shoulder “Orlov.” Your heart clenched at the nickname, Lucas had given Leah special permission to use it, certain that she wasn’t going anywhere that you had her forever the engagement ring hidden in his dresser, not that you knew, certain that she knew about what you had been through, that she understood the meaning behind your nickname.

You didn’t have time to react as a knock came from your front door, looking at Leah smiling sadly you got up from the stairs and opened the door to two police men “Miss Y/n Y/ln.” You nodded, you didn’t feel Leah come up behind you as you listen to the police officers tell you about your brother, that you needed to identify him before they moved forward. You nodded along to it all before you asked “was he…do you think he was in any pain.” The officer looked at you softly “Hypothermia kicked in before he drowned, he simply closed his eyes and was gone, no pain, no struggle.” You nodded “no pressure.” You mumbled before turning to get dressed.

Leah couldn’t believe it, he was gone, Lucas was gone a boy she loved like a brother and she couldn’t understand why, he was happy, you both were happy with them, writing the album why, why had he done it. She had gone with you to the morgue and had said she would call her mum but every time she tried her fingers froze on the call button and words got caught in her throat. It was you who had done it driving you both to the Williamson’s house Leah unable to look at her family as you asked them all to come to the living room Leah sat beside you head buried into your neck as she grasped you tightly scared that if she let you go you would be gone too.

Amanda had let out a sob as you finished, Jacob got up and left the room and David just stared at you in shock as you held Leah impossibly closer watching this family, your family, Lucases family fall apart at the news, helpless you did what you had done since childhood and decided now was the time for you to stay strong, you could cry later and so you helped with dinner, helped tell the rest of the family, cousins, aunts and uncles and Leah’s grandparents who had adopted you both. The Arsenal girls had been informed all of whom made their way to your house along with the Williamson’s with flowers and food enough to stock the fridge for the next two months offering support and tears for you and your brother

In the coming weeks the Williamson’s helped you plan the funeral, you didn’t know how one went let alone one in England and you often found yourself and David talking to the undertakers for hours organising it. Until finally the day came, everyone had stayed in your house the night before and Amanda had started a big fry before you all headed to the church but you couldn’t eat, you were saying good bye to your brother, your other half, you were about to walk this stupid life alone and for the first time you cursed at him, you both had made it this far why, why did he decide he couldn’t take it anymore.

Leah had held your hand the entire way both of you following the coffin, with Amanda as Jacob, and David along with Leah’s cousins and Danny his sponsor carried him into the church. You got up and said a few words, talking briefly about your childhood before thanking the Williamson’s for everything they had done for you both, thanking Leah for being both you and Lucases rock when you felt like the world was to much. Heading to the crematorium you decided to swap out with one of Leah’s cousins wanting to carry your brother one last time, the sight made Leah sob as Amanda tried to hold her whispering into her ear, but nothing came of it you were saying goodbye to everything you ever knew and all she could do was hold your hand.

After it was all said and done and the after in the pub had finished you found yourself standing in the centre of his bedroom Leah lying asleep in yours. You looked at everything he had, all the pictures his rehab tokens, his guitar and piano, how were you supposed to do this without him, sing without him there beside you, live without him there beside you. You fell back onto his bed reaching your hand under his pillow when it made a crunch noise before finding a letter with your name on it “ORLOV”. You sighed knowing what it was you pulled it open.

Orlov,

I’m gone, I have left you on this earth alone and for that I am truly sorry, I’m sorry that I couldn’t fight any longer but I hope you understand how tired I am. Tired of living this lonely unforgiving life and I hope that someday you will understand, you have have been, my rock, my best friend and my twin sister through the hardest life no child should have to live, But you have come through it stronger, you have come through the it all a diamond in the rough. You see you are a diamond, formed under the pressure of our childhood but me, I am coal a dark rock not meant to last long on this earth.

I hope you know I have decided that now is the right time to say goodbye as I know you are going to be ok, you have the Williamson’s, the Arsenal and most importantly Leah. She is it for you, she is the only person you will ever need, she is your alcohol (bad comparison I know, she’s a lot healthier.) you are ready, ready to take on this life and conquer the world, but remember it’s ok to slip as long as you don’t fall.

One question you always asked me growing up was what did I think heaven looked like and I always told you I don’t know, but I do heaven is watching you fall in love with that girl sleeping in your room, watching you find a family who loves you the way you deserve that is heaven I love you always and forever.

I’ll be watching from stars Orlov .

Lucas TB

For the first time in weeks you cried, no you sobbed gut wrenching sobs and Leah found herself sprinting from your bed room catching you as you fell from the bed holding you tight whispering reassuring words into your ear crying along with you as you cried and cried, cried for your younger self, you cried for your current self but mostly your cried for him, for Lucas until you cried your self to sleep. Leah carried you back to bed before coming back into Lucases room and picking up his letter turning it over and finding a second one attached to it, opening it she found lyrics to a song and reading over it she felt her heart clench at the meanings behind them all.

The next morning Leah showed you the lyrics and before she even had time to ask if you wanted a coffee you were on the phone with your label canceling the album instead stating you had a different one.

Leah watched you tirelessly in the studio scared that if she left you alone in there you might never come back out, regretting her decision when you had dragged her in to record a piano piece.

A month later you handed your label a brand new album written mostly about you and Lucas with track six being for Leah, the label loved it and pushed for it to be released sooner than expected.

ORLOV

Track 1 Stick Season

Track 2 Bitter Winds

Track 3 Condemned

Track 4 Revival

Track 5 I Remember Everything (Lucas Y/LN, feat Y/n Y/LN)

Track 6 Sun to Me

Track 7 Dawns (Lucas Y/LN, feat Y/n Y/LN)

Track 8 Tourniquet (feat Leah Williamson.)

Track 9 Orange Juice

Track 10 Coal

With Leah's unwavering support, you found the strength to honor Lucases memory during the small tour you quickly been sent on leaving the grand piano seat empty until Leah came on to play her part in Tourniquet. You decided to end the small tour in London, your first headline show sold out at the roundhouse already playing five previous dates here due to the demand. Knowing this would be the last time of playing a small venue and with that a chapter closing and you having to enter one without Lucas you sighed retuning the guitar as you spoke to the crowd “My twin brother Lucas wrote this last song I’m about to play.” You cleared your throat looking out into the crowd before turning to the empty piano seat “We had a very hard childhood, but I knew as long as I had him, I’d be ok. Lucas left me on this earth alone just a couple months ago, but he knew something I didn’t, he knew I wasn’t really going to be alone, that I had a family that loved me, a girl who loved me even more and that really he wasn’t leaving he was just tired of his adventures on earth and wanted to see what the stars were like.” You sighed turning back to the crowd “this next song is called coal, and it talks about the pressures of life and I just want you all to know that when you feel like life is to full of pressure that when you can’t seem to find the light at the end of the tunnel that maybe look down you might find your four leaved clover, I got mine she’s in the crowd tonight, but there is always someone nobody here is alone.” You smiled catching Leah’s eyes “this is Coal.”

[bonefarm]

'Cause it's alright 'til you lose your mind, so, save your time while it's cheap

[youvegot-timetogrow]

When hozier said "I wanna be the shadow when my bright future's behind me" and when mitski said "My body's made up of crushed little stars and I'm not doing anything" and when taylor swift said "They told me all of my cages were mental so I got wasted like all my potential" and when dylan gossett said "They say pressure makes diamonds how the hell am i still coal" and when fall out boy said "I can't wake up to these reminders of who I am, a failure at everything, eighteen going on extinct" and when

[kaizen128]

"I've seen heaven without dying Met the devil without trying and they all seem to wonna talk to me." -Dylan Gossett (Coal)

[sad-trash-pigeon]

"just take my hand and be with me, my dear"

- beneath oak trees by dylan gossett

[cheese--girl]

They say pressure makes diamonds, how the hell am I still coal?

[deadcactuswalking]

REVIEWING THE CHARTS: 27/01/2024 (Noah Kahan/Sam Fender, Benson Boone, Becky Hill/Sonny Fodera)

I think it’s this week that I’ve realised Noah Kahan might be a bonafide star. We’ll get more to it later, but “Stick Season” spends a fourth week at #1 - welcome back to REVIEWING THE CHARTS!

Rundown

As always, we start with our notable dropouts, which I define as songs exiting the UK Top 75 (read the FAQ) after five weeks in the region or a peak in the top 40, and this week wasn’t too busy but it did come with some fair losses. Therefore, we bid adieu to “When We Were Young (The Logical Song)” by David Guetta and Kim Petras, “Stop Giving Me Advice” by Lyrical Lemonade, Jack Harlow and Dave (might be back next week given the album), “Won’t Forget You” by Jax Jones, D.O.D and Ina Wroldsen, assisted by a (bizarrely, credited) “donk” edit featuring The Blackout Crew, “One of Your Girls” by Troye Sivan, “Me & U” by Tems and FINALLY, “Anti-Hero” by Taylor Swift. It feels like it’s been there forever.

When it comes to our returns, we see the oddity of Sam Fender returning to #35 assumingly because of a boost to “Seventeen Going Under” that resulted from… well, you’ll see, but otherwise, we only have a handful of notable gains that, during a pretty dreadful-looking week, show some promise, and no, I don’t mean “Someone You Loved” by Lewis Capaldi somehow still here at #59, more so “Praise Jah in the Moonlight” by YG Marley at #51, “Scared to Start” by Michael Marcagi at #47, kind of grew on me, and “Nothing Matters” by The Last Dinner Party at #41… and less so “Toxic” by Songer at #32, please, let’s not do this, and on that same pleading note, “Alibi” by Ella Henderson featuring Rudimental at #26… why?! I suppose on a good note, Flo Milli is up to #17 with “Never Lose Me” and I can’t really complain about Natasha Bedingfield’s second wind at #13 with “Unwritten”, but it is majorly a mixed bag over here.

Our biggest story, however, rests in our top five, as “Homesick” by Noah Kahan debuts at #5, thanks to a version with Sam Fender who, surprisingly enough, is actually credited by the Official Charts Company, probably because, well, it would have no reason to as high as this without him. More on that later, but for now, it’s pretty standard elsewhere - Jack Harlow’s “Lovin’ on Me” at #4, “yes, and?” by Ariana Grande at #3, “Murder on the Dancefloor” by Sophie Ellis-Bextor at #2 and of course, Mr. Kahan still sitting at the very top. Now we have a… considerably unpromising set of new songs to discuss, so I guess we’ve just got to trek through that, and our starting point is…

New Entries

#75 - “Coal” - Dylan Gossett

Produced by Dylan Gossett

There aren’t that many new arrivals this week but the songs apart from one all fall into being either by singer-songwriter types or working as faceless EDM, and if you’ve been following this blog at all, you’d know those two styles really aren’t my thing, but hey, an independent folk singer racking up a streaming giant with a song from last year, notching him licensing with Republic, it could be promising in the same way I like Zach Bryan or even Oliver Anthony, who I assume we will never see again but appears as a recommended song in Mr. Gossett’s Spotify search terms. One has to wonder why and how but first of all, the elephant in the room: Diamonds aren’t made from coal.

I found several articles, both from sustainable energy advocacy outlets like TreeHugger and the people selling diamonds like With Clarity, clarifying that diamonds cannot really be made from coal. Coal is an impure carbon whilst diamonds are purer and whilst pressure is involved in the process, it is not a simple “one equals the other” sum, since coal has too much organic matter to be made into crystalline diamonds, especially since you can see vividly in the colour of rarer diamonds to what other chemicals may be found in them. Now I’m tempted to believe these articles as they’re backed by science, but if I’m wrong and these articles are just using words I don’t understand to spread a mythical debunking of an already existing myth that diamonds originate from coal, which is actually true all this time, then I’ll stand corrected. For now, the main conceit of this song, asking why under all this pressure, how the Hell he’s still “coal”, doesn’t really make much sense, and the rest of the song reads like listing off proverbs and sayings that fit the part but he doesn’t fully understand them or tie them together. Singer-songwriters are supposed to weave stories, when this feels like playing word association with common and universal wisdoms. For all of Oliver Anthony’s imperfect wording, at least you can tie them together to refer to a specific viewpoint, seeing where those views align, without becoming vague “woe is me” platitudes that don’t hold much reason for said pity, or really any narrative detail. You might see this as nitpicking but when it’s just a guy with a guitar, he opens himself up for interpretation and autopsy, possibilities he seems to willingly flail away by displaying disappointingly little to even work with, and as the song fills itself up with non-verses, as tightly as this kind of song can be produced without a particularly impressive vocal performance, one starts to wonder what the appeal in this even is. It’s a non-song, let’s move on.

#71 - “Incredible Sauce” - Giggs featuring Dave

Produced by Payday and David Morse

The #1 album this week was Green Day’s best album in decades. I have a full first-impressions review of Saviors on my RateYourMusic listening log (exclusivelytopostown) and whilst I understand that sales factor in here, I’d have loved for the only song here that bucks the categorical trends I laid out earlier to be a cut from that record. Instead, we have a Giggs song from last year that I’m honestly surprised has yet to chart already, given the Dave feature and that it was released in August of last year. Apart from the… choice of a name, I still don’t really know what level of quality to expect from Giggs, outside of a comical menace that emerges largely from his attempt to be “laidback” that can more accurately be described as an active  coveting of his natural voice to sound much more relaxed than he really is, considering he’s never sounded comfortable with a flow he picks out, which becomes especially clear with Dave on the hook as he actually pulls off sounding effortless. Giggs’ delivery honestly reminds me of Dean Blunt’s satirical British rap project Babyfather more than anything, especially with the half-asleep cadences leaving so much dead air in this eerie, stagnant trap beat. The song doesn’t end with a piece of classic Dave wordplay, though he’s not on his A-game here comparing himself to Sonic the Hedgehog, it just ends with “Lingerie on a special occasion”… okay. That’s barely even a flex, why does it punctuate the track’s final moments? This is just another ugly showing of substanceless pretence from Dave over a pretty minimal beat with an absolutely worthless performance from Giggs, whose verses feel double the length and really halt any possible fun that could be had from Dave’s bite-size verse. Somehow, this ends up much like “Coal” - there’s just nothing here.

#39 - “Whatever” - Kygo and Ava Max

Produced by, well, Kygo

Speaking of nothingness, welcome back, Kygo and Ava Max… Jesus Christ. Okay, well, if anything is the saving grace this week outside of #5, it will be this.

I have just checked the sample credits, I have bad news. To delay the suffering, I will say that I kind of like the production here, the acoustics remind me of Avicii’s pretty seamless blend of folk pop with the anthemic festival house that defined much of his catalogue. Kygo has always been a detailed producer who pays much attention to ensuring his songs are as easy as possible on the ears, and he succeeds in the sense of this being a very pretty little tune with depths of cute synth pads, guitar rolicks and plucky percussion. Ava Max herself actually impresses me a tad here vocally, mostly because since this is a Kygo song, she can belt without clipping unnecessarily in the mix for once. However, and this is a big however, the main hook of the song, its crux, if you will, is a direct interpolation and rewording of the iconic melody to Shakira’s “Whenever, Wherever”, a 2001 single that debuted and peaked at #2 for two weeks in 2002 here in the UK, being kept off the top spot by Will Young’s double A-side of “Anything is Possible” and “Evergreen”. I can’t believe such a classic was blocked by not even Westlife, but a Westlife COVER, yet I digress, this is just a lazy and frankly obnoxious way of using the song’s chorus. Kygo is clearly dipping into the David Guetta pool of reskinning prior hits, and I will give it to him that he’s not just redoing a classic EDM track, this is largely a unique house single, but that may make the last-resort hook that much more disappointing. I’m disappointed in you, Kygo. Not you, Ava Max, you can just do whatever. Albania forever.

#36 - “Skin and Bones” - David Kushner

Produced by Rob Kirwin

Oh, we’re actually making David Kushner a thing, fantastic, that other song just had so much to offer, didn’t it? I feel like I can very quickly summarise this melodramatic, uber-serious noir piano ballad, deepened by some of the ugliest froggy-sounding snaps I’ve heard in pop music and only plunged further into sludge by Kushner’s insufferable lyrics, by just a stray observation. When I clicked on the Genius annotation for the first verse of this song, it was completely empty. At least to the first verse, there’s literally nothing there: an empty annotation box. It may just be a glitch on my part, or it was deleted for whatever reason, but regardless, I think this exemplifies how little this song has to offer: someone attempted to just touch upon the pretty self-explanatory first verse, attempted to offer some wisdom or deeper analysis that seems granted with the cinematic grandeur of it all, and couldn’t cough anything up. Once again, there’s just nothing here.

#34 - “Never be Alone” - Becky Hill and Sonny Fodera

Produced by Sonny Fodera

I mean… it has a pulse at least. In fact, this is much more interesting than I expected for Becky, and not necessarily in a lyrical front, simply because she does not need to do much more than recite boardroom word association over four-on-the-floor, but moreso with her vicious delivery, going into an attack that sounds like it was overpowering the mix before being blended a bit more clearly into the nostalgic breakbeat hardcore rhythm that punctuates a surprisingly long build-up into a… surprisingly unique drop. This is really just a flex show for Sonny Fodera here, but Becky stepped up to the plate to match his passion and energy, bringing more of a rough instinct to the trickling alien synth critter that grounds the 90s pads and rock-solid breakbeats into a killer pre-drop that genuinely took me aback, as did this drop, which completely ditches the breakbeats for a tense hardcore kick and more atmospheric, glitching pads that run through the mix like a spiralling staircase, as Becky’s vocalising becomes little more than an inhuman drone until it’s removed altogether. The intensity of the track, filling up the mix with padded quirks even when the breakbeats are relegated to simple fills, is genuinely unprecedented for Becky Hill, and I’m actually really glad that she is not only on hopping on much more effective and unique production, but stepping out of her comfort zone to riff and meander in a way that she never really lets herself do, even in her looser songs. I am honestly quite shocked, but this is fantastic. If this doesn’t smash like much of Becky’s tighter, more restrictive cuts have in the past few years, I will be immensely disappointed.

#18 - “Beautiful Things” - Benson Boone

Produced by Evan Blair

Sigh… one of my first thoughts when Kushner had success with “Daylight” was how much he seemed cut from the same cloth as Mr. Boone over here, and to be completely honest, the concept of the two charting the same week chased me in my worst of nightmares. Hey, at least my dreams have become reality! To be fair to Booner Boy here, he has what Khrushchev and Gossamer lacked: genuine lyrical detail in the verses. There is a certain dichotomy between the universalities of the choruses and pre-chorus compared to the pretty niche and incredibly lucky situation he’s found himself in during the verses, it almost reminds me of Tom Odell’s “Black Friday” given its wordy mundanity, but that’s only lyrically, as I don’t hear much here connecting the two sonically, especially given the faint bass and reliance on soaring guitars on “Beautiful Things” that makes it almost more of a pop rock tune, one that is surprisingly willing to ditch much of its initial build-up for a desperate screech over stop-and-start staccato guitar rhythms that go way harder than I expected. This is what I’ve been saying Lewis Capaldi should be doing for years, if these moan and drone singer-songwriter sadboys are going to have their voice fit over anything, it’s not basic adult contemporary swells, it’s melodramatic, no-holds-barred pop rock, and this honestly becomes pretty killer by that first chorus. The guy can let out a desperate cry, and I’ll be damned if he’s not convincing as he airs out his paranoia about this perfect relationship breaking down. The second chorus could use some deviation, but I’m a sucker for radio rock that takes itself way too seriously and considering his dire earlier material, this may as well be Mr. Boone: The Animated Series. I really want to hear more of this from this guy, and it seems that these last few songs may be the light at the end of the tunnel for an unpromising week.

#5 - “Homesick” - Noah Kahan and Sam Fender

Produced by Noah Kahan and Gabe Simon

Okay, it’s Noah Kahan: there is a base level of quality here and I am actually always excited to hear a new song from him because at least there’s always a lot to uncover and appreciate even if the song isn’t great or has some grating element throwing a spanner in the cogs. This is especially true with Sam Fender in play, as this raises the standard of quality to at least bearable and at its worst, it’s going to be an interesting and perhaps powerful narrative… and if we’re talking about lyrical detail, I mean, Kahan’s your man, almost too much so given some of the awkward wording in that original version from his Stick Season album. On hearing those church organs sliding just slightly off the careening heartland rock groove, I knew exactly why Mr. Fender ended up on this specific song, and this actually lets Kahan let out a little, have a little more fun as he vocalises playfully about his frustrations, delivered largely in the form of punchlines, about his slow small town, with the chorus being him breaking down and basically begging for a reason to grab him out of that place, even if it’s where he grew up, using an on-the-nose but still fun play on words with the term “homesick”. I do wish there was a bit more to its mid-section, it feels like it stagnates a bit once we reach the chorus for the first time, mostly structurally. I want to hear more of Kahan’s stray, funny observations, but we don’t really get more of that even with the ramped-up intensity and a guitar solo way too Weezer-coded for me to not get a stupid grin on my face.

As for the Fender version, well, this is the best-implemented anyone has been in these Kahan duets yet, given Fender brings a new verse giving a unique and personal story about the background of riots in northern England that informed his town, injecting further reason to why one may be Kahan’s form of “homesick”, but also, despite being more strikingly intimate and less darkly comic in his observations, finding a valid and heartfelt reason to live his life outside of that home town: the dreams his father set out for him lay far away from where they were instilled. It adds a lot of depth to the song, and whilst Kahan and Fender don’t play off each other incredibly well, they have a decent chemistry that from interviews with Dork and People seem to have arisen from very similar hapless upbringings and recurring topics in both catalogues. Additionally, I like Fender’s voice more than Kahan’s, and the harmonies fill out the  mix so it’s a tad more impactful, so I think this new version actually beats out the original. I’m also pretty happy that this week, starting off with a lot of mediocrity and not exactly a promising set of artists for me, personally, ended up surprising me with that three-track run by the end, and trailing off with two killer rock songs is the best way to make me feel a lot happier about a week as a whole.

Conclusion

I’m relatively predictable, especially when we get alt-rock on the charts, so I feel like despite how much I liked the Becky Hill song, it’s no surprise that Benson Boone ends up snabbing an insanely close Best of the Week for “Beautiful Things”. It was pretty much neck-and-neck with “Homesick” by Noah Kahan and Sam Fender, which is of course the Honourable Mention, and whilst I think that it is lyrically more insightful, there’s an instinctual raucousness to the emotion in The Booney One’s track that just hits that bit harder. As for the worst, I mean David Kushner obviously gets Worst of the Week pretty much effortlessly with “Skin and Bones”, but I do think I was just frustrated enough with Dylan Gossett to grant his song “Coal” with the Dishonourable Mention. At least Giggs wasn’t trying to say anything profound, and if he was, then I sincerely worry for him.

What’s on the horizon next? God knows, it’s January, but Justin Timberlake has a comeback single, Tom Odell has an album, it may be the week of even more whiny white dudes. Story of my life. Thank you for reading and I’ll see you perhaps a bit earlier than next week.

[dijidweeeb]

Dylan Gossett - Coal [Official Lyric Video] (2023)

[unknownwhisper]

When Dylan Gossett said love is tough but loneliness is twice as hard and they say pressure makes diamond, how the hell am I still coal…

Yk what he right.

[kaizen128]

"They say pressure makes diamonds

How the hell am I soo COAL!"

-Dylan Gossett (Coal)

[essentiallydanielle]

They say pressure makes diamonds -

How the hell am I still coal?

[unbecoming-kiley]

Now I've seen Heaven without dyin'

Met the devil without tryin'

And they both seem to want to talk to me

[hound-of-ulster]

Buck and Maddie's theme song is Coal by Dylan Gossett.

Mostly Buck leaving, and Maddie letting him go. But yes.

[cheese--girl]

When this game of life plays heavy on my heart and

Love is tough and loneliness is twice as hard and

I'll carry that 'bout everywhere I go

They say pressure makes diamonds

How the hell am I still coal

[thisaintascenereviews]

Sam Barber - Million Eyes

The rise of Zach Bryan within the last few years, especially last year, means that we’re starting to see some clones pop up on other record labels. I’m sure every other label saw Warner making a lot of money with Bryan, namely “I Remember Everything” with Kacey Musgraves going to number one and staying in the top ten for a long time, and got money signs in their eyes. We’ve gotten a few artists in this vein that have kind of popped up, but they haven’t gotten the same level of success (at least not yet). The two artists that I’ve seen mainly are Dylan Gossett and Sam Barber.

I’ve been hesitant on listening to them, simply for the fact that they’re kind of just Zach Bryan clones. If you know me, you know I love Zach Bryan and his last album was one of my top favorites of last year. It’s inevitable that we’re going to get artists that sound like popular ones, essentially to capitalize on a certain trend or something that’s popular. Whether they’re good or not is the real question, and while I really like Dylan Gossett, I’m going to focus on Sam Barber here, because I don’t know how to feel about his stuff. I’ve enjoyed a few songs he’s put out, such as “Straight And Narrow,” but I wasn’t sure how an EP or album would fair.

As for right now, we do have an EP that he put out last year, entitled Million Eyes, and despite only listening to it now, I wanted to talk about it because I’ve been in the mood for some country and Americana. I just haven’t found a whole lot that’s new I’ve wanted to get into, minus the new Dustin Kensrue and Oliver Anthony albums, so I’ve spent some time looking for some country, folk, and Americana albums I missed last year. Barber’s an artist that’s been on the rise for the last couple years, so I thought now would be as good of a time as any to dive into Million Eyes.

It’s weird, because I don’t quite know how I feel about this album. Sam Barber is a good artist, all things considered, but I feel as though a few things hold him back from being truly great. I will say that he’s only 20, so I shouldn’t be too harsh, as he’s got time to grow, but there are some issues I have with not only this album, but his music at large. Nothing on here is outright bad, but the album works on a few songs, versus as a whole. “Straight And Narrow” is a good example of that, where the lyrics are quite compelling and the music is catchy and energetic, especially compared with his gravelly and weathered voice. It’s just that not much else even competes with that “lightning in a bottle” song.

Barber’s vocals are good, despite how he does remind me a lot of Zach Bryan throughout this album, and a few other songs are pretty solid, such as “Drowning,” and the title track, but other songs just feel bland, forgettable, or not that great. “Dancing In The Sky,” while being a cover, is really boring (musically and lyrically), and the song is a slog to get through. It’s a weirdly religious song, too, and not in a way that has anything to say other than “I hope you’re having a good time in Heaven.” I suppose that isn’t a bad message, but there are tons of country songs like that, despite this being a cover.

Where the album kind of loses me, at least in a lyrical way that shows Barber isn’t as lyrically adept as his peers is “Ghost Town.” I don’t like the lyrics of this song, because they sound like the musical version of “old man yelling at cloud.” The song is Barber’s way of saying “remember the good old days,” while using generic imagery of small town life, and saying that the world has lost its way. He never explains how, as most of these songs don’t, but this just feels so conservative coded, it leaves a bad taste in my mouth. The song could have been interesting, especially diving more into the titular ghost town, as I thought the town he’s referring to became that way from economic hardship, but he just talks about how beer and baseball games were “common ground” for people back in the day. Barber’s 20, so how does he remember the good old days? Does he mean like a decade ago?

I don’t know, that song in particular irritates me, but the rest of the record is kind of bland, uninspired, and not just that memorable. I’ve been going back to it a lot, hoping that the next listen will stick with me, but this record just fades into the background, especially compared to some of the other rising stars in this vein. He just sounds like the Zach Bryan we have at home, and that’s not necessarily a compliment, because I already love Zach Bryan, but at least stand out in some way. “Straight And Narrow” is a cool song, but that’s the only song on this record that I keep coming back to.