#I had to do the 80s synth vibe for at least one of these guys

[nosnexus]

Everyone meet in the nearest parking structure for DANG DANG REVOLUTION!

[abitofboth]

okay fuck it I’m gonna write detailed thoughts about cinderella’s castle even though I never usually do cuz like who am I to review something

first of all: PUPPETS!!!!! god, I am SO glad starkid puppets are back in action. I fully believe puppets should be used in theatre way more than they are now (the joey puppet in war horse is extraordinary) and the puppetry in cc was so reminiscent of starship to me- I’ve been craving the high of pincer and bug for YEARS lmao. when hop-a-lot came on stage I audibly went “oh shit”, crumb is a fuckin delightful little guy and I desperately need to hug him, and the troll puppets brought so much life to characters that I think wouldn’t have been as fun without them. the love that went into crafting every puppet is so easy to see and I really hope we get more of it from starkid in the future!!

I’m really happy to see bryce in a main role, she is a fuckin powerhouse!!! her voice is incredible and she brought such a fun spin to ella. I was lowkey worried it was gonna give off alw bad cinderella vibes but I shoulda had more faith, her character charms you as soon as she walks on stage!!

I’m also kind of a little obsessed with tadius?? curt in any role is guaranteed to take my heart but god, make him a lover boy and throw in a sprinkle of sass and I’ll just lay down my life for him. wish there’d been some more of the romance between him and ella!!

the trolls were also some incredibly fun characters. lauren and mariah killed it and like let’s be real, we were all rooting for them and their hot girl summer. what’s a little murder between friends?? angela was great and I loved the twist on the stepmother character that was way more interesting than the usual “she’s just kind of a bitch”.

jeff as the narrator was perfect but we all knew that was gonna be the case anyway. give him his cunty eyeliner and the man’s unstoppable.

joey’s voice work also deserves a special shout out!! every time he opens his mouth I’m giving him a standing ovation. what can’t the man do??

I didn’t love the character of the prince but ig that’s the point of him!! james played him so well and I really do think he’s so underrated as an actor. the physicality and comedy that he brings really makes him stand out, but I will say that the sex jokes got old pretty quickly for me lmao. it made him feel a lot more one-beat than I think they were going for

I reeeaally enjoyed the set and lighting of this one!! literally as soon as we pressed play, my sister and I were like oh shit okay I see your bigger budget mr lang!! and the COSTUMES!! loved loved loved them. Ella’s dress was beautiful and I’m really glad they went with something of their own design rather than try to replicate something disney-ish. it looks like they had a load of fun with the wigs in this one too which I always love to see!!

I thought kim, jon, and joey were, despite shining in whatever stage time they had, WOEFULLY underused. only one scene for kim, and I wish we’d have been able to spend more time with hop-a-lot and crumb- considering they were main characters it felt like we barely saw them. they had like, at most three lines in a song too? let them sing!!!

the music was also not what I expected! I didn’t expect it to be so synth-y, maybe more of a rock vibe from the small hints we had during production? I saw another review say it gave them 80s fantasy film vibes and I think that’s the perf description!! I really enjoyed all the songs and I always love being able to take in whatever jeff has cooked up. everyone was on their a-game as always with their voices too- bryce and kim were real stand outs for me. I do feel like the soundtrack is kind of forgettable though? usually after watching a starkid show I’ll find at least a few songs have earwormed their way into my head but right now I can only recall the opening/closing song. maybe that’s just on me though!

I also thought the general pacing was a little off and the story was maybe not quite ready. some parts felt rushed and some parts dragged a little, and at the end I was left still feeling a little hungry for something more.

overall I really enjoyed it!! I’ve been a huge fan of starkid for well over a decade and with each new show I’m blown away by their creativity and obvious love for the craft. I was so excited to see them move away from hatchetfield for now and jump into a different sandbox to play around with, and I’m SOOOO looking forward to the proshot version because I just know it’s gonna blow everyone away. I’m so glad they make such incredible theatre and do it in such an accessible way, and not to sound super cheesy but god is it great to be alive at the same time as them

(and really, nick lang I am begging you to make a crumb plushie)

[spicy--meatball]

ranking 550+ music genres: PART 1

i lied, this is happening before thursday. i plan on having this be three posts a week (tentatively wednesday, friday, and sunday) so i have time to listen to each genre and give my thoughts on them. i originally planned for this to be 10 genres in one post once a week, but considering how much ive written for this post im going to reduce it to 2-3 genres per post because im only allowed to post ten audios per post lmao.

one more thing before we begin, obviously im not a music expert. i make mistakes and am sometimes uninformed. if you feel like theres a correction to be made about something i said, i'll hear you out, just dont be a dick about it.

anyway, LETS BEGIN!

(1) 16-Bit

i used to listen to a lot of 8-bit and 16-bit music when i was in middle and early high school while i was writing or drawing. i understand how this music sparked some creativity in me back then, its generally whimsical but highly variable in mood.

theres also a lot of charm in the creativity that comes out of the limits akin to those that music-makers back in the 80s or 90s had when making video game soundtracks. there are sometimes other instruments, like electric guitars, more modern synths, piano, etc, but they mix well with the square, sine, and triangle waves used in this type of music.

that being said, while 16-bit is charming, it is not a genre i would listen to regularly, so it is going in the "i would not listen to this regularly but i respect it" tier. (be prepared, theres several weirdly specific tiers like this).

16-Bit song recs

(2) 2 Tone

based on the genre's name, i expected this genre to be similar to 16-bit. i was very wrong! this is not even remotely close to 16-bit. this is music i would expect to hear while watching a sped-up, comedic clip from the 80s of some guy who stole something silly from someone and is now running away from the cops. the audio would hypothetically be sped up too. think that one scene in A Christmas Story where ralph's bullies are chasing him down the street and his younger brother is struggling to catch up.

apparently "Our House" by Madness is 2 Tone? i hear this song regularly at work. that was a surprise to click on. though this song differs a lot in vibe from the songs i described while listening to previously.

i have yet to figure out why this genre is called 2 tone. i could look it up but that kind of ruins the fun of trying to form a critical thought. at the very least, i can say this genre sounds similar to ska. i still cant believe Our House is mixed in with all these songs.

anyway, "pretty good" tier genre.

2 Tone song recs

(3) Acapella

i cant be the only one whose only exposure to acapella so far has been during december when pentatonix pops up everywhere. its impressive what people can do with nothing but vocals.

i dont have much else to add unfortunately. "i would not listen to this regularly but i respect it" tier.

Acapella song recs

i love lady gaga and i appreciate the acapella rendition these guys did.

the tiers themselves as well as my rankings of each genre are subject to change as i see fit, but this is how it stands as of now. stay tuned for the next post!

[nobody-knose--archive]

finally got around to listening to sketches 3d today and man! man! oh boy! liveblog under the cut!

-piano. exactly what i was expecting

-vibrato huh

-ayyy that's some. funky percussion

-this is like the fullerenes or something. a song about an Interesting Lady

-and there's that one grainy string synth/sample that andrew uses a lot & also appears in hawaii part ii

-more percussion. this is so cool

-i wasn't expecting this to be quite so minor key

-man if that was courtney on the flute there i think that'd be sick

-sing it andrew!

-i'm already having a more cheery time than i did with nat

-zubin???

-i will absolutely have to review that voice

-wait what the fuck is happening to her

-darling you good?

-anyway. classic andrew horowitz funky out-of-tune synths

-rattle rattle

-more out of tune piano. what song is this

-oh shit!!! this is the song my friends like

-tambourine <3

-you & me? sides of a coin? good & evil?

-so weird hearing all these lyrics i've seen in the song channel sung aloud for real

-andrew is doing some good singing here. he's good at carrying the melody on his own even though i've not heard much of that from him in the past save fate of the stars maybe

-he's always been good at that percussion

-all different types of percussion. tinny little gong like it's the whole world & you acoustic

-tambourine <3 <3

-so incredibly weird knowing what the lyrics are going to be without knowing what the song sounds like. i know how these words go in order but don't know how the melody carries them

-interesting thing about sketches so far. it's very strong & powerful but it doesn't block out the world like other new songs will. i'm not being taken somewhere else it's more like the whole rest of the world is being highlighted

-alright what's next?

-7/4 hummingbird????? or is this 6/4???

-no no no it's 5/4 and doing funky things with the onbeat i love this

-asking questions to a little creature is the best kind of pasttime and i mean that

-man andrew mixed this really well he's just. incredible at that

-he's making each song distnict while also giving sketches a clear theme

-a minor turn. i like that

-now what could this be?

-not lemons & pears yet?

-daisy fingers hell yes

-another song about a lady

-spoke mostly harmony oh you clever man

-thank you andrew for doing more with time signatures than tally hall ever did. first 5/4 and now 6/8

-the combination of very out of tune & rough percussions and incredibly beep bloopy synths is so cool

-conversations with a lady. this feels like a story of andrew visiting another world and being like "might as well write some songs about the fellows and stories round here"

-the whole album, i mean

-i am inspired by you, andrew

-this whole album is everything i could've hoped for and more

-the interesting thing about it is how few questions i find myself asking. i'm just looking at this stuff i have and being like wow! &, cool! not what i usually do with new albums

-divine inspiration bay be

-that's like. the opposite of an 80s fadeout

-oh that is absolutely the little sfx from the beginning of perfect at the end

-wait speaking of at the end

-no this is have a nice day interludinal

-is this a polyrhythm? there's a 4/4 type thing in the background and the foreground is. not on the onbeat i can say that much

-man i am going to have a nice day

-he's a good musician, able to make so much music out of a single interval

-lemons & pears!!!!

-toy orchestra my beloved that's the fuckin toy piano bay be wooooo

-but man oh boy does this sound absolutely different with only a one single guy singing

-ukulele in the bg? toy orchestra <3

-interesting being able to actually hear like. all of the lyrics for real

-some of the little riffs are gone and there are quite a many more

-hello?

-oh okay

-yeah i heard about the fucking gunshots that doesn't mean i was prepared for them

-the chorus sounds so nice i love this

-guest vocals?????????? whomst????????????

-who is this lady i'm so curious is she from the old toy orchestra? that'd be amazing

-breakdown time and it sounds so similar to the toy orchestra one. man

-at the end is. not the end of the album

-i think the thing that's getting me and not prompting as many questions is the fact that like. i hear these songs and hear tally hall songs. andrew's singing & i could hear this on a tally hall album with ease. it's strange

-i think the hi-hat and other little bits in this song, for example, reminds me of ross

-andrew's always tried hard at rock, and percussion is a massive part of that-wait he's scat singing i can finish that thought later i love this

-his songs are also very easy to sing along to without meaning to. first time hearing them and here i go

-anyway percussion is a massive part of rock, andy's always had an affinity for percussion, i think that's what's making me think of tally hall so much, or at least be. comfortably experiencing this in the same way i would a tally hall album

-i can't say the same of hawaii part ii

-if there's anywhere that lists the credits somewhere i'd like to see if ross worked on this at all but. i'm pretty sure he didn't

-where am i-oh shit a crowd

-nowhere else this is a song i think i know nothing about

-all that shit i was saying about rock percussion and now there's a whole entire drumkit going here

-alrighty

-that is not only andrew singing! again! who are you

-.....casey shea?????

-you sound like casey shea sir??????

-you are either casey shea or someone else who sounds like a beatle (affectionate, instead of derogatory)

-good guitar shit

-is that a third voice or does andrew just sound like that?

-madi diaz???

-i'm probably just guessing her because of the rendezvous but. there's gotta be someone more

-a whole lot of love going on here and i do appreciate it

-is it 80's fadeout time now? hell yeah

-oh yes the rainbow connection! a cover and the final song of the album (not counting the bonus tracks, which i will be listening to)

-i think i may have heard this before? or at least the minor rendition

-stylophone?

-humming. classic move

-theremin??

-music box is also cool. i swear i won't just be commentating on the instrumence alright

-what on earth is this sample in the background. steadily getting louder

-man andrew is a great singer. the consistent double vocals/heavy vibrato suits him well

-i will assume these are samples from like. the muppets movie

-does sketches (3d or otherwise) have a pdf like hwptii & nat? i sure hope so because i will enjoy looking at it

-vocalizing again let's a go

-more gong wahoo

-bonus track time <3

-tomorrow & today is a song i know pretty damn well i hope he's more legible now

-mostly the same as the 2011 version but it certainly is updated i can tell. more echo on these beginning lines

-piano is stronger. there may or may not be some added flairs. not a whole lot blatantly changed but i can say. i'll remove the 2011 version and replace it with this one for charlie

-there's a riff in my right ear that i don't remember and i like it

-this bit right here is more legible in general thank god it was incomprehensible originally

-the stomping percussion is Goin places

-and to end the whole song- you know yesterday fueled by a listen of nat i came up with an abundance of thoughts on writing styles in tally hall and especially how andrew's songs go places and what the journey's like and while that essay really won't fit into this liveblog i really enjoy how tomorrow & today has no destination in mind and it's a gradual trip but you never look back

-such strong g&e vibes

-misfortune bay be! time to replace the other misfortune charlie has with this

-sheet music???? jenny where did you find this? [referring to the image used in the video she uploaded i listened to] also this is still not the whole song i know the original misfortune wasn't but it feels strange to start this far into the song

-chords my beloved i could fucking play this song i'm so hyped about that

-toy orchestra solid soda real <3

-the one and only studio recording toy orchestra did. this is some of the best evidence for steve gallagher's voice we have

-also the audio is higher quality than the yt upload i think

-oh a casio organ not a real organ. okay i can't complain

-i like the sound of the piano at least. also this is horrendously gorey i like it

-andrew horowitz horror writer extraordinaire

-these sound like the sorts of drum synths my electric organ has

-i actually can't tell if that one's a guest vocal or andrew just being a very very good singer

-this sounds like some sort of recording you'd take of your kid's music school performance

-oh it's over

-fuck that was good

[ill-advisedrecords]

Hey guys, Chris here again!

You probably know by now that I produce music on this label under the name “Dated”, but what you may not know is that I’ve also produced the upcoming Cyberghost album as my first real Dark Synthwave album. This is a pretty sharp left-turn from my usual work in lofi hip hop, so I wanted to go into a bit of detail about why I started making this sort of music, how I learned to do it, what I used to make it, and what inspired this project.

This story begins where all stories about getting into something new in 2020 will - quarantine. While I run this label like it’s a day job, I actually have a “real” day job as an administration manager for an art gallery. March came along, and so did the COVID situation, and I found myself laid-off for about 4.5 months straight due to a lockdown. The first few months were mostly spent playing videogames and watching movies, but after a while I started to get the itch to use the time a bit more productively. Around that same time, I happened to come across a track on Youtube which I hadn’t hear in a few years - Carpenter Brut’s “Escape from Midwich Valley”. While I had heard his music before, and enjoyed it quite a bit, I never really looked into more tracks by Mr. Brut, and had mostly just listened to the odd Perturbator album as my experience with dark synthwave. This time, however, it just grabbed me, and I spent days just listening to dark synthwave music and wondering how they all made it. As someone who has always worked with samples and knows absolutely nothing about music theory or sound design, I have always been mystified as to how people actually make “real” music. For whatever reason, the obsessive part of my personality kicked in right then and there, and I found myself looking for synths to download and searching “how to stay in key” on Youtube.

What followed was a solid month of spending about 16 hours a day doing absolutely nothing but looking things up, working on my own tracks, and watching 80’s horror films on Shudder every time I had to stop working to eat something. My girlfriend was coincidentally out of town for the month, so I was able to just go in hard on this whole dark synthwave thing. The first thing I found that really made it all possible was the “stamp” feature in FL Studio’s piano roll. As if magically, I could just pick a key, see what notes were within it, and then just always be on-key if I stuck to those. It took some time to figure out my timing and how to write something that didn’t sound terrible, but at least knowing I wasn’t falling out of key really gave me the confidence to play around with notes until I felt my riffs were getting catchier. The other biggest game-changer was buying some paid synths. Free synths are great and all, but their main issue is that they are generally built to make a pretty wide-range of sounds, and I found myself getting buried in massive preset libraries rather than being able to find those authentic 80’s sounds I wanted. I picked up U-He’s Repro-5 (which comes bundled with the Repro-1), as well as the TAL-U-NO-LX, which despite only being $50 USD is hands-down my most used synth. The TAL is lightweight, has a nice simple arpeggiator, and I honestly don’t think is capable of making a bad, un-80’s sound. The Repro was also great, and allows for much more full, complex sounds which still ooze 80’s vibes, but since it is a much more resource-intensive synth, I found myself using it less often due to the need to bounce sequences out to WAV frequently to keep my DAW from lagging after a few layers. That said, you can hear all 3 synths on pretty much every Cyberghost track, as well as a few later additions such as Serum and Mono/Poly.

That bit of research had the technical bits sorted out, but an album doesn’t write itself. The actual process for creating the tracks was loosely built around a concept - that of a mysterious, isolated town in the woods, being investigated by someone who gets pulled deep into darker events than they had anticipated. If that sounds a bit vague, well, that is intentional. I wanted enough of a concept to help me decide which tracks to make and how to arrange them, as well as what to title them and what album art to produce, but didn’t want some beat-for-beat script I had to illustrate through music. Also helping things along were the avalanche of 80’s horror films I consumed during the time I wrote the album (and consistently afterwards). Some standouts were Manic Cop, The Mouth of Madness, Sleepaway Camp, and Pieces.

It took about a month to get the first 6 of 8 tracks finished, and then I finished the remaining 2 tracks (which were Midnight Detectives and The Ritual) over the course of another month or two once I had returned to work. I drew a few designs for album art and picked one, which I posted in the last blog post, but later scrapped for what would become the current album art (the inks for which can be seen above). I’ve been a visual artist for a long time, so that was probably the most approachable part of this whole project.

And that’s the story of how a guy who can;t play any instruments or write music, and had never touched a synth before wrote a synthwave album in a few months. Whether it turned out well or not will be up to you folks once you can hear the full thing on the 11th, but I’d like to think it turned out pretty decent. If you’ve ever thought about learning to create something new, but thought it was out of reach, I’d urge you to push that negative voice down and just jump into learning about it without thinking. You’d be surprised how things can sort of fall into place, and the process of learning can carry you to a point where you can actually start doing without thinking so much about it.

The full album comes out this coming Monday, January 11 2021. If you want a sneak peek at the album, you can check it out here: https://youtu.be/HkBylYMa6wQ

The album will be available on a limited edition Type II blood-red cassette which comes with a special box and a signed 11x17 poster (limited to 100 copies). There will also be the usual unlimited cassette release, as well as our first CD release. I’ll probably make another post once the album is out to cover some of the physical options, as they just turned out beautiful.

[latin-dr-robotnik]

What went wrong with Classic Sonic’s music in Sonic Forces? (ft. beevean)

The following is a project I’ve been cooking for some weeks, trying to find out some reasons behind the general lackluster feeling that surrounds Classic Sonic’s music in Sonic Forces. As you may have spotted already, this is not a solo project, since I’ve had the opportunity to talk about this very same topic with @beevean and she raised quite a couple of interesting points that I’m going to bring up as we go through. 

Also, Spanish speakers: you can catch the Spanish version of this post here, it’s probably a more polished experience with additional text.

Long post below, so, bring up a ladder and a boombox, I’ll explain along the way. (there’s also a tl;dr at the bottom if you are that type of person)

Sonic Forces stands as a divisive point in the Sonic fandom, that much we all know, and we are not going to discuss the game’s general quality at all on this post. But we are going to take a solid look at Classic Sonic and, most importantly, its music, since I consider that’s the most clear symptom of a bigger problem with Classic Sonic in general, in this post-Generations Modern Sonic world.

A quick look at Classic Sonic

When Classic Sonic debuted in Sonic Generations (2011) as this new-but-also-old Sonic, gaming as a whole was still being bombarded with this “retro-revival movement” that brought back many classic franchises (like classic Mega Man with MM9 and 10 after a decade since MM8), and SEGA itself was in the middle of that train with the recently released Sonic 4: Episode 1 (2010). While Sonic 4 tried to marry Sonic’s current style with classic level tropes and even Genesis-inspired music in a seamless way (showing Sonic’s physical transition from his Sonic 3 days to Sonic Adventure as a smooth one), this new “Classic Sonic” guy in Generations suffered from a mixed message about his origins: is he Sonic from the past, from an alternate universe, or both? Is his music supposed to sound like arrangements of his classic 16-bits tunes or just modern-sounding remixes like the rest of the soundtrack? The fandom still debates about it to this day.

This all led to the introduction of a character that, although considered a “Sonic” like the other “Modern” one, could not establish his own identity beyond Generations’ anniversary-title plot threads. No unique music style, no unique traits, he was just a simpler Sonic.

Major manifestation of the Classic problem.

Fast-forward some years to November 2017, Sonic Forces’ release date. Besides gameplay, story and character criticisms, the music of Forces turned out to be quite controversial for a part of the fandom. Although I personally consider the Avatar songs as top-tier Sonic music, I share similar concerns as the rest about the rest of the game’s music, specially the Classic Sonic level themes. 

With Forces, it seems the composers managed to solve some of Gens’ Classic Sonic music problems, as this time there was a better and more consistent attempt at making Classic’s music sound more at home with the “Genesis days” tunes, but even then the composers fell into other traps that ended up being more damaging to the final product.

Years later after the game’s release, I finally brought up this very same topic during a conversation with beevean (I encourage you that, if you find the following snippets interesting, read the entire conversation), and she had the following thoughts to share as to why Classic Sonic’s music was so... underwhelming:

the classic music in forces is the weakest part of the ost, some tracks are okay while others suck, and the main reason for this is that they hired the wrong people for the job

Okay, that wasn’t a fair cut on my part. She talks a lot more about each and every aspect behind the music, and about the people that composed it, she had the following to say:

Okay, about Forces’ music. First of all, the Classic tracks were handled by two people: Tomoya Ohtani, who also composed pretty much 90% of the OST and has been working solo since 2013 (relevant later), and Naofumi Hataya, one of the two geniuses behind Sonic 2 8-bit’s and Sonic CD’s OSTs (plus some miscellaneous work in Heroes, Colors, Generations, etc.). If you loved tracks like Sky High, Palmtree Panic or Stardust Speedway, you have to thank him.

This is already a reason as to why the Classic music in Forces doesn’t resemble the music in the Genesis games. While I can understand that it would have been impossible to hire Masato Nakamura again, Jun Senoue would have been good for the job, having composed music for Sonic 3 and most importantly Sonic 3D Blast. But apparently Senoue was MIA until 2019, so who knows.

I’d like to point out that Naofumi Hataya’s involvement will play a bigger role later in this post, as we keep searching for what went wrong and we look for a potential solution when adressing Classic Sonic.

Beevean continued with:

There are mainly two problems here:

1) some of the tracks just don’t fit their stage. I already mentioned that Ghost Town sounds way too happy for a city under attack by giant robots. Death Prison sounds vaguely Egyptian and the difference with the original, bass-heavy composition is staggering. Chemical Flow is the most generic thing and would fit everything and nothing, and again comparing it with the original iconic track is just sad. I think the reason Casino Forest and Iron Fortress are my favorite Classic tracks is that they go very well with their respective stages. This is a problem Adventure 2 had as well, associating a particular style to a particular character, and while I think Forces did it better, for me the priority should be fitting a level.

2) Ohtani was once a very versatile composer (the guy could go in one game from Wave Ocean to Crisis City, for example), but since Lost World, the first game in which he had the responsibility of an entire soundtrack, his style quickly became “anime”. Runners’ tracks? “This sounds like an anime opening!”. How do you recognize his only track in TSR? It’s the one that sounds like an anime opening and uses a synth.

And look, I love Ohtani, he has nothing but my respect, and he made some of my absolute favorite tracks in the series. But I do think they’re making him work too much - he’s the best when he can work with at least another person, and has the chance to span a little. I also think his style is incompatible with the Classic music, which was never anime: even at its mellowest in Sonic 1 it always had a little jazzy/new jack swing touch. Basically the only thing they got right in this game is having a wicked bassline :P

It ain’t *only* the composers’ fault

Following beevean’s words, I’d like to add my own take on the problem. You see, I do agree that the composers maybe weren’t up to the task of nailing the classic Genesis tunes’ vibe (Hataya got real close, though), but at the same time I do think they weren’t properly oriented or didn’t have enough time to keep reiterating on the frameworks they were working with. Like beevean said, some of the tracks improve quite a bit after leaving behind that mixed as hell “almost Genesis but not quite” soundfont.

The composers will work on what they were told to make and I have a strong, albeith unconfirmed, feeling that the Classic Sonic composers where asked to “make it sound retro” by someone higher up on the project management chain, and after checking on their progress, simply said “meh, it’s retro enough, no one will notice”.

The “make it sound retro” argument, in my opinion, opens up a big discussion about Sonic music, because there is no easy way to make it “retro” with Sonic. You just can’t pump out a few nostalgic chiptunes and call it a day. Sonic music may have originated back in the 16-bit days of the Sega Genesis, but his identity is so much more than just that Genesis FM sound. I personally believe, similar to another thing beevean point out, that Forces focused too much on sounding “retro enough” instead of fitting each track better to each level theme or even tap into what really made Sonic appealing on the classic days. 

This last point is something that SEGA struggled a lot during the past decade, they introduced Classic Sonic as an entity separated from the current Sonic, yet they simply don’t give Classic Sonic enough development as it’s own character. He’s there because he’s there and we don’t know what to expect from him beyond “he represents the good old days”. But not even SEGA itself knows what that means.

So, what really makes up Classic Sonic’s identity?

For me this is the true heart of the post. Knowing full well what makes Classic Sonic should be the key to every project that features him. 

There are lots of points to make about Classic Sonic’s identity and how to establish him should he return once again on a 3D Sonic title (not even using the “modern” anymore, and I personally wouldn’t like to see him again on a 3D title for another decade, if ever), but seeing as the main topic of this post has been music, I’m going to focus on what music style makes Classic Sonic shine.

I already said that throwing some generic chiptunes won’t work, but I DO think that Genesis-inspired tunes can still work, should they stick to what made the classics so great.

And what is that? Well, you have several options here: you can choose from more J-Pop and jazzy tunes to some sick R&B and New Jack Swing beats, all the way through to late 80′s Acid House and wacky 90′s Dance music, even cinematic-like scores and ambient sounds.

Personally, I think the heavy R&B (with its fair share of New Jack Swing) influences are a constant throughout Sonic’s first years, and that kind of sound is one that goes well with his cool attitude™. Spring Yard Zone has always been referred to as “16-bit Every Little Step”, while Sonic CD... well, and Sonic 3... well... JAM. Even Masa’s demos of Sonic 2 feature some sick basses that aren’t all that different from what I was thinking (Chemical Plant and Metropolis come to mind). Sonic CD (JP, also the work of Naofumi Hataya and Masafumi Ogata) in particular springs up to my mind as the purest representation on everything that Sonic was about on his old days, but “pure” doesn’t necessarily mean “refined”, so I think the Sonic CD style coupled with some more smooth Pop for emotional moments (straight from Nakamura’s school of smoothness) and harder 90′s raves for boss fights (think how iconic Stardust Speedway Bad Future has become) could make up the perfect blend for Classic Sonic to follow in terms of style points, but also considering the general themes of each zone (Wacky Workbench being this Dance-heavy zone was a stroke of genius if you ask me, the same with Spring Yard being a jazzy urbanscape.)

Sonic is a product of the late 80′s and 90′s pop culture, he has the moves of MC Hammer, Bobby Brown, and of course, Michael Jackson (also his shoes). As such, no generic “retro nostalgic” tune will fit with him, unlike many other gaming franchises. By embracing Classic Sonic’s wacky nature gems like Sonic Mania happened, and just like I pointed it out to beevean, if you were there the week that game was first announced, you probably saw how much people were gushing about Studiopolis Act 1 sounding so much like Sonic CD with that funky beat. People instantly knew that was the Classic Sonic music they wanted to hear.

And just to make this section even better, I recently asked beevean about her thoughts on what makes Classic Sonic’s music identity. I now urge you to go and read her full analysis because it’s so deep yet very accessible, as I’ll be collecting just a few parts of her response for this post. Trust me, that post is so useful, go and reblog it now, I’ll wait here.

About Classic Sonic’s music styles, beevean says:

So… which is the style that fits Classic Sonic better?

The big love letter to the Classic series that is Mania used CD as an inspiration, and while Mania’s OST is excellent and one of my favorites… I don’t automatically associate New Jazz Swing with Classic Sonic. Before Mania, it was only in one game, the odd one in the bunch too.

3D Blast is my favorite Genesis soundtrack, and as I said it combines the best of two worlds (plus it’s just full of bangers), but it influenced the next era more than the Classic one. The same could be said for the American OST of CD - and besides, tracks like this are nothing like Sonic anyway.

Sonic 1 is the first one and all, but that mellow style fits that particular game more than Classic as a whole, I think the closest OST to this style was Advance 1, actually - another slow-paced, simple game.

So the choice is narrowed down to the ultra-popular Sonic 2 and the refined Sonic 3 & Knuckles. And I’ll be honest, while I think S3&K has higher “highs” compared to S2… my brain immediately jumps to the latter. When I think of Classic Sonic, I think of Genesis brass (the real deal, not that fake synth they used in Forces), twang basses, a swingy rhythm (too many to choose lol), and tons of energy.

Only one Classic track in Forces came close to this description. The others sound more like either a pale imitation of Sonic 1 or modern tracks with a bad soundfont, and that’s when they’re not a complete insult (no i won’t link to it you know what i’m talking about :V).

Author’s note: it’s been, like, two months and she still refuses to talk about Faded Hills, lol

Author’s note: sorry, beev.

(TL;DR) Closing thoughts.

So, what did go wrong with Classic Sonic’s music in Sonic Forces?

A lack of definition on what Classic Sonic even is about, carried from Generations, made the task of defining his style more difficult.

The composers weren’t up to the task, or they were simply asked to make Classic Sonic “sound retro”, generic sound be damned. 

This also means management of the project wasn’t that interested in the Classic portion, or they ran out of time to make it better. This is something that the entire game seemed to have a problem with as well.

The music didn’t fit the stages, and even if it did, Classic’s identity was all over the place. He was there just to be there, and his music suffered from that (compare it to Mania).

Tomoya Ohtani (often credited as the maker of the arguably worst tracks of Classic Sonic in the game) has experienced a shift on his musical style over the last few years that led to his tracks start sounding very similar to each other, this, coupled with the fact he was working on the other 2/3rds of the game’s OST, caused his Classic tracks in particular to suffer.

Classic Sonic’s tracks didn’t take from the 90′s Pop and R&B influences that plagued the old games, and as such, the current Classic Sonic doesn’t have an identity as strong as the original 90′s Sonic. Beevean’s take on this point involves Classic Sonic tracks that feature strong, legit Genesis brass, with twang basses, swingy rhythm and tons of energy.

Once again, I’d like to thank beevean for providing such insightful information and opinions (you can clearly see we both tend to have different takes on what made Sonic back in the 90′s, but in the end agreed to a similar set of requirements to make good Classic music, like basslines and lots of energy), which helped this post a lot more than you can imagine. I wanted to post this back in late January, but the extra time allowed me to keep thinking, searching and listening, while also opened the door to ask beev again about her opinions. This is probably the first “big” article I’ve written this year, and I hope to return soon enough with more. 

[atamascolily]

lily liveblogs “terminator 2: judgement day” for the first time

Nothing says "Christmas season" like watching bloody action movies! Well, there is "Die Hard," but I'm watching Terminator 2: Judgement Day, aka "James Cameron Was Mad He Didn't Put Those Ten Minutes of Subplot He Filmed Into the Theatrical Cut of the First Terminator, So He Made An Entire Movie About It Instead Because He Could”.

Ok, so I have the "Extreme Edition", whatever that means. The menu options for the DVD include "Sensory Control" (for subtitle options) and "Jump Into Timeline". Every now and then a super-creepy T-2 metallic head drops into frame to remind you to press play. I'm loving this.  

Cars in L.A. traffic. Children laughing on a playground in the '90s. Cut to the Apocalyptic Nightmare Future with the busted cars and skeletons for drivers. Everything's STILL IN PLACE the way it was when Judgement Day happened. Oooh, yeah, just cut to the wrecked playground with a pile of human skulls, in case we didn't get the memo.

(for the record, I'm pretty sure nuclear winter would actually NOT WORK LIKE THIS, but it looks cool, and James Cameron seems to be really good at this kind of parallels between present and future, so I'm rolling with it.)

Sarah Connor narrates the introductory spiel, and we're treated to basically the same opening as T1, except much higher budget everything. Lots of laser beams and explosions and fireballs, plus scary metal Terminators roaming around that the last movie did NOT have the budget for. (plus the audiences have already seen that in T1, so it's okay to show them in the intro, since I assume an EVEN SCARIER TERMINATOR FINAL FORM is coming).

We're only 3 minutes into the movie and the filmmakers have already spent like a tenth of their total budget on SFX and twice the total costs of the first movie. 

It occurs to me as Sarah is narrating, who is she narrating to? Just us, or some other characters? I strongly suspect we'll see some other characters when this film finally cuts to her.

How does Sarah know about a second strike? Didn't we establish in the last movie that there was only one Terminator that went through the portal before the humans got to it?? Are they retconning that now?

Instead of '80s synth and logo during the credits, we get a more symphonic treatment of the main theme, plus THE PLAYGROUND ON FIRE because SYMBOLISM for the destruction of CHILDHOOD INNOCENCE, amirite?? And then we cut to the SCARY METALLIC RED-EYED TERMINATOR SKELETON IN FLAMES because THAT is the defining image of this francise, the one that James Cameron had NIGHTMARES about that he decided to give to EVERYBODY ELSE by making these films.

I just realized how much the Terminator head in that shot looks like a human skull, THAT'S SO INTENTIONAL AAAAAH.

Cut to a truck driving off without its cargo, trash on the ground. Sparks fly, a wind picks up, it's night, we've been here before... This time the budget is higher, so we actually get to SEE the sphere instead of people just kind of appearing... and it carves a hole in one of the trucks. This ALSO didn't happen in T1. Nudity is still mandatory, though. It's still Arnold. You can tell it's an upgraded model Terminator based on his computer system menus. He still beats up tattooed punks to steal their clothes, only instead of stoned punks, these are long-haired motorcycle dudes in some sort of pool bar.

Oh, wow, there are a lot of people in this bar. A woman with a cigarette and a nose ring is checking the Terminator out. This is going to go well. Country music blares on the soundtrack.

He's looking for the dude with the best motorcycle. Tells him to give him his stuff. This is just like the first movie, but different. The dude is unimpressed, though why I'm not sure, because the Terminator is super-intense, and super-buff.

But the motorcycle dude blows smoke in his face--the T2 model scan says "carcinogen vapors", which is a) hilarious, and b) SO DIFFERENT FROM THE "EVERYBODY IS ALWAYS SMOKING EVERYWHERE" vibe of 1984--a sign of the evolving social norms. Then the motorcycle dude grinds his cigar into the Terminator's bare skin... and of course there's no reaction.

One dude goes through a window onto the front window of what may well be his car(?). The original dude goes flying into the kitchen and lands on a stove, which is horrific, but also karmic payback. Another gets stabbed with his own knife. I SEE WHAT YOU DID THERE, CAMERON. Burned guy tries to pull a gun on the Terminator, but surrenders his keys and his clothes without a fight. Terminator goes outside in record time, because the dude he tossed on the car window is still there.

The bartender comes out with a gun, fires a shot into the air, and tells the Terminator to get off the bike. This is going to end poorly for him, especially since "Bad to the Bone" is playing in the background. Terminator takes both the gun and the guy's shades while the dude just watches, incredulously. YOU GOT LUCKY YOU'RE NOT HIS TARGET/MISSION, pal.

(also: this movie is such an obvious social commentary about how being armed really doesn't help you against a real threat, American fantasies to the contrary)

Cut to more blowing trash, more buildings, more trucks, a police car, electricity. The future is calling! (Oh good, this person's either going to be chased by the police OR Take their stuff.)

Dramatic hole in the fence from the future sphere thing. Yeah, this definitely wasn't a thing in the first movie, but it does look cool in this shot! Yep, there goes the policeman!

New dude's first order of business is to look up John Connor's name in the computer in the police car. Apparently, John Connor has a criminal record - trespassing, shoplifting, disturbing the peace, vandalism. He doesn't live with Sarah... he's got a guardian, and the address is in the computer.

Cut to the suburbs. It's wholesome, white-bread America. His foster mother yells at him. John is a teenage motorcycle punk, but in a clean, wholesome way. His friend has very '90s hair, though.

John's friend thinks that his foster mom is a "dick," but frankly, I see no evidence why we should hate her thus far. Her husband comes out to tell John to clean his room, but he and his little friend are already zipping away on their motorcycle, and the little friend is holding a miniature boombox, and it's so '90s, I have to pause so I can laugh for a while. Also, this rebelliousness is what's going to save his life when the Terminator comes for him. I guess the foster parents are framed as nagging assholes so we don't care so much when they die??

(also, what do you want to bet Sarah taught John to ride a motorcycle??)

John Connor is a little dick who thinks he's so clever, and he doesn't have to do anything because these aren't his real parents. His foster dad smokes, and doesn't say anything, probably because he's already made it clear to his wife that room cleaning is not high on his priority list. Fuck him.

Sarah's doing pull-ups in her cell. THOSE ARM MUSCLES, OH MY GOD. She's 29 years old. SUCH A CHANGE from the waitress with the '80s hair from the first film. Everything's so white, it's a state psychiatric ward for women. Men in suits discussing Sarah's case.

THIS IS WHAT WOULD HAVE HAPPENED TO KYLE IF THE TERMINATOR HADN'T BUSTED THE POLICE STATION. *sob*

Is Silbermann - the psychiatrist who examined Kyle in T1 still around? He left the police station right before the Terminator's attack, so I assume he lived... what does he make of Sarah's case? Does he ever follow up? I wonder what's going through his head.

I like how we don't see Sarah's face until she turns to face the doctors. I like how wild and unhinged she looks, how feral. She's changed so much in what, ten years? Thirteen? I think it's 1997, just before Judgement Day, but idk if that's been confirmed yet. Thirteen looks about right for John Connor, so I'm going with that.

Oh, god IT IS DR. SILBERMANN, THAT ASSHOLE!!! How does he explain how both Sarah AND Kyle have schizophrenia, when Sarah was perfectly normal before? And he *know* someone was murdering other Sarah Connors and seemed to be gunning for her, so why...? Was he really that much of an asshole not to suspect that *something* was going on, and Sarah wasn't crazy??

Also, I love "How's the knee?" because she totally hurt him, and I love her. I love how calm she sounds, like she's the one in control not them, because she can hurt them more than they can hurt her.

Sarah stares at the female doctors, and I realize now that Silbermann is doing a tour of the facility LIKE IT'S A ZOO, and... yeah, wow, he really is an asshole. He's the one with delusions, who can't see outside his own sheltered bubble...

I wonder what would happen if Sarah could talk to one of the female doctors? If they could make a connection? Maybe they would believe her. God knows Silbermann isn't going to listen to anyone who doesn't already agree with him.

God, the orderlies are sadist assholes. I fucking hate them. That shot of Sarah lying crumpled on the floor is so beautiful because everything is angelic pristine white and sunny, and so horrifying.

The police dude shows up at John's foster parents' house. We're supposed to think he's good because he's not Arnold, but this person has no facial expressions and he's too calm - compare with Kyle's frantic fumblings. This is not somebody from the human resistance of T1, at least not without some serious retconning. He's too poised and professional, too adept at the 1990s, whereas Kyle Reese had the social skills of a feral racoon and wore pants he stole from a homeless man. Totally different vibe going here.

The knock on the door sequence is so parallel to the original Terminator going to the first Sarah Connor's house in T1... same suburban paradise... and you can get anything when you're a clean-shaven, short-haired white cop, can't you??

Cut to: '90s tech. John and his little friend hacking an ATM. God. Their clothes, their hair, the ATM... everything is peak early '90s, and I can't handle it. We learn that Sarah Connor taught her son how to hack, because of course she does.

John keeps the photo of Sarah in his backpack, awwww. John is so not impressed by his mother, calls her crazy because she took the war to Cyberdyne and WENT BACK AND TRIED TO BLOW UP THE COMPUTER FACTORY AGAIN AFTER KYLE DIED!! (and her son was born)

Q: what did she do with John while she did that? Was he outside waiting for her somewhere? How did the police find him??

It doesn't matter who your parents are, EVERY teenager thinks their parents are "total losers". John has a chip on his shoulder a mile wide. His little punk friend thinks Sarah is so cool, and he doesn't know any of this, so I guess they're not THAT good friends??? Since it's John's motorcycle, John's driving, and John's stolen money, I guess the little unnamed punk friend is only hanging out with John because John is so much cooler than him, and needs someone to exposit to??

That shot of a drugged Sarah slumped over her knees on her bed in the shaft of sunlight, with her hair combed is SO BEAUTIFUL, too bad she's a drugged shadow of her usual self...

OH MY GOD, MICHAEL BIEHN IS IN THIS MOVIE, AND HE COMES TO HER, AND HE'S WEARING HIS TRENCH COAT AND TELLING HER SHE HAS TO WAKE UP OMG OMG OMG OMG OMG OMG MY SHIPPER HEART asfhgfkgkfdgjkfdlgf *incoherent screaming* I need a thousand GIF sets of this scene PRONTO.

Kyle: "Where's our son???"

god, Sarah's EYES when she says they took him from her

Kyle is so earnest, so desperate, so much less bedraggled than he ever was in T1... god, he's even wearing that stupid gown under his trench coat that he got in the police station in T1, that detail wrecks me, oh my god, oh my god, this scene is so beautiful, I just want an entire movie of THIS, oh my god...

Sarah is begging Kyle for help, and he grabs her shoulders and tells her she's strong, stronger than she ever thought she could be, LIKE HE'S ALWAYS DONE, OH MY GOD, beautiful cinnamon roll, too good for this world, I love him.

AHHHHHHHHHHH, and then he says "On your feet, soldier!" which is what she said to HIM right before he DIED, and he forces her UP and they EMBRACE and she's sobbing into his shoulder and he hells her he loves her and he always will, and HKGKSFJALFNDBJNJN

I am a melting pile of shipper goo right now, this shot of them in the sunlight is so fucking beautiful, James Cameron HOW DARE YOU THIS IS EVERYTHING I WANTED IN A MOVIE EXCEPT THAT KYLE IS STILL DEAD, DAMN IT, YOU DIDN'T RETCON THAT.

He says he'll always be with her... and he is, because he's a voice in her head, a memory.... ahhhhhhhh my heart...

And he tells her "The future is not set. There is no fate but what we make for ourselves," which is what SHE SAID TO HIM, oh my GODDDDDDDD.

And they hug and kiss and I could watch a whole movie about this, and then she slumps back and she's alone in her cell in a shaft of sunlight and I just want to cry. whhhhhyyyyy do you have to hurt me this way, why, why why why why whyyyyyy?

Oh wait, he's at the door to the cell, and it's open, telling her there's not much time... and walking away, and she goes out to follow him as he's walking down the hall and everything's so eerily perfect white and shiny and beautiful and SURREAL, fuck, I am so HERE FOR THIS!

God, this is all beautifully shot as she chases after him - and we get a good view of her amazing forearm muscles without objectifying her. The nightgown she's wearing is NOT standard institutional outfit - it looks more like lingerie than State Mental Hospital Standard Issue - but it's not especially revealing, either.

She opens the doors and she's outside and there's that playground again with all the children playing... SYMBOLISM AGAIN.... Sarah is locked out, away from the children, yelling to save them... and then fire.

And she wakes up in her cell and her hair is a mess again, so this time we know it's real -- and her outfit's changed, too, back to the tank top she was originally wearing, so I guess her outfit was part of the dream, too.

(ngl, I wasn't expecting even THIS MUCH of Michael Biehn in this movie, so I will happily take it, but stilllllllll... I WANT MORE, GODDAMN IT!!!)

(this got long, so I’m breaking it up into parts)

[grimelords]

My April playlist is finished! Please allow me to take you on a journey from the heaven of THP Orchestra to the hell of Inter Arma over three action packed hours. Specially sequenced for maximum enjoyment, there’ll be at least one thing in here you’ll love - I guarantee it. Listen here.

Good To Me - THP Orchestra: I've said it before and I'll say it again, the number one way to find good songs is to go through the whosampled page for Duck Sauce's 2013 album Quack because every single thing they put into that album is a bonafide classic.

I'm Your Boogie Man - KC & The Sunshine Band: I saw Jungle last week and they were absolutely amazing, and the venue started playing this song as soon as the house lights went up after the show which is an extremely good way to get people to not leave your venue and boogie instead. My favourite part of this is near the end of the second verse where he gets even lazier than normal with the lyrics and just says "I want to love you.. ah.. from sundown.. sunup".

Work It Out - A-Trak: I love this new A-Trak song that sounds like a secret lost bonus track from Discovery right down to that specific wah sound on the guitar.

Starlight - The Supermen Lovers: There was all this news last year that Music Sounds Better With You by Stardust was getting remastered and rereleased for its 20th anniversary and was going to finally be on streaming services that seems to have just.. not happened. It never materialized so now I'm stuck listening to the 2nd rate but still extremely good Music Sounds Better With You knockoff, Starlight by the worst named band ever The Supermen Lovers. The songs aren't even that similar particularly but that's just my personal feelings.

Girlsrock - Siriusmo: A friend of mine is a sort of expert on the whole Ed Banger mid-late 2000s electro scene and it's extremely good because he'll just send me songs like this every now and then that are totally sick and make it feel like there was somehow thousands of hours of this kind of music produced at that time and only the tip of the iceberg made it to public consumption.

11:17 - Danger: Somehow I didn't even notice that Danger had a new album in January but I'm finally listening now and it's a proper return to form and really, really good. This song sounds like if the haunted VHS tape from the The Ring was taped over an 80s workout video.

Ultrasonic Sound - Hive: I went to a 20th anniversary screening of The Matrix at The Astor and great news: that movie still kicks ass and rocks completely and has possibly gotten better in the two decades since its release. Someone had curated a really good mix that they were playing in the foyer after the movie and this song was in it. A heady mix of drum and bass and nu-metal guitar crunch that feels like a 1999 calendar picked up by a strong wind and slapping you in the face.

Homo Deus VII - Deantoni Parks: STILL loving and finding new things to love about this Deantoni Parks album for the third month in a row. I'm repeating myself but this music is just so good and feels so completely original to me. It's a great mix of complete technical mastery and the self imposed limitations of a restricted sample palette. Forcing himself to do absolutely everything he can with the sound and fairly well exhausting it over the course of 9 minutes.

Catacomb Kids - Aesop Rock: There's a good line to trace between this and Acid King by Malibu Ken where Aesop Rock's been thinking about Ricky Kasso for like ten years now which is interesting. There's lots of just very nice sounding lines in this like "Crispy the godsender who thunk over a quarter plunk to local Mortal Kom vendor". Just good weird word combos painting a very impressionistic picture of growing up. "deplanting cadavers" "zoo-keeper facelift". Very nice.

Mask Off - Future: I've never listened to Future much which is weird because he's very good but this is a song that just comes into my head pretty often. Metro Boomin's brain is huge and the vibe he created on this is just amazing. Wringing this sort of atmosphere out of the sample without sacrificing any of the trap beat at the center of it is such an achievement.

Old Town Road (Remix) - Lil Nas X and Billy Ray Cyrus: Everything that could ever be said about Old Town Road has probably already been written by now but my favourite part is finding out that the sample is from Ghosts by Nine Inch Nails which means it's also Trent Reznor's first writing credit on a #1 song. Absolutely praying for Trent and Atticus to join Lil Nas X and Billy Ray Cyrus on stage at the Grammys to perform this.

Claudia Lewis - M83: Every so often I remember just how good Hurry Up We're Dreaming is and listen to it on repeat for a while. It's absolutely amazing. Start to finish (except for Raconte-Moi Une Historie which SUCKS) it's just fantastic. I looked up why this song is called Claudia Lewis and it turns out that has an extremely good answer "I was surfing the web & found this website with space poems – Claudia Lewis had 3-4 space poems on this site. They were pretty bad space poems but I found it super moving, there was something very innocent about it. She’s probably super young like 12 or 14 but I don’t know her or how she looks or anything about her. I just know that she writes cheesy space poems."

OK Pal - M83: Every single musical element of this song is just perfect. I love the huge broad chords, the synth bends, the massive drums, the inverted Dead Flag Blues monologue. It's just beautiful.Little Secrets - Passion Pit: Passion Pit is currently on a 10th anniversary tour for Manners and I feel age 100 which is no good. But this song is good and it contains in my opinion one of the all time greatest drum fills after the first chorus. Huge, super air-drummable, and very functional: perfect.

Blood - City Calm Down: I think "I'm the one who wants your blood" is just such a great an evocative refrain and I wish he said it one million times more in this song.

Television - City Calm Down: Absolutely love the idea of writing a song about how bloody TV is the bloody opiate of the masses that sounds like a Clash cover in 2019 and sounding so deliberately out of the zeitgeist and doing it so well and with such conviction that it’s absolutely great.

I Am The Resurrection - The Stone Roses: We went to Andrew McLelland's Finishing School and he played this as his last song in honour of Easter Sunday and described it as the greatest piece of acoustic dance music he's ever heard which is honestly not a bad description - it's an absolute jam.

Daisy - Pond: It's very cool that there's like an evil, mirror version of Tame Impala that exists in Pond. I think every band should have that.

Crying Lighting - Arctic Monkeys: Basically the reason this song is on this list is because I got stuck in a loop of saying "your pastimes, consisted of the strange and twisted and deranged and I hate that little game you had called "crying lightning" in a Werner Herzog voice to myself and I thought it was funny.

Keeping Time - Angie McMahon: Angie McMahon is so damn good at songs and I cannot believe it! She's only got like 5 and they're all incredible. She’s gonna be huge!

The House That Heaven Built - Japandroids: Sterogum had a really good writeup the other day about Post-Nothing turning 10 years old that turned into a wrap up of why Japandroids are such a good band and why Celebration Rock is a perfect album and it really crystallized a lot of my feelings about them. They're number one on my list of Bands That Make You Want To Start A Band for a good reason and this article really nails the whole young men figuring it all out feeling of Japandroids' music. I really think both Japandroids albums should be called Youth And Young Manhood but Kings Of Leon already took that name. I remember when my friend first turned me on to Post-Nothing he said he didn't want to tell anyone else except me because it was so good and it was Best Friends Music and I really believe that. It’s best friends music through and through. When I saw them a couple of years ago it was as part of a sort of impromptu road trip with my best friend and I think that was the best context I could have given it. It's absolutely one of the best shows I've been to in my life and also Osher Gunsberg was in the crowd behind me but that's not part of the story. https://www.stereogum.com/2041439/japandroids-post-nothing-turns-10/franchises/the-anniversary/

Motor Runnin - Pist Idiots: The pub rock revival just keeps getting better and better. At the minute it's basically just Bad//Dreems, West Thebarton and these guys but I'm sure there's a million other bands bubbling under that are just about to break as well. I love this song, it's just straight up old fashioned pissed off rock and roll that somehow doesn't feel old fashioned at all.

Chains - As Cities Burn: As Cities Burn have reunited and have a new album coming out and I'm extremely wary of it because they're potentially ruining their previously discussed perfect streak. This is the first single and it's.. good I guess. It's kind of just normal and sort of outdated, a little bit of a step backward into safety for a band that was always changing and moving forward. I think I have a worm living in my brain though because I keep listening to it just because I really love the drum sound. They're very nicely mixed. Some very nice sounding drums.

Whacko Jacko Steals The Elephant Man's Bones - The Fall Of Troy: I was talking with some friends about young musicians because of Billie Eilish, and so we were talking about how Alanis Morrisette won a grammy when she was 21 and Taylor Swift won a grammy when she was 20 and Lorde made Royals when she was 17 and all that but what people don't realise is Thomas Erak wrote Doppelganger when he was 20 and it was his second album. He's 34 now and his music sucks badly. That's insane. What will happen to me when I'm 34? Chilling to think about. 

A New Uniform / Patagonia - Tera Melos: I think Patagonian Rats is still my favourite Tera Melos album. Toss up between that and Untitled actually. But I love this one for how cohesive it feels. For a band whose whole ethos is chaos it's amazing how well it all comes together as a complete work tied up with a bow by the Skin Surf reprise near the end. I love this song because it's two sketches of songs tied together into one little chaotic lump and the big Primary! Secondary! finale is just so satisfying.

Talking Heads - Black Midi: Black Midi finally have actually proper recorded songs on spotify! The way Black Midi is getting talked about at the moment really feels like the days of blog buzz are back, it's crazy. If you haven't seen it yet here's the KEXP session that's rightfully getting them so much attention https://www.youtube.com/watch?v=TMn1UuEIVvA I've watched it so many times and it's really something. The best part is the comments are full of music dudes just naming every band ever. "this sounds like if slint, polvo and hella did crack and had a gangbang" yuck "imagine them opening for Swans and/or Daughters" yuck "they're like if Minute Men and Frank Zappa had a baby and that baby dated the child of Talking Heads and Can but then got dumped for their best friend who was adopted and raised by their single parent Voivod but they were cool and stayed friends and listened to Tortoise and Thelonious Monk and got stoned and started a band and conquered the world." yuck "Slint meets Sonic youth meets Pere Ubu meets drive like jehu meets Beefheart...these guys took all that is deranged and twisted in rock and made one big soup of it!" yuck. Anyway the point is they rock completely and here's my addition to the band names: the way he sings sounds like Sting lol.

Walking On The Moon - The Police: This song makes you dumb I think. It's like the dumbest song in the world and listening to it makes your brain mushier, which makes you dumb and stupid. It's very good.

Rubber Bullies - Tropical Fuck Storm: I saw Tropical Fuck Storm opening for Kurt Vile the other day and it was absolutely incredible. My first time seeing them properly, not counting the live soundtrack they did for No Country For Old Men which was was a whole different kind of amazing. It feels like Gaz has finally put together a band that can keep up with is ferocious energy and the result is scary - they basically tore the place apart which makes them a funny opener for Kurt Vile who was as chilled out, relaxed and fun as you'd expect. They played this song near the end of their set and somehow I hadn't really noticed it when I listened to the album but now I can't stop listening to it. It's so good. I love the increasing paranoia of the backing vocals, especially in the last verse as it builds and builds.

Taman Shud - The Drones: This might be the best Drones song. It's a list that's constantly being revised in my head but it's top 5 definitely. It's nice listening to Feeling Kinda Free now knowing what he was going to do with Tropical Fuck Storm because it's all here. Fighting against the constraints of his regular sound and regular songwriting and eventually finding the solution in forming a whole new band. I love this song for a million reasons but the escalation of the disregard is very good. “I don't care about Andrew Bolt or Ned Kelly or the southern cross or the union jack” and you're nodding and then he says ‘I don't really care if you're a pedophile’ and you're nodding but slower. I get what he means in terms of media hype and whatever but it's still a very funny line. Anyway "why'd I give a rats about your tribal tats? You came here on a boat you fucking cunt" is grade A.

Dawn Patrol - Megadeth: The best thing about Megadeth is the sort of half baked politics. Dave Mustaine is the best kind of moron, he engages with everything at a gut level but believes he's being very cerebral about it at the same time. This little intro song about a nuclear post-apocalypse is so good because it's a legitimate warning and a response to legitimate worries but it's also like.. wouldn't that be sick if we had to wear gas masks and carry assault rifles around because all the nukes exploded and everyone was dead. What if there was zombies.

Rust In Peace... Polaris - Megadeth: The story behind Holy Wars... The Punishment Due is so good. "Mustaine has said that at a show in Antrim, Northern Ireland, he discovered bootlegged Megadeth T-shirts were on sale. He was dissuaded from taking action to have them removed on the basis that they were part of fund raising activities for "The Cause", explained as something to bring equality to Catholics and Protestants in the region. Liking how "The Cause" sounded as was explained to him, Mustaine dedicated a performance of "Anarchy In The UK" to it, causing the audience to riot. The band were forced to travel in a bulletproof bus after the show" I just love him. I'd like to share a Dave Mustain quotes about this song also. "I was driving home from Lake Elsanon. I was tailgating somebody, racing down the freeway, and I saw this bumper sticker on their car and it said, you know, this tongue in cheek stuff like, ‘One nuclear bomb could ruin your whole day,’ and then I looked on the other side and it said, ‘May all your nuclear weapons rust in peace,’ and I’m going, ‘'Rust in Peace.’ Damn, that’s a good title.‘ And I’m thinking like, 'What do they mean, rust in peace?’ I could just see it now – all these warheads sitting there, stockpiled somewhere like seal beach, you know, all covered with rust and stuff with kids out there spray-painting the stuff, you know." Goes ahead and writes a kick ass song from the perspective of a nuclear warhead containing the line "rotten egg air of death wrestles your nostrils".

Planet B - King Gizzard & The Lizard Wizard: King Gizz are Megadeth now and I love it! The cold war is global warming now and we desperately need new thrash metal about it to save us!

Primodial Wound - Inter Arma: If you can't tell by me including three of their songs on this playlist I'm still having an absolute time with Inter Arma. Something I really love about this band is their ability to sit in a vibe for so long and expand on it. They're not songs with narrative arcs and multiple contrasting sections, they're songs that just kind of dig deeper on themselves. This one starts deep and then by thinning out entirely at around 6 minutes in only gets darker.

Howling Lands - Inter Arma: This song made me dream of a Dark Souls game where Inter Arma does the soundtrack. It's a peabrained thought but it's one that really got me thinking. This is boss music of the highest order: a song seemingly about itself and the hellbound denizens cursed to perform it in the arena of hell.

Sulphur English - Inter Arma: It's extremely funny to listen to this song a bunch of times and be completely blown away by the total power and ethereal majesty of it and then look up the lyrics to find out that it's about Trump in that very good way of putting normal thoughts through a metal lyrics filter "The charlatan sets his eyes towards the throne / tongue adrip in revolting ecstasy" "Sever the corrupt tongue of the imperious fool / silence the gangrenous root of his abhorrent voice"

Peepin' Tom - Courtney Barnett: When I saw Kurt Vile he brought out Courtney Barnett to play Over Everything as an encore and it was so good to see just how much a hometown crowd loves her. Everyone lost their shit! We love our good friend Courtney! I think I've written about this before but Peeping Tom is one of my favourite Kurt Vile songs and I think Courtney's version is even better. Her voice is perfect for it and she really has to show off her range to do it which I love. The super deep 'peeping' to the high cascading 'tom' is a perfect musical moment to me.​

listen here

[amoebo-id]

a o t d !!!

no more than 1 release per artist to keep it interesting. selection and ranking is arbitrary and would prob be wildly different if i did this tomorrow. also i only went down to #42 cause everything after that didn’t feel like real aotd status - at least as far as the specific relationships i built over the past 10 yrs with the music i was listening to

#1 laurel halo quarantine

nobody did machine-body dialectic like laurel halo in 2012. i loved everything else from her this decade too but every time i listened to Carcass it made me leave my body physically. absolutely unreal album art too

https://laurelhalo.bandcamp.com/track/carcass-2

#2 e+e the light that you gave me to see you

2012 was a good year. pop/ambient/noise/radio-dj-tag sound collage ascended to spiritual intensity. makes you feel like a child experiencing awe. also fire-gut used to have probably my favorite music video ever but i think it’s gone now

https://www.youtube.com/watch?v=-p-SSuwW9cw

#3 ilovemakonnen 5

not to be confused with Drink More Water 5, this one’s from 2010 during his mostly-forgotten diy outsider-pop phase. off-key singing and amateur beats and the sheer absolute joy of making cool songs. all 5 are perfect

https://www.youtube.com/watch?v=ORKpg_-z0Mk

#4 macintosh plus floral shoppe

would’ve made top 10 on album art alone. music, aesthetics, and cultural impact are inseparable here but going back to the album reminded me just how engaging its 2010s-updated chopped-and-screwed sound is, musically not just conceptually

https://vektroid.bandcamp.com/track/420

#5 jason lescalleet this is what i do 17

hard to pick a favorite from jason lescalleet’s semi-monthly document of his electroacoustic / field recording / tape loop practice but i’ve cried to multiple tracks on tiwid 17 so it gets the nod. couldn’t find any of them online so here’s something else of his

https://www.youtube.com/watch?v=t33x8OOm68E

#6 barrio sur बड़ा श���क (heart break)

dedekind cut guy’s weird one-off side project ended up being my favorite thing to come out of the last few years’ obsession w cowboy/western/country music/aesthetics. pure mystery

https://soundcloud.com/user-366783613/redemption-7inch

#7 cities aviv come to life

i think maybe people thought cities aviv was just another no-flow pseudo-”conscious rap” type rapper in 2014 but actually this album is nuts. hyper-energetic vaporwave rap? what if death grips were happy? idk

https://citiesaviv.bandcamp.com/track/url-irl-2

#8 beach boys the smile sessions

this cool fresh 1960s rock myth arrived fully formed and way more fun than the other ones. brian wilson’s concepts and songwriting got so unwieldy we had to wait 50 years to hear the sessions. i don’t care about conversations about his genius or whatever these songs kick ass

https://oldmasterpainter.bandcamp.com/track/surfs-up

#9 mindspring memories & intl. debris international memories

did this really only come out in 2017? i feel like i’ve been listening to it since i was born. tangential lateral kind of wormhole out of vaporwave into two meditative spiritual infinite-feeling loops that perfectly complement each other

https://noproblematapes.bandcamp.com/track/sad-horizons

#10 nyege nyege tapes sounds of sisso

absolutely obnoxiously insanely high energy high pitch high bpm dance music. i can’t believe this isn’t what people mean when they say future bass. set me down the path of historical and contemporary non-”global north” ideas about dance/rhythm/bass which i’m still on

https://nyegenyegetapes.bandcamp.com/track/mshamba-video-mster

#11 blithe field face always toward the sun

the most gorgeous implementation of the sorta-ambient guitar-looping vignette aesthetic. is this a real trope or did i listen to this album so much i convinced myself it was a thing? for me this is the sound of what its like to feel completely content with life and at ease in the moment

https://blithefield.bandcamp.com/track/zen-den

#12 anohni hopelessness

listening to this album and singing along while driving my car made me feel absolutely disgusting. unbelievable hooks, grossly hi fi sound design, and overblown drama add up to imo a scary effective type of explicitly political or ‘protest’ music

https://anohni.bandcamp.com/track/drone-bomb-me

#13 21 savage, offset, & metro boomin without warning

why is these 3 pop stars’ vaguely halloween-themed one-off collab my favorite trap album? 21 savage, offset, and metro boomin were all wildly corny in different ways but everything was perfectly balanced. i hope metro boomin makes like one seriously ambient album next decade

https://www.youtube.com/watch?v=bWv-bR_X-VM&list=PLC1uUM4twa8i6zsD_Sn1LRUq4vhl_PLCx&index=11&t=0s

#14 laura les big summer jams 2018

‘crying in the club’ type bangers with no fear of ugliness and no fear of beauty and no fear of wildly unfashionable tropes like skrillex-y dubstep and guitar solos. so much input from other trans/queer artists it felt like a big t4t party

https://osno1.bandcamp.com/track/the-river-feat-scum-yung-skrrt-and-99jakes

#15 triad god nxb

the other triad god tape from 7 years later is just as good. what was this man doing in the intervening time? i just imagine him riding london public transit while it rains or something. i love knowing that most of his cantonese spoken-word/rap parts are insults and jokes rather than like, melancholy observations

https://soundcloud.com/hipposintanks/triad-god-remand

#16 dj koze knock knock

what if pop music sounded like this? somehow every song on here is wildly danceable, wildly sing-alongable, and also wildly detail-oriented. feels like a transmission from an alternate present where things are okay

https://djkoze.bandcamp.com/track/club-der-ewigkeiten

#17  ocora world of traditional music

box set of “world music” recordings from the label that french electronic composer pierre schaeffer started in the 1950s as a project to teach people in rural west africa how to dj. ethnography can be a fucked up idea but afaik ocora is one of the good ones and if you can sorta try to disengage from the tropes/cliches that get imposed on it, the music is phenomenal. hard to find a track specific to this box set but here’s another from the label

https://www.youtube.com/watch?v=XJm8rn6gW5I

#18 oneohtrix point never replica

opn feels like an artist i’ve ‘grown out of’ i guess but samples never felt more alive or more dead than they did on replica. set a template for the kind of melancholy ‘soundscape’-y vibe that i spent years trying to find more of after

https://oneohtrixpointnever1.bandcamp.com/track/power-of-persuasion

#19 rihanna anti

the most perfect imaginable pop album. i keep trying to move it higher up. i almost put club chai vol 1 on this list purely cause of the Woo remix but then i remembered the original is better

https://www.youtube.com/watch?v=_dDCUKElEwk

#20 colleen a flame my love a frequency

colleen’s ultra deadpan singing and wriggly rhythmic synth put me in a trance. everything sounded dry as hell even though it was covered in reverb. i think maybe some people were put off by the corny song names and lyrics

https://colleencolleen.bandcamp.com/track/separating

#21 dj paypal drake edits

back when drake seemed like a sorta-shitty dude rather than seriously creepy, dj paypal used the power of footwork to expose both the melancholy-ambient modality and the serious-bass-music modality latent in his voice and beats

https://mallmusicinc.com/track/brand-new

#22 huerco s. for those of you who have never (and also those who have)

not really as ambient as it first seems imo, but rather like a really intense focus on what we mean when we describe things as ‘static’ or ‘dynamic’. i know it’s corny but i wanna say these tracks are fully both and fully neither

https://brianleeds.bandcamp.com/track/promises-of-fertility

#23 girls rituals reddishness

for a track so deliberately shitty-sounding I Know had no right to be so fucking danceable. persona and production synthesized into the only ‘singer-songwriter’ music i could really get into

https://temporaryenjoyment.bandcamp.com/track/i-know

#24 chromatics kill for love

fakeass 80s retro melancholia digitized and pushed so far past pastiche it turned into pure slime. the phone call in There’s A Light Out On The Horizon came straight from the void

https://soundcloud.com/johnnyjewel/chromatics-kill-for-love-album

#25 actress ghettoville

the only genuinely post-apocalyptic music. specifically the postapocalypse in wall-e but if there was no wall-e to clean it up

https://www.youtube.com/watch?v=QcCPdfUFq6k

#26 playboi carti die lit

every beat on this album was reducible to a 4-second loop that perpetually demanded its own repetition and playboi carti somehow knew exactly what to do with them

https://www.youtube.com/watch?v=-2pjiKmhlAI

#27 charli xcx vroom vroom

the charli xcx that came after this was fun, but there was black hole levels of power compacted into when she said vroom vroom on Vroom Vroom

https://soundcloud.com/vroomvroomrecordings/charli-xcx-vroom-vroom

#28 pacific breeze: japanese city pop, aor & boogie 1976-1986

it’s kind of amazing to think that this compilation only exists because vaporwave aesthetics made ‘japanese grocery-store kitsch from the 80s’ a marketable thing in the us. anyway every single one of these is an absolute bop

https://www.youtube.com/watch?v=jl91bvEKj20

#29 young thug barter 6

i can’t get enough of listening to young thug’s voice. i’ve seen his rhythmic-melodic-textural sensibility described as virtuosic and i don’t know really if that term means anything but it feels right to me

https://www.youtube.com/watch?v=Qg9ZxQKSDuw

#30 magic eye babylon

smeared dreamy lo-fi guitar music w wistful buried melodies pushed to an extreme. every song sounded the same and i wish there was more than the one cassette

https://magiceye.bandcamp.com/track/flame

#31 tirzah devotion

you could say this was ‘stripped down’ r&b but i think more accurately what separated it was that every sound stood exactly and only for itself

https://tirzah.bandcamp.com/track/basic-need

#32 mount eerie clear moon

it’s amazing how well mount eerie navigated the move from a lo-fi sound/mode/affect to a hi-fi sound/mode/affect. clear moon wasn’t his first attempt but it was the one that most embodied the feeling of the new possilibities that had been opened up

https://pwelverumandsun.bandcamp.com/track/through-the-trees-pt-2

#33 kelela aquaphoria

this mix was such a good idea it immediately seemed shocking nobody else had tried afaik. and kelela executed it so well you forgot the tracks already existed in other contexts

https://soundcloud.com/kelelam/aquaphoria

#34 james ferraro skid row

not sure what it means that the only james ferraro i really love is also the one i think of as the least abstract/conceptual. his recited lyrics had a rare spoken-word-poetic power

https://breakworldrecords.bandcamp.com/track/to-live-and-die-in-la

#35 salyu x salyu s(o)un(d)beams

absolutely unbounded sense of joy and creativity and possibility hovering between bangers-lite and ‘soundscape’-y electronic manipulation

https://soundcloud.com/snouu/salyu-x-salyu-s-o-un-d-beams

#36 dj rashad just a taste vol 1

double cup got all the press but it was so smoothed-over it could never have done something as absurdly beautiful as Ghost or even Go Crazy

https://www.youtube.com/watch?v=OZuHPAbte9U

#37 yves tumor serpent music

i’m sorta put off by the high-gloss sheen of music like this but serpent music somehow had the right combination of total cohesion and a ridiculous density of impactful moments

https://soundcloud.com/pan_hq/yves-tumor-the-feeling-when-you-walk-away-pan-73?in=pan_hq/sets/yves-tumor-serpent-music-pan

#38 maral mahur club

lo-fi beat collage elevated to something that could actually genuinely be called world music

https://astralplanerecordings.bandcamp.com/track/avesta-khani-reggaeton

#39 lucki ecks watch my back

did not expect this super low-stakes sadboy trap to end up on this list but i love his min-effort flow and somehow every beat is exactly the vibe even when the tracks aren’t volume balanced

https://soundcloud.com/boob7/leave-wit-you-prod-plu2o-nash-clams-casino?in=boob7/sets/watch-my-back

#40 arca stretch 2

not sure why i get more out of arca’s nonsense broken-beat non-rap than any of her later projects

https://unonyc.bandcamp.com/track/tapped-in

#41 klein only

a new way to do fucked up noise w pop leanings. ‘audacitycore’

https://klein1997.bandcamp.com/track/pretty-black-2

#42 city arcadia

another mysterious transmission, this time w lots of harp

https://soundcloud.com/halcyon-veil/city-arcadia

[benzbantz]

Best 100 Songs of the decade!

As a new decade will be upon us shortly (the 20’s) I wanted to share some of my favourite tracks from the last 10 years. I’m a pop and rap guy mostly so that’s what you can mostly expect but hopefully a few surprises along the way. I’ll post 100 songs I really loved (in no particular order) then my top 25 absolute favourites at the end. Ok here we go

~Bad Romance - Lady Gaga

To limit myself to just one GaGa track is cruel and not easy, Edge of Glory and Born this Way are both anthems and technically this came out last moment 2009 ..but didn’t pop until 2010. A classic that makes it to most my playlists.

~Airplanes- B.O.B ft Hayley Williams (A classic no need to say more.)

~Love the Way you Lie - Eminem ft Rihanna

A absolutely brutal tune about a toxic relationship full of of lies and abuse, the powerful video really sells the tone of the song.

~Rescue Me - Skepta

Used to love Grime but gone off it for a while now. I wouldn’t call this an outright grime track but Skepta def brings the gritty uk rap scene on this one.

~Forget you ~ Ceeloo Green

Thou I prefer the Gnarls Barkley music style, this is still a awesome tune. Always fun to tell someone to do one in a sing song melody.

~Written in the Stars- Tinie Tempah ft Eric Turner

Used to love me some TT, this was a real catchy banger with great chorus by Eric Turner.

~Raise your glass - Pink (Not much to say, a pop classic)

~I need a Dr - Eminem, ft Dr Dre and Skylar Grey

This is such a underrated song. You have to really know your Dre and Em history to catch everything being said (which I won’t go into here) Brilliant tune and my fave they both worked on together that decade.

~Animal- Neon Trees

Really catchy little number that I enjoyed from first hearing.

~Look at me now - Chris Brown ft Lil Wayne and Busta Rhymes

Busta Rhymes rap, that is all!

~Moves like Jagger - Maroon 5, Christina Aguilera

A great sing a long featuring two artists I’m not mad about really so a surprise like from me.

~ In the heat of the moment - Noah Gallagher’s High Flying Birds

What a tune, completely missed this first time around heard on a tv show recently checked it was this decade and then added it right on the list. Banger.

~Summertime Sadness AND ~Love - Lana Del Ray

2 for 1. When Summertime Sadness came out I was mesmerised by Lana’s voice had never heard anything like it before. Safe to say she is my artist of the decade but haven’t raided this count down with all her music. A couple here and a couple of my absolute faves in my ultimate top 25. Love was very heard to keep out of my top 25.

~Stronger (What doesn’t kill you) - Kelly Clarkson

Come on now, if you haven’t belted this one out the top of your lungs at least once I don’t know what you’ve been doing the last ten years.

~Somebody that I used to know - Goyte ft Kimbra

Went thru moments of really liking this song then it really irritating me (played on radio A LOT), thankfully years later the hype has died so I can appreciate it once more.

Midnight City- M83

This is not really my sort of music at all ,so much so I’m not even sure how to describe it. Has a 80’s feel which I love. Just love the infusion of synths and instrumental. Plus the singer has a very calm melodic voice. Great track.

~T.H.E - Will.I.Am ft Mick Jagger and Jennifer Lopez

Absolutely love this song so catchy very Fergie era BEP sounding, with a great guest solo from Mick Jagger.

~212 - Azealia Banks (not much to add on this, banger!)

~Too Close - Alex Close

If you don’t recognise this song from title you will once you hear it, such a forgotten gem.

~Picking up the Pieces - Paloma Faith

Another unique voice that def makes my top ten newly discovered artists this decade is Paloma Faith, her cover of Mama Cass’s Make your own kind of music also deserves a strong mention. Also not related to the music but Paloma is mad as a box of frogs in real life which I love.

~Bangarang- Skrillex

Yeah you’re not leaving alive from this post without a Skrillex nod I’m afraid, not a big dubstep fan but jumped aboard the band wagon when it was big for five minutes, this songs only thing that made it back with me thou.

~Hall of Fame - The Script ft Will.I.Am

First let’s clear this up I’m not a massive Will.I.Am fan or anything, he was just in EVERYTHING for the first few years of the 10’s. It’s a great song regardless.

~Harder then You think - Public Enemy (What a track, can’t say much more, banger.)

~Locked out of Heaven- Bruno Mars

Bruno Mars had some amazing tracks his debut album Doo Wops and Hooligans featured some brilliant tunes which sadly I just didn’t have space for in this countdown, Grenade, lazy song , Just the way you are, but I’m showing some love to Unorthodox Jukebox here and it’s best track giving Bruno Mars a edgier new vibe.

~Chocolate- 1975

Not my sort of music usually but really enjoyed this laid back rock number,

~Get Lucky - Daft Punk ft Pharrell Williams

Disco is back! Or is was in 2013 when this tune came out, one of the biggest selling singles worldwide in the 2010’s so not much more detail needed on its inclusion.

~Let her Go- Passenger

Nice little number, always liked this one, never really got into there other stuff but had to give this a shout out.

~Can’t hold us - Macklemore ft Ryan Lewis

The Heist is one of my fave albums from the last decade features some great tracks, same love and Thrift Shop get a shout out but this track was my fave, uplifting and full of energy.

~La La La - Naughty Boy feat Sam Smith

This was Sam Smith’s big feature hit before they became the successful solo artist they are now. Great track very different to the music Sam does now.

~Work Bitch - Britney Spears

Don’t roll your eyes! This is a banger, now get to work bitch!

~Rap God - Eminem

For Eminem’s big solo feature on this countdown it was between this, The Ringer or Not afraid. You may of guessed I’m a Eminem fan and have tried to keep his entries down but one does not simply do a music countdown and not include Rap God.

~Of the Night - Bastille

Really like this band they have some great hits, Pompeii is another great song of theirs that I didn’t have space to include. I went for this eerie cover version of the Corona 90’s dance classic as my pick.

~Wrecking Ball - Miley Cyrus (Leave me alone it’s a good song ok 😂)

~Riptide- Vance Joy

A little hidden gem I’d forgotten about until I put this list together.

~Who did that to you? - John Legend

Was going to obviously include All of me in this spot but then I remembered this absolute hit from Django unchained which sneaks in and takes the spot. Both great songs thou.

~Nobody to Love - Sigma (Great little dance track not much to add)

~ When the Party’s Over - Billy Eilish

Yes I’m a 35 year old Billy Eilish fan ok leave me alone lol. Seriously thou this girl is super talented and she’s up there in my fave artists of the decade. There will be more of her in my top 25 but this haunting track deserves a mention.

~Turn down for What - DJ Snake ft Lil Jon

It’s Lil Jon yelling really load of course it’s a banger. Also worth mentioning Ice T did a awesome Rap rock version of this song and it’s amazing!

~Problem- Ariana Grane ft Iggy Azalea

Those saxophone’s thou! Groovy little number no explanation needed.

~Chandelier- Sia

Such a power anthem, I came out as trans in 2014 so this song holds a lot of personal meaning with me but regardless is a great song anyway.

~Thinking Out Load - Ed Sheeran

I’m not the biggest Ed Sheeran fan ,take him or most often leave him ,but did like this sweet ballad. Nothing against his voice it’s his songs that don’t often do it for me but this was great.

~Good Kisser- Usher

Never been huge Usher fan ,liked his earlier stuff, confessions and all that. This was a surprise jazzy bluesy type number thou that I really enjoyed.

~Rude- Magic (A catchy sing along tune)

~Zombie - Jamie T

This guy was one of my fave artists of the 00’s, and thou his newest stuff imo doesn’t compare to his older this was still a tune.

~I - Kendrick Lemar

This is actually best when played after the song ‘U’ , the latter being a self hating song ‘loving you Is complicated’ vs I’s ‘I love myself’ different ends of the spectrum I just included ‘I’as you can enjoy that one on its own but to get the best out of that track I highly recommend listening to U first.

~See you again- Wiz Khalifa ft Charlie Puth

A sad song given it’s a tribute to Paul Walker who died in a car accident. Was overplayed a lot at the time but stands strong several years later.

~Dark Times - The Weeked an Ed Sheeran

What a track, their voices mesh perfectly together in this somber number.

~ Trouble - Iggy Azalea ft Jennifer Hudson (Banger)

~Hotline Bling - Drake

So many Drake songs I could of included, (he will appear again in the top 25) gods plan, headlines, in my feelings, nice for what, all absolutely great tracks but I had to go for my personal fave out of the bunch.

~You don’t own me - Grace ft G-Easy

This may be an odd one to some but I’ve always loved the original by Lesley Gore and this is a amazing cover. Grace has a lovely voice (and there is a non rap version if you’re so inclined) Love a good cover version and this is a awesome cover version.

~Side to Side - Ariana Grande ft Nicki Minaj

Hmm guess I’m a Ariana Grande fan, who knew. A cheeky little number and the first appearance in this countdown of a certain fave rapper of mine.

~Panda - Desiigner (another one where there’s not much I need to add, great tune)

~Dancing on my own - Robyn OR Callum Scott

Take your pick the Robyn original or the Callum Scott cover version, both stand alone great tracks, the original more a melancholy dance track the cover a somber ballad. Both brilliant.

~Alarm - Anne-Marie

A nice little pop tune, really like her voice

~Rockabye- Clean Bandit ft Anne-Marie and Sean Paul

Speaking of Anne-Marie, another great pop track. Super catchy sing along. Sean Paul can be hit or miss for me but works well with this track.

~Human - Rag N Bone Man

This is another one there’s not much I can add this guy’s voice is amazing. Brilliant song particularly love the chains you can hear rattling throughout (reminds me of Johnny Cash’s ‘Ain’t no grave’)

~Black Beatles - Rae Stremmurd ft Gucci Mane

Yep that’s some mumble rap to add to the list (told you my music taste was varied) As a whole I don’t love mumble rap but there’s some stand out tracks including this one.

~Thunder- Imagine Dragons

One of my favourite bands from the last decade, like most there stuff. This song has a great song along chorus. Really catchy track.

~New Rules And IDGAF - Dua Lipa

Honestly couldn’t pick from the two really like them both equally. So you get a double. Catchy pop tracks.

~Sorry not Sorry - Demi Lovato

It was between this or Sober (another great Demi track) but ultimately went with the more upbeat pop number.

~Havana - Camila Cabelllo ft Young Thug (A nice chilled Latino style track.)

~Perfect - Ed Sheeran

A beautiful song by Ed Sheeran,other then ‘sing’ and the previous mentions I’m not really into his stuff but this is lovely track.

~Feel it Still - Portugal the Man

Really catchy song can’t help but tap your toes along to it.

~False Alarm- The Weekend

This was something different from the Weekend, really enjoy this song, Weekend is one of my other fave artists to come out the 2010’s.

~Sanctify — Years and years

Wasn’t keen on there earlier dance stuff but when they found there sound I really enjoyed them.

~This is America- Childish Gambino

Great as this song is you really need to watch the music video as well for the song to have its full impact. Love Childish Gambino could of put several of his songs in this list, excited for future music from this guy.

~Solo - Clean Bandit ft Demi Lovato

A cheeky little pop number you can’t help but sing along to.

~Shotgun - George Ezra

One of those artists I can’t decide if I’m into or not, like one song then not keen on the next, it’s strange, but no denying this is a great song.

~Lucid Dreams - Juice WRLD (RIP)

First off Rest in peace Juice, recently died at 21, very sad. The guy was super talented and was looking forward to his future stuff. Could of picked a few tracks but this was the first song I heard of his so that’s got to be my shout out.

~Only You - Cheat Codes ft Little Mix

Although I don’t mind Little Mix this is there only entry on my list. A nice catchy sing along with a dance beat.

~Lost Without You - Freya Ridings

This almost made it into my top 25, just couldn’t find a space for it. Haunting, melodic song with Freya’s stunning vocals. Don’t play this one after a break up or a death.

~Nothing Breaks like a heart- Mark Ronson ft Miley Cyrus

~Someone you loved - Lewis Capaldi

Think this guys going to be another Ed Sheeran for me, meh most the time with the occasional great song. This one no exception.

~Shut Down - Skepta

With lyrics like ‘Ring ring pussy, it’s shut down’ how can it not be a banger 😂 Not the best song in the world I admit but good fun.

~As we enter- Nas and Damian Marley

Words can’t express how much Iove this track, such a hidden gem. A reggae- rap blend of uplifting brilliance. Great gym playlist track.

~Better Now - Post Malone

Another artist I enjoy on occasion. This is my favourite of Malone’s songs so far.

~Bad at Love - Halsey (another great pop track)

~Bitch Don’t kill my vibe- Kendrick Lamar

Could of picked a number of Kendrick tracks King Kunta, DNA, M.a.a.a.d City, If these walls could talk, just to name a few but I’ll go with the first Kendrick track I heard and loved.

~Heartbeat - Childish Gambino

So gutted I couldn’t find a spot for this banger in my 25 but I had to include it on its own. Unless you’re a CG fan it’s unlikely you’ve heard it. Highly recommended a listen. I can’t even really describe it.

~No role Models- J. Cole

A anthem with a similar feel to Keep your head up by 2pac, a sad song somewhat but with a more upbeat tempo. My personal fave J. Cole song.

~Power - Kanye West

Wow our first Kanye track. I like Kanye ,prefer his older stuff. My dark twisted fantasy was the last album of his I really liked. This was a absolute monster of a tune. Also really liked the song Runaway from the same album. Both have great intros.

~Antidote- Travis Scott

~ No Sleep- Wiz Khalifa

Super catchy song, very anthem sounding.

~Young, Wild and Free - Snoop Dogg, Wiz Khalifa and Bruno Mars

Another catchy tune, powerhouse of a team up.

~Rack City - Tyga

~ Romans Revenge- Nicki Minaj ft Eminem

Absolute banger double up from the king and queen of rap. Also a version she did with Lil Wayne which was very good but the Eminem version wins for me. Also will take the opportunity to give the Lil Wayne and Nicki song ‘knockout’ a shoutout.

~Blazin’- Nicki Minaj ft Kanye west

Another great Nicki Minaj track of the brilliant Pink Friday album. I know some of her more recent stuff hasn’t been great but she came out the gates strong in 2010.

~Pound The Alarm - Nicki Minaj

Last Nicki Minaj track I promise, could of picked this or starships as love them both equally.

~Trap Queen- Fetty Wap

Can’t lie this is something I never thought I’d like but the more I heard it the more I liked it.

~Ultimate- Denzel Curry

Yes the Vine meme song. Banger.

~Bad and Boujee - Migos

Yes more mumble rap, I’m not even sorry

~I’m not racist - Joyner Lucas

Wow maybe the most powerful song on this whole list. Nothing I explain can do it justice you have to give it a listen yourself (with the video)

~Cry Little Sister - Marilyn Manson

Boom, rap to rock just like that. I love Marilyn Manson covers, in the 00’s it was Tainted Love but this time around its this classic from The Lost Boys soundtrack. Creepy song but kinda perfect for Manson.

~Faster- Within Temptation

~End of Time - Beyoncé

Have to include some Beyoncé before this ends it’s the law. This was my favourite of hers.

~ Rumour has it - Adele

Not the biggest Adele fan but she has a few songs I enjoy, set fire to the rain and someone like you also good songs.

~Ugly Boy - Die Anwoord

Yep he’s a Die Antwoord fan 😆 I have no excuses, DA are one of my fave bands. Zef to death.

- Surf - Tommy Cash

Absolutely stupid lyrics but hilarious (need to watch the video also) it’s actually a good song with a awesome beat.

~Bang Bang Bang - Big Bang

To close the top 100 greatest songs of the decade out , some J-pop, I’m not a expert on Jpop I like a couple of artists and a few songs but had to close out with this... bang bang banger!

So here we go top 25 of my absolute faves from the 2010’s. (in no particular order)

~Radioactive- Image Dragons

This song featured in a Assassins creed game trailer (I forget which game) and I searched for it straight away, found it, fell in love, the rest is history. Great beat and vocals.

~Game Over - Tinchy Stryder, Tinie Tempah, Professor Green, Giggs, Devlin, Example, Chip

Wow with that line up it was always going to be a banger. This might be my fave beat ever! Such a tune featuring Rap and grime mvp’s from the UK.

~Gods and Monsters- Lana Del Ray

I know I said in no order but this might be my very favourite song from the last ten years. It’s not even regarded as Lana’s best but I just love everything about it, lyrics, melody and vocals. Perfect song.

~Born to Die - Lana Del Ray

Another melodic masterpiece from Lana Del Ray.

~Bad Girls - M.I.A

Yeah I’m a dude it’s weird this song gets me pumped seriously thou such a catchy song.

~In Paris - Kanye West and Jay -Z

Not much needs to be said, absolute classic.

~Over - Drake

Drake at his best imo, great beat, delivery and lyrics. My fave Drake song.

~Black Skin Head - Kanye West

Powerful song with a amazing beat, powerful lyrics, great gym song to get you pumped.

~Sail - AWOL Nation

You might have guessed by now I like a catchy sing along song with a pumping beat and somber tone. Check.

~Only love can hurt like this - Paloma Faith

Her voice in this is something else. I said it before Paloma Faith is so underrated.

~Bang Bang - Jessie J, Ariana Grande, Nicki Minaj

Not to be mistaken for Bang bang bang by big bang featured earlier. Great pop hit.

~Take me to church- Hozier

Powerful song and video.

~Humble- Kendrick Lemar

Banger, not much else I can say.

~Uptown Funk — Bruno Mars

Can’t go wrong with this one, great hit.

~Can’t feel my face- The Weekend

Like most of the stuff this guy brings out, this awesome hit just tops that list.

~Redbone- Childish Gambino

Ok sorry Lana Del Ray but I retract your number one spot for this one. Thought it was Macy Grey or the Delfonics singing when I first heard it then discovered who it was. This has a 70’s soul feel. It’s hard to explain ,if you’ve never heard it give it a listen I’m sure you’ll love it.

~Bad Guy - Billy Eilish

Such a catchy tune, the song that introduced me to her music. Great little dance/pop hit. Fun and a bit freaky. Duh!

~Bury a Friend- Billy Eilish

The way Billy Eilish’s mind works amazes me, how she sees the lyrics, the music and video all as one package. She’s extremely talented and look forward to her taking up most the spots on my 2020’s best of list.

~I miss the misery- Halestorm

Great rock hit, has a very 80’s feel. Lead singer has a amazing voice.

~Sweet but Psycho - Ava Max

Maybe my favourite pure manufactured pop hit of the decade, any female pop star could churn this out and it would do well. Hate to love it.

~Homicide - Logic feat Eminem

If you don’t like rap you won’t get it, if you do, you know where I’m at.

~Stronger then Ever - Raleigh Ritchie

Otherwise known as Grey Worm in Game of Thrones, this guy can hold a tune. Great uplifting track.

~Speedom- Tech N9nne, Eminem

Another great Eminem feature hit. Absolute masterpiece of a record.

~I need - Maverick Sabre

Nice somber melodic song, this guys super talented.

~Cookie Thumper - Die Antwoord

The South African rap rave group strikes again, this one is pretty much a Yolande solo, the beat is insane and thou half of it is in said/sung in Africans it’s still my fave DA song.

~Monster- Kanye West, Jay Z, Nicki Minaj, Rick Ross, Bon Ivor

The title of this track doesn’t lie, beast of a track, arguably Nicki Minaj’s best guest verse ever (‘Where them girls at’ deserves a mention for sure) It’s in all my rap playlists, amazing song.

If you took the time to have a gander at my random countdown then I thank you, I fully expect you not to agree with everything, hopefully something you enjoy musically was mentioned I did my best to spread the genres as much as I enjoyed them. More music and other countdowns to come.

[dilettantereviews]

Due to some personal circumstances, finishing this list took longer than I’m proud of, but I hope it’s worth it.

Isolation by Kali Uchis- This was a hard album to write for, not because of the quality (obviously), but because it’s so all over the place and hard to classify. I first paid attention to her through an ONTD original about pop stars with personas, then I thought of her as an indie pop girl, and her collaborations with rap and Latin artists make me compare her to women in R&B or urban music as well. But she’s just Kali. People always talk about “it took Ms.Nancy 8 years for her debut but it’s iconic!!” but for Kali I definitely feel it. The psychedelic baroque intro alone lets you know that you’re about you go on a journey of an album. Songs like Miami, Tomorrow, and Your Teeth, My Neck (and I guess Just a Stranger) all talk about the uncomfortable intersection between wealth and desire, while songs like Dead to Me (lol) give some brevity and energy to this album. For critics who think she can’t sing, Killer has a great Winehouse-esque performance. The album cover looks like a Prince Protege vanity set fantasy painting.

Joyride by Tinashe- Tinashe had a weird 2017, with Flame flopping, Light Up the Sky dropping, and a bizarre Taco Tuesday outing (why?!?! They said it was a networking event, but for who? The girl has more collaborations than all the different companies Pepsi distributes for), but her 2018 was better. We got a random HQ picture that turned out to be the first cover for a tringle that lead to Joyride. She answered many questions like yes, she did need to use legal options to release Joyride, and no, she didn’t like Flame. She release a great pop album that is a little Frankensteined together but you can still use all the songs. Although things seem murky now, I feel that Tinashe will keep giving us great, unique music. Personal favorites include No Drama, Faded Love, No Contest, and Ooh La La.

Caution by Mariah Carey- I keep seeing people mention that this is their first Mariah album, which is appropriate, because this feels like a new beginning for her. It’s my first Mariah album too, but I’ve seen one Popjustice member say that this is her only album where she mainly sings in a lower register and where the background instrumentals are darker electronics. I’ve heard that Me.. I am Mariah at least tried out new things, but this incorporated everything successfully. I’ve never really listened to Mariah before because I just figured it would be mostly ballads and midtempos, but this album kept things unique. Highlights include GTFO, A No No, Giving Me Life, and Portrait. This album is the sonic equivalent of putting your favorite Bath and Body Works moisturizer on, making a warm drink, and hiding under a weighted blanket, and who doesn’t want that in a year like this?

Take Me to the Disco by Meg Myers- People say that there are too many meaningless buzzwords (true) but I don’t think alt vs indie rock is one of those. Indie is generally minimal and guitar based but alt is left of the middle rock and expansive. Meg went for category 2. Following her great debut album from 2015, she went for a bigger, better, and darker sound this time. It reminds me of Tori (Tear Me to Pieces and Jealous Sea sound very Choirgirl), PJ, Trent, and the Smashing Pumpkins. Take Me to the Disco is a nice ballad that starts out the album, which doesn’t prepare you at all for Numb, the following track. Done and Funeral are also strong. Listen if you’re tired of slackers in music.

Childqueen by Kadhja Bonet- If music indicates mood, I don’t know what Spotify premium subscribing, Allmusic reading, time travelling aliens would know about 2018. Sure, there were some political albums, but I feel like the pace of crappy events was faster than (High quality) political music. Even on a personal level, 2018 wasn’t ridiculously iconic or anything for me, and I was still petty and had grudges to work on. That being said, I have no clue how psychedelic music became big for me this year. We had Moodoid, Melody’s Echo Chamber, The Internet (sort of), and Dita Von Teese. But my favorite is perhaps Kadhja Bonet, whose theatrical sounds are like the score to an old Disney movie. Mother, …, and Second Wind are great. Bonus EP was released this fall.

so sad, so sexy by Lykke Li- I haven’t really listened to Lykke before, so I figured her pop reinvention was a good time to get into her. This album reminds me of Nelly Furtado for indie songwriting but with hooks. Although sometimes the trap parts are a little awkward (use vaporwave instead!), this was a good reinvention. My favorites include Two Nights featuring Amine (he is NOT a rent a rapper!), Jaguars in the Air (you and me we’re psychedelic!), and of course, sex money feelings die. I would love a Jessy Lanza remix album commissioned.

Silk Canvas by Vanjess- Everyone loves whisper registers and high pitched whisper singing in R&B (Diana Ross, Janet, Aaliyah, Ciara, Cassie, Tinashe) but what I really love is a deep voice (or at least one that sounds a little raspy). Vanjess joins Her, Total, and T Boz and even The Weeknd in the deep vocals crowd. Don’t mark these Nigerian princesses as spam, just give them a stream, no bank accounts required. I like that they have a better understanding of making a cohesive album with different genres and still staying in a certain vibe instead of doing the same song 12 times. Even their remix EP gets that. Control Me and Addicted, the big singles from this album, are good symbols for their moody R&B sound but they have more than that. Touch the Floor is more uptempo in the vein of Kaytranada, as are the excellent Through Enough and Another Love. My Love reminds me of Aaliyah’s One in a Million. The One picks up where the 80’s revival trend left off, but improves on the synth funk sound. Even Cool Off the Rain, a 2 minute interlude, is worth listening to.

7 by Beach House- I don’t know what made this album click with me. This is my 4th album for Beach House, so I thought I just wouldn’t get them by now, I listen to dream pop and shoegaze enough where I thought I’d like any vibey music. This album didn’t reinvent the wheel but it has warmth to it, without losing their signature ‘when your arm has pins and needles and you need to wiggle yourself to a healthy blood circulation again’ sound. Favorites include Lemon Glow, Black Car, Dark Spring, and Girl of the Year. I also recommend Wax idols and Pinkshinyultrablast if you’re looking for more shoegaze..

Dita Von Teese by Dita Von Teese- This was always going to be a niche passion project by a burlesque artist, so I don’t think it was ever going to set the charts on fire, but not even the internet cared about this? If you miss Lana’s old Hollywood glamour, you should check out this album. It mixes 60’s psychedelics with electronic music to create a perfect loungy sound. I’m not saying I’m those “I miss 2012 Lana!!” but I stuck with her through her Old Hollywood Jackie Kennedy Born to Die phase, her 60’s Manson Girl Ultraviolence cult phase, her 50’s (?) maps to the stars Honeymoon, and 70’s singer songwriter Lust for Life phase, so I was excited to see what other incarnations we would get. Would we get a full on spaced out culty version of Honeymoon? An 80’s Midwest goth album? A late 90’s vaporwave mixtape? Okay, most of these are just words thrown together that nobody would want, but Dita’s album had the concept and the execution there, all it needed was the audience. The French songs have a certain sadness in them. I like Bird of Prey and Dangerous Guy as well, but the whole album is well produced and beautiful sounding, so you should listen to it if you just want some easy listening that’s riskier than most of pop and alternative’s current artists.

Black Panther- Yes, this should count as an album. I’ve seen people treat The Hunger Games soundtracks (yes, those movies didn’t spontaneously appear on TNT one day) as real albums and stan Lorde’s vision for it. I’ve seen people stan the soundtrack for A Star is Born, like it’s a real Lady Gaga album, but Black Panther is where y’all draw the line? Okay. Aside from the breakout single, you get a good vocal performance from SZA, a top tier Jorja Smith song, the best flute performance of 2018, and the downtemp Seasons. That a random soundtrack can have that much cohesion is good for Kendrick Lamar but bad for other artists.

[deadcactuswalking]

REVIEWING THE CHARTS: 1st July 2018

Just a shorter episode today, hopefully. As long as it’s 1,000 words I’m fine with making a lower-effort episode after a busy week of doing other stuff like BLAST TO THE PAST and promoting my mixtape. This has kind of fell in my priorities since, but I’ll still try and make something of an interesting read with the five new arrivals we have, and all the other antics.

Top 10

Well, we have another new number-one this week, topping the charts at its fourteenth week here! This one’s “Shotgun” by George Ezra, which I believe is Ezra’s first ever number-one, so congratulations, even if the song is much less deserving than, say, “Budapest”.

This means that the song “Solo” by Clean Bandit featuring Demi Lovato has been hit a spot to the runner-up space, number-two, but I have a feeling it will rebound.

“2002” by Anne-Marie won’t freaking go away at number-three. It’s been steady for weeks now, please drop or climb sometime!

Former #1 “I’ll be There” by Jess Glynne has not fulfilled its promise by staying at number-four.

Oh, yeah, and we also gave XXXTENTACION a top-five hit, as “SAD!” crawled up a whopping 26 spaces to get to number-five, after UK chart rules started to include YouTube video streaming, conveniently right at the time the video for X’s track dropped. I think this may mean more new arrivals each week, so prepare for that, but we’ll see.

“If You’re Over Me” by Years & Years is up two spots to number-six, and will go into the top five once the album releases this week.

“Better Now” by Post Malone is now down a position, probably due to “SAD!”, to number-seven.

“I Like It”, however, by Cardi B, Bad Bunny and J Balvin is climbing up higher – it had a one-spot boost this week and is now at number-eight.

“Leave a Light On” by Tom Walker is down two spaces to number-nine, but will rebound because I heard it on another advertisement and that’s how this song gets plays.

Finally, just like last week, we have “One Kiss” by Calvin Harris and Dua Lipa staying at the final spot in the top 10.

Climbers

Other than “Rise” by Jonas Blue featuring Jack & Jack up five spots to #12, most of our big gainers this week are for cloud or emo-rap artists, including Juice WRLD, whose “Lucid Dreams” got a five-spot gain up to #18 (I called it!), Post Malone, whose feature alongside Preme on Tiesto and Dzeko’s “Jackie Chan” got a big 15-space boost up to #20, as well as the late XXXTENTACION, who got some more post-death streams, landing his two other songs that entered the top 40 last week in higher peaks, the highest being “Moonlight”, up 15 spots to #17, and the other being “changes”, which although latching on nowhere near as well as “Moonlight” and “SAD!”, is still up 11 spots to #22.

Fallers

We don’t have many, but the ones we do have are massive, and mostly for bigger hits that served a long time in the top 20. We have Ariana Grande’s “No Tears Left to Cry” taking an 18-spot leap down to #23, George Ezra’s “Paradise” being clearly drowned by his self-competition, jumping down 17 spaces to #29, joining “Love Lies” by Khalid and Normani down eleven spots to #33 in the group of bigger tracks that took giant hits. “Bed” by Nicki Minaj featuring Ariana Grande is also down ten spots to #30, and “This is Me” by Keala Settle and The Greatest Showman Ensemble is down five spots, now at #35, and hopefully exiting soon.

Dropouts & Returning Entries

We have quite a few new arrivals, so naturally there were some drop-outs to let the entries come in, including Ziv Zaifman, Hugh Jackman and John Williams’ “A Million Dreams” from The Greatest Showman, dropping out from #37, “This is America” by Childish Gambino featuring Young Thug dropping out from #39, “Lullaby” by Sigala featuring Paloma Faith collapsing and dropping out from #21, alongside “Bad Vibe” by M.O., Lotto Boyzz and Mr. Eazi out from #29. “In My Blood” by Shawn Mendes has also ended its decidedly decent run, as it has dropped out from #38.

In terms of returning entries, we don’t have any, but we do have sudden gains for a lot of songs that have been bubbling under the top 40 for a while, so let’s start talking about the new arrivals.

NEW ARRIVALS

#40 – “Ring Ring” – Jax Jones featuring Mabel and Rich the Kid

Okay, I’m sick of this Jax Jones dude and his bland production, pointless producer tag and stupid sweet-wrapper album covers. Everything he does, including this, just feels so cookie-cutter and aggravatingly bland somewhat-danceable pop music. This, however, is a bit more interesting, as it combines dancehall girl Mabel with trap-rapper Rich the Kid – which has surprisingly happened before on a remix of Rich’s “Plug Walk” – however, it somehow makes the interestingly-distorted vocals from Mabel, which are delivered oddly sensually for a song that’s otherwise really annoying, with its vocal sample in the drop and skittering trap hi-hats that do little but make Rich feel more fitting (it doesn’t work), boring as all hell. This is dancehall, EDM and trap-rap combined without any of the soul, energy or passion that people like Sean Paul at least had when they combined hip-hop with reggae and dance. With Rich the Kid’s tacked-on, phoned-in (quite literally, it starts with him talking about someone calling him) non-presence of a verse, this just feels like a cluttered monstrosity of different minimalist genres that mesh together to create nothing but rubbish chart fodder. I’d say I expected better from everyone involved, but then I’d be kidding myself, and I don’t exactly believe Rich and Jax are even close to how talented Mabel is.

#39 – “Nevermind” – Dennis Lloyd

Wow, you guys just want to give me the bland, inoffensive schlock today, huh? This is Dennis Lloyd, guy with a moustache and a dream – except the moustache is the only thing he deserves to succeed. This dude has the least presence and charisma out of any singer I’ve covered here who doesn’t consider themselves a rapper, and the unnecessarily heavy bass, repetitive and boring hook melody, basically non-existent guitar strumming, weak and fake finger-snaps, the dreamy synths that add nothing at all to the song other than just making it more of a waste of time. This song is only two minutes and 36 seconds, and it’s 80% that simplistic, monotonous hook. I’d say it’s much of a muchness, but it’s not much of anything at all except that damned hook, which is repeated ad infinitum, like an earworm that develops into a full-on mantra that will haunt your nightmares. I mean, it’s not that bad, it’s just so lazily and sleep-inducingly awful that I have nothing to say about it other than the fact it’s snooze-worthy.

#36 – “APES**T” – The Carters (Beyoncé and JAY-Z) featuring Migos

Offset and Quavo don’t have verses. They just provide ad-libs. Biggest musical mistake of the year, probably! Offset would have killed this beat, and Takeoff isn’t even there at all. What’s the deal with that? They’d do better than Beyoncé, of all people, who is sloppily trying to stay on beat (why are we autotuning Queen Bey and letting her make trap-rap ad-libs again?). There’s also this really annoying synth in the beginning that Quavo just repeats “yeah” over, that’s kinda pointless. The pre-chorus from Bey is decent, but her verse just feels kind of boring, as does the hook, right before JAY-Z comes in to kill it like he nearly always does. It’s not incredible bar-wise, but it’s damn tight mainstream brag-rapping – sadly, he has barely any time on the track compared to his wife, as he desperately tries to get more words in edgeways during Beyoncé’s second verse, where he’s resorting to ad-libs behind Bey’s faster flow. Also, it’s kind of awesome that JAY-Z just disses anyone he can right now, because he can definitely get away with it. I don’t know, it’s just kind of cool how there’s no holds barred for him anymore.

It’s not a bad song by any means, but disappointing from three of my favourite urban and hip-hop artists right now – JAY-Z, Beyoncé and Migos. Speaking of Migos, actually, our next song is a much better example of a trap banger.

#34 – “Taste” – Tyga featuring Offset

I rated this a six out of 10 in a rate a few days ago and, well, I didn’t really want to give a paedophile and a homophobe any more credit, hence why I didn’t give it a seven, or even eight, but now, it’s grown on me so much that I can just say I kind of love this.

I love that vocal sample, with the vocalising sounding pretty great behind the subtle bass and piano loop, especially when the vocalist goes into his falsetto. Yeah, I don’t really believe what Tyga says about all his gang activity, because he’s not threatening at all, but when the beat cuts out, he has nice enough lines to make it not seem pointless and anti-climactic. Oh, yeah, and this hook? Catchy as hell. The whispering of “taste” is sensual and kind of creepy, but I frankly don’t care, especially when Offset comes in and kills it, once again – seriously, this dude’s great, and his flow and delivery is always so slick, and it’s proved here. Also, Tyga just sings a bunch of nonsense at some point and he somehow gets away with it because it leads into the chorus well and is apparently a reference to rapper A.E.’s catchphrase (thanks, Genius)? Yeah, while there are some questionable moments, this is a relaxed yet still exciting banger from the dude who made his album art a naked furry tiger lady monstrosity this same year and (Offset!), who apparently has access to pterodactyls, spaceships and Ric Flair (who he actually does have access to; he got him in a video more than once). Maybe that’s why I love Offset – for his goofy personality but how he confines it into such sweet, chill verses, kind of like MF DOOM. Sorry, I’m going off on a tangent, next song!

#32 – “Only You” – Cheat Codes and Little Mix

I was dreading the day I’d have to talk about both of these groups, because I really hate everything they’ve made. Little Mix are either infuriating, confusing or boring with fantastic singers, while Cheat Codes are bland but usually okay production-wise with an awful lead singer, so I guess it’s like the Chainsmokers collaborating with the Chainsmokers when they’ve got a featured singer.

Oh, yeah, this song? It sucks. It’s boring. It has some guitar strumming and simple synth bleeps but they mean nothing. All of the Mix singers are great, as always, but they feel wasted (once again, as always) here, because they don’t really get to burst too soon, which is what I like about their voices – when they belt, they can belt damn well, and I feel it’s just very underwhelming when instead, we get an ugly drop and harmonising from the Cheat Codes singer (in a falsetto at times) in the second verse, which just kind of hilariously proves the landslide in quality between people like Perrie Edwards and people like Trevor Dahl. It’s just kind of short and uninteresting, but what did I expect from Cheat Codes and Little Mix? Not much. Not much at all.

Conclusion

Best of the Week goes to Tyga and Offset for “Taste”, with Honourable Mention not being served, rather a double Dishonourable Mention: “Ring Ring” by Jax Jones, Mabel and Rich the Kid, tied with “Only You” by Cheat Codes and Little Mix. Worst of the Week easily goes to Dennis Lloyd for “Nevermind”. Knowing my luck, that’s going to be a hit. Delightful. See you next week.

[playitbyear-laz]

008

Long time listener. First time curator.

Popping in the latest Play It By Ear selection is like walking through a day in the life with laz, a quick trip into what's happening around him and what he sees as inspiration. As a guest curator, I thought about the quarantine experience, how our paths will diverge as we transition out of it, what we decide to bring back into our lives, and what we decide to do without. My music tastes here illustrate that current frame of mind, sounds that pique my inspiration these days, and the thoughts of what are to come.

                                         PLAY IT BY EAR 008  

                                        curated by Predakon

                                     Link to all platforms HERE.

Sault - Don't Waste My Time

WHERE: Last year on the internet somewhere (maybe KCRW), I heard this new song by the band Sault and was instantly hooked. There was zero information on the band online, and the Sault IG account had one post with barely a caption. Two albums in, many rumors later, there still is zero info on who these folks are.

WHY: The song is a meld of boogie, funk, psychedelic moods with vocals that lean into punk tendencies. The chorus is catchy, fun, and shows up in my head anytime I'm on the move, rushing through the grocery store these days with an invisible 6 foot radius bubble.

2000black - Plastic Jam

WHERE: NTS Radio, while working at my desk at Stones Throw. One of those tracks that I was lucky enough to Shazam, as a lot of times the exclusives the DJs play give me that "No Result".

WHY: One of those groovy synth and drum machine songs that are no more than 4 tracks laid on top of each other. As we simplify what we do in real life, it's dope to hear how simple a track can be to groove you.

Roland P. Young - Ballo-Balla

WHERE: DJing at Gold Line Bar in LA with Peanut Butter Wolf's record collection

WHY: Another simple 4 track song that gets more weird with it. That squeaky sound throughout and rattled snare drew me into this cut from a 1984 synth boogie album, a diversion for this jazz protege of Alice Coltrane. It's wild to think about an artist making futuristic weirdo sounds in the 80's for me to discover in 2020. Mission accomplished, Mr. Young.

Teebs - Shells

WHERE: A few people mentioned the latest Teebs album to me, including my coworker matthewdavid of Leaving Records. Beautiful sounds throughout this one.

WHY: Another instrumental song, but with more natural/live samples, giving it that (hate to say it) "songs to study to" vibe. When I was at UCSD, I had a pre-med neighbor that would study to movie scores like Lord of The Rings, Jurassic Park, etc. but at full volume on his Winamp. Walking into his dorm was walking into a battle. I thought it was a super intense way to study. Apparently at some point, soothing lo-fi hip-hop instrumentals became the study music of choice.

Knxwledge feat. Anderson .Paak - itkanbe[sonice]

WHERE: As my last project at Stones Throw, I had the privilege of project managing the latest Knxwledge album, 1988. This is one of the tracks that feature Anderson .Paak, the other half of Knxwledge's duo project, NxWorries.

WHY: I am probably biased, but I believe Anderson .Paak's best tracks have been the ones with NxWorries and Knxwledge. The vocals on this one get that distorted radio feel, giving the song that flashback treatment. The delivery and flow gets your head moving, and the lyrics "I don't even know how it feels anymore" remind you of the pre-quarantine days.

Cool Calm Pete - The List

WHERE: A throwback with this one from Cool Calm Pete, the Korean American rapper that was on Def Jux in the early 2000s.

WHY: because I'm a washed backpack rap nerd. I had to include at least one hip-hop track here, and might as well throw it back to when I ran a student org at UCSD called L.I.F.E. (Living In Four Elements). Always enjoyed this guy's flow and voice that was a hybrid of being laid back and tough.

Bakar - Small Town Girl

WHERE: Spotify

WHY: Another in the "it can be simple" category. Electric guitar. British singer Bakar's laid back half singing/half rapping delivery. That's it. One of those songs that seem effortless enough for you to try to serenade your partner with, only to realize you missed the mark on all the nuances that make it special. Will keep singing along though.

MIKE DEAN - THE EIGHTH DAY PART 1

WHERE: An article in Rolling Stone on Mike Dean's 4:20 release. Mike Dean produced every Kanye album and a slew of other hip-hop classics.

WHY: Released recently on 4/20, this album is Mike Dean playing synthesizers only for an hour and a half or so. This is my kind of study music! This is also what I imagine it sounds like whenever I buy a new synthesizer and tell myself what I'm doing will be featured on the next season of Stranger Things. Not surprised if Mike Dean's new album does show up on a bunch of films and shows in the next year. Listening to this track, you can imagine drums being added to push the track into infinite directions (hip-hop, techno, etc.), or you can just leave it alone and let it be.

[tsqdance]

Starting with the chillwave movement and French touch acts and artists in the late 2000′s, music with a decidedly 80′s influence has been in vogue for the better part of a decade now. Proto-synthwave acts like Anoraak, Justice, and M83 helped start and continued to stoke the fires of the 80′s revival. By the early 2010′s, acts like Com Truise and Mitch Murder began perfecting and popularizing 80′s influenced electronic sounds, and some offshoots of those movements followed with a deadset intention on perfectly emulating those neon 80′s vibes. Outrun differed from synthwave, chillwave, and vaporwave in that the intent seemed to be to recreate those specific sounds utilizing equipment and techniques from that bygone era. Acts like Betamaxx, Lazerhawk, and Miami Nights 1984 created landmark albums and EPs that led to a steady increase in the internet’s thirst for the sounds of yesteryear. Today, we have artists like Carpenter Brut, Gunship, and Power Glove doing things like releasing physical albums, playing at music festivals, and soundtracking apps and major video games. As a result, though, the outrun synthwave movement has also become saturated with people that want to emulate the sound of the 80′s, so it’s become a bit more difficult to find those diamonds. One such absolute precious stone in that rough is Jim Govoni’s project Botnit. Having been a huge fan of his intricate melodies and incredibly punchy and polished work for quite some time, I felt like Jim’s work was a best kept secret that is severely underrated. Having truly considered his work among the best that the entire genre has to offer, I was elated when he agreed to an interview. The resultant conversations that followed were way too long to post, so I’ll stick with just the highlights of my interview with Jim Govoni (Botnit).

1. What is the story behind the moniker "Botnit"?

It doesn't mean anything as a matter of fact. When I first started making tunes, it was under the name "Bill vs. the World", which was really cheesy electronic tunes with secretly-recorded audio of my friend Bill yelling at video games played over it, honestly: https://billvstheworld.bandcamp.com/ When I started making serious music, this didn't really work out, so I needed a better name. My friend (who later put out synthwave tunes under the name Roburai) and I were regulars at a gym at the time, and developed a fairly strong micro-language. I worked in a few from my past playing video games with my younger sister. The video game Tekken 2 had a fighter named Baek Doo San, this somehow transformed into Nit San Face for short, and when it transferred to Roburai chats, the 'nit' part became a suffix to other words, like Beentnit, Fartnit, and Botnit was just one of those. When it was time to pick a name, he recommended to just take Botnit, so I did.

2. How would you describe your own music?

Tough question, I think emotion is a big part of music, when it lacks it, I sort of sit there and wonder what the hell the point is. I can remember back in 2012 when I started making serious synthwave, that I wanted to be able to make tunes with feelings, to allow a person feel a certain way about a song, without having to force-feed them vocals as instructions on how they should feel. My only real goal was to have a nice little package of 10 songs, or 8 in the case of State of the Art, and have it all sound like it was made by the same guy at the same time, which was difficult as the albums ranged from 6 months to a year and a half in completion time. Obviously you change a little bit over time, so it's tricky. I think all it takes to make evocative music is to let the synths do the talking for you, so that's what I do. I don't crush you with heavily compressed Drumulator kicks and bass arps and upside down crosses, because it's been done already by many copycats and phonies, quite frankly. At the time I started, Mitch Murder was one of the few artists to put lots of old samples in their tunes, and I took a cue from him, speaking of copycats.

3. What are your greatest influences (artists, experiences, weather, etc.)?

Musically Mitch's "Current Events" and Betamaxx's "Interface" were giant influences, as well as MPM Soundtracks, who made some synthwave that has yet to be surpassed in my own opinion (Summer of '84, original, NOT the Flashworx remix). Like a lot of people back then, the movie "Drive" definitely set something in motion for me, but I think it was more about an aesthetic than the two big tunes that came from that film. Almost more important, I used to work at a video arcade in the late 90's, and those experiences shaped a good number of tunes ('Hi-Score', 'Arcade Cowboy', 'I'm Somebody Tonight')

4.  What is your opinion on the ever-changing structure of independent music?

This could go on forever, but all I will say as a main point is that I like how social media helps people get exposure. Bandcamp helped me incredibly, as did soundcloud. But a big problem is that whoever promotes themselves the most wins, they get the most plays, they get the most attention, because they self-promote. I don't self-promote really unless like, I'm trying to raise 100 buyers for a vinyl release for it to be manufactured, and I'll post twice about it. There's a few synthwavers, including one I have met in person, who I feel makes supremely inferior music to me, if I'm to be honest. The guy's very nice, but I think his synthwave is objectively bad - though he has 20 times the followers because he promotes the shit out of himself, nonstop each day, so you can either have 100,000 people come across your music and 2,000 like it, or 1500 people come across you music and 900 people like it, I think I'd take the latter. But it just sort of seems like connections, pay to play (promote), and "what's hot" will always be king. At least in independent music also, you can be successful and not have to look like a model also. It's not a coincidence that somehow the most popular singers all don't look like weathered clock tower keepers, but that is another topic for another time. :-)

5. Does making music pay the bills? Is it more of a dedicated hobby?

Definitely a hobby at this point, I never really had aspirations of it becoming a career, as I started making music when I was 33 years old, and already had a career. I put out albums in 2013, 2014 and 2017, and I haven't actually made any new music since August 2017, and don't really have any plans to make more right now. (I think retiring in 2015 really hurt me). Every now and then I think about breaking the keyboard back out, but I haven't yet, as I don't have such a desire to anymore. I like making the tunes, but it's so unbelievably time-consuming. You could work for 3 hours on tunes and come away with nothing. I simply can't afford that at this point in my life. As for paying the bills, I lucked out this year as a very well-known Twitch streamer started playing my tunes on his streams, and they were added to some Spotify playlist based on him. Revenue from that allowed me to buy a new computer this year after about 9 months of saving botnit money. So I can't stress enough if you're an artist, get your tunes on Spotify/General Digital Distribution if you want anyone to really hear it. Bandcamp is dead, they just don't know it yet.

6. What do you do for a living, and do you like it?

Some of my coworkers know my artist name and look it up from time to time, so I will be careful here. I work as a network engineer a major New England university. Do I like it? I like it when the internet works, less so when it does not. There's a pretty good work/life balance in higher education, a workplace not driven by profits and corporate greed is a great thing, but it's tough - Early in my career we were rolling out wireless internet to buildings that never had it before, like dormitories, or adding it all over a building instead of centrally locating it in a student lounge or something. We were like white knights bringing freedom of wireless computing to people. Fast forward 10 years, and people are upset when they can't watch 4K netflix on their 3 wireless devices simultaneously, and only pulling down moderately awesome speeds that beat anything they could get at home. Wireless went from a privilege to a commodity, like water and electricity, your sewer bill, and some of that shine will never really come back. Some days I wish I ran a taco truck, or was a winemaker or something, but that's no cake life either. Most people don't love their jobs, but you find something you're good at, and you just try to do good work.

7. What are some other things you enjoy about life besides art?

Video games, definitely a part of my DNA, retrogames specifically, Genesis, PlayStation 1, Dreamcast. 90's arcade games (it's somewhat of a secret that I'm actually much more of a fan of the 90's than the 80's). I spend a lot of my time around video games, though it's waned in the last few years as I move on with my life and there's other things that need to be done instead. Sometimes I think I'm less of a video game fan and more of a nostalgia fan. I like dining out, when a new restaurant in my city opens up, I like checking it out, having a fancy cocktail. I like wine a lot, going to Napa Valley on my honeymoon was a great experience, and someplace I can see retiring someday (I'm 38 years old, Jesus). I used to like running, 5k's mostly, but have done a 10k and a half marathon, though I don't run anywhere near what I used to these days. We cook a lot, and go to the Boston Ballet about 3 or 4 times a year, which is a wholly expensive experience overall, but my wife enjoys it very much, and I dig it too, it's a fun night out. I think sometimes I don't enjoy enough about life than I should. I'm approaching middle age now and I've never been out of North America, not that I've had a real desire to, but I need to spend more time enjoying little things that might not register as a real event if a day were to be summed up, just something to be happy about.

8. As a known music fan, what are some of best musical experiences you have had with other people's music?

I don't think I ever told this story, but I used to be a focus group game tester for Harmonix here in Boston. I was a fan of their first music video game FreQuency for the PlayStation 2, and before Amplitude came out, I was Harmonix's forums moderator, so they would occasionally bring me in to test new games. I playtested Amplitude, 2 Karaoke Revolution games, an Eye Toy game also for PS2, and Rock Band 1, all before they were released to the public. I went to the Guitar Hero and Rock Band release parties in Boston, that was a hell of a time. I applied to be a game tester when Guitar Hero 1 was in production, but didn't get the job (the pay was terrible anyway, sour grapes). A lot of the bonus songs in those games were Harmonix employees, so meeting them was really cool, and going to all their concerts in the mid-2000's was a unique thing, special slice of life, something that you can really only do in your early 20's. I even helped a bit with Guitar Hero II forum moderation (I'm listed in the Thank You's in the game credits). Synthwave wise, I can remember being on the third date with my future wife, and playing her Mitch Murder's "In the News" to demonstrate what kind of music I liked. And before that, riding the train to Boston listening to Betamaxx's "Senior Year '84" and "Contra", wondering how the hell me made such cool tunes, and not thinking I would ever make anything like that.

9. Also, what are some of the most memorable moments for you in your own musical journey?

Too many to list, but I'll try: Being a fan of New Retro Wave and them picking my album for album of the week twice, back when they actually answered my emails (though it was 2013, so it might have been the only synthwave release that week :-)) There was a little synthwave meetup in 2015 with Marko Maric, Protector 101 and myself, hell of a fun time. I've seen Com Truise and Toro y Moi live in the last couple years, both big influences, DJ Tiesto and Paul Oakenfold in 2000 and 2001 respectively, though I don't fancy live music so much. Seeing Maniac Synth's music video for Hi-Score was mindblowing to me, and super awesome. Related strictly to my music, I'm pretty selective about a song making it to an album - there's no more than 10 tunes per album, and I want there to be no fillers. For this to happen, there has to be a point in making a tunes where it just clicks, you get an idea to try something, and either by mistake or on purpose, you play it back, hearing this tune for the first time, and you're just smiling stupidly because you realize you just made a new album track. It's an intoxicating high actually. Oddly enough I'm far enough removed from my early pre-Vivid Memories tunes from early 2013 that I'm already nostalgic about it when I listen back. I remember time alone in my apartment when I could bang out 1 song a week, music production was all new, and how somehow synthwave was just more relevant back then.

10. Ever have anything particularly weird happen while touring or playing shows (if applicable)?

I've never played live, I don't really have the setup. I could just get up there and play mp3's and push buttons and bob around like an idiot, I guess. There's a guy in San Francisco who runs a club that's asked me to come out and play so many times I feel bad, but it's 3,000 miles away and maybe I should try it in Boston first. :-)

If you enjoyed getting to know Jim better or already enjoy his work, click HERE to be one of the final 13 people (at the time of this post) to reserve your vinyl copy of a limited pressing of only 100 copies of his 2013 full-length “Vivid Memories”. It’s only $15.99, which is a steal for a wonderful piece of visual art and arguably one of outrun synthwave’s most polished and melodic releases to date. Check out my favorite deep cut from the album, “Innovation“, if you need convincing.

[nobody-knose--archive]

yknow how i go on about not having listened to the solo albums? it’s nat day. i listened to nat. liveblog below

-spooooky ghoooooost

-you know technically this is my first & only 100% complete & utter blind tally hall experience + liveblog. everything else has been an album i've already heard or variations thereupon

-alright well this doesn't sound like tally hall

-hi rob

-boy man this is poppy but it sure is rob's voice singing

-"he don't wanna lose" damn is that a tally hall reference????????/ /j

-this ghost sounds pretty damn relatable

-still sounds like something i'd hear on the radio (derogatory (affectionate))

-does this one have a music video? i'll have to get to those eventually won't i

-oooh funky pronoun shenanigans one of my favorite types of shenanigans

-what baby did rob pick up off the street to provide these backing vocals

-white star??? is that a dw reference???? /j it'd be almost relevant by the time this came out

-i don't know anything about imagine dragons but this reminds me of them

-this is an 80's-ass fadeout

-oh so he's namedropping every track here? just planting the words old bike right in the first verse

-wahoo audio channel shenanigans

-oh there's the hum biddy biddys i heard about

-this is distinctly much less like bicycle race (queen) than i was expecting

-then again i mostly know bicycle race (queen) from lemon demon's cover of it so.

-this does indeed sound like the hawaii part ii of rob cantor

-classic acoustic guitar use. minimal percussion

-nevermind there's the drums & rock guitar everything's changed

-now it sounds like some actual tally hall stuff

-whomst

-guest vocals? i should've seen them coming but didn't expect any in this song at least

-oh there's that lyric. i've seen it plenty of times & always had to imagine what it sounded like

-this in fact indeed giving me 1985 vibes

-is that the year rob was born? it'd be near then at least

[following that comment was an exchange between me & june about birthdays. it told me rob’s born in 1983 but ross was born in 1985 so maybe rob made a tribute to his old bandmate. who knose <3]

-those drums. those synths. he's really going for the 80s alright

-i feel like i'm gradually forgetting this is an album by rob cantor, yellow tie of tally hall

-see, hawaii part ii was produced to the point of feeling unfeasible & unintended for live performances. but this album hits a middle ground where it's like, if this were done by anyone other than rob cantor of tally hall, it could be done live, but it's just rob cantor, not of tally hall, making an album himself, so i just know nothing about this would ever be done live. it's an interesting effect

-this album needs more tmbg influence

-this sounds less like going purple than i was expecting, which can apply to both the whole album & this song right here

-i recognize that voice from hawaii part ii

-i think? i need to check the credits

-stephanie? no not her. the lady from black rainbows?

-i'm blanking on her fuckin name it's on the tip of my tongue

-madison?? alison??? no alison hanna is from another song god what is her name

-yeah madi diaz thanks june

-i don't even know if that's actually her that's just who she sounds like

-what's interesting about this song is (just like hawaii part ii) tally hall didn't do duets very much but this actually sounds like one

-i promise i won't do hawaii part ii comparisons the whole way through it's just what comes to mind

-good god madi has some good range those are high fuckin notes

-OH GOD

-this is faster than i was expecting

-wow okay. this is no longer a jh song alright

-sounds like some terraria synths in here. they could actually be in terarria for all i know

-this is the song they've been putting on all these villain playlists?? i couldn't think of a less villainous song if i tried

-oh thank god the tambourine is back i've been starved for it

-i wouldn’t know, i go on even though

-oh this is the one with that really wild music video isn't it. good old acoustic guitar

-i can actually picture this one on a tally hall album. he's being kinda silly with the percussion but the vocals at least. hm

-honestly what intrigues me most is how it's nothing like the asteroid musical pieces + going purple. those are all i knew of rob's solo stuff until now & i'm not picking up on many similarities. oh and the shia labeoufs/christian bale

-damn he's doing the vocal filters again

-i keep thinking i'm hearing zubin somewhere in the background- wait no that's my cat at the door now

-how many shrimps do you have to eat

-alright now this one's just silly. congrats to it for making me laugh

-if that's real whistling in the background there it's just gotta be bora i know this

-if that's real accordion in the background then it's surely also bora

-this sounds damn near like nonsensical spanish- i thought la telanovela was after this? /j

-he just pulled out all the stops for this album. everywhere.

-you know i kinda thought of extreme vibrato/reverb as a joe thing but i'm really hearing a shit ton of it here so maybe it's a rob thing too. or maybe i should listen to jhjh before i make any conclusions

-who. who's this? i absolutely don't recognize this guest singer. not from hawaii part ii presumably then

-if i can say one thing about this album it's that it's absolutely living up to its cover

-so what does this have to do with telanovelas. i watched que hora es in 9th grade spanish i know what they're like /hj

-oh this is the one about that guy who isn't actually dead. epic

-now this sounds more like the solo viral pieces of his

-i'm pretty sure laughter is the intended reaction to have here so good on rob  for achieving that- wait it's over?

-oh. guess he was taking more influence from tmbg than i thought

-let your mother know is the song i've heard absolutely nothing from other people about. and now. i suppose i can't blame them

-oh you know what my complaint about this album is? it's very little like lemon demon. too many mundane 2nd person ballads, not enough 3rd or 1st person stuff about absolutely nothing

-also from a musical standpoint he doesn't make things stand out super well. it feels a tab bit sanded down. like there are bits in the vocals & instrumentals that feel like they're meant to be a big change, but there's no notable emotional shift in the tone

-ayyyyy this is the one andrew worked on!

-yeah fuck with the tonality of it mess shit up go ham

-i mean if you're going to include flute in a rock album you've got to make it worth it

-i've not heard that song but i think this is meant to be the spiritual opposite to special by jh

-you know what i want from this song? andrdew vocals. it can do whatever it wants i just want to hear my man sing

-definitely bora's whistling no way it's anything else

-showing off your vocal range there mr cantor?

-oh hey this is the one that makes my friends cry

-i've not listened to songs about girls but this is reminding me of it anyway

-this feels like audio taken from a music video that had sfx added to the original song

-like bro. you can let your lyrics stand for themselves. you don't need to dangle me on a rope from a bridge over a highway

-i mean he might as well end the album this way. he might as well.

-ending thoughts, i guess. rob does what he does well but i think he ought to be doing something slightly different

also look at this yt comment i found on the comprehension amalgamation upload

[justholdingstill]

Rules: List 10 songs you’re currently vibing on and tag 10 people.

The lovely @pantheonofdiscord tagged me in this, and while I love music I listen to SO MUCH & I hate making decisions, so I just plain cheated here. But more tunes for y’all, so, uh...sorry not sorry. ;) Click song titles for links through to YouTube vids! 

1."Brother", "Rumbrave", and "I Came Around" - Murder by Death

Here's the thing: I have no idea how more folks in the Supernatural fandom haven't heard of Murder by Death, because their early stuff especially is so thematically and sonically in line with the aesthetics of the show. And sweet crispy jesus, they have a cellist as an integral part of the band (who is intimidatingly babely in person I might add), which is an automatic win in my books. I've been lucky enough to see these guys live twice, and I definitely recommend checking them out album by album.

So brother, raise another pint/ Rev up the engine and drive off in the night/ See you somewhere, some place some time/ I know there's better brothers, but you're the only one that's mine.

2. Sable On Blonde - Stevie Nicks

I think I rediscovered this song because the author of a fic I was reading made note that they'd had it on repeat incessantly & I was like YES that's a good fucking song. And it is. It's got keyboards, it's got mournful electric guitar, it's got Stevie, and what more do you need for witchy winter morning vibes, really?

3. At The Center Of All Infinity - Yuri Gagarin (full album)

Our Kitten loves this album and so do I. I blast it & she lays down in front of the speakers and purrs her face off. It's on the heavier side, yet approachable, with some great prog-y guitar solos and a Swedish stoner "space-rock" feel, and I actually find it super energizing to write to.

4. Cry - Carly Rae Jepsen

Okay, so I'm pretty sure I listened to the album EMOTION by Ms. Jepsen at least 40 times this summer because it's super catchy & feel-good, and also kind of a modern-day pop masterpiece with an 80's feel (and, I swear to god, MAD Dean/Cas vibes in the lyrics of most of the songs). This is a killer B-side off that album which just wrecks me with its synth, its beat, and its plaintive vocals.

5. Lotta Love - Choir! Choir! Choir! ft. Sarah Harmer

We've covered cellos, we've covered synth, and now we get to the third thing that pretty much guarantees my listening pleasure: goddamn three part harmonies. The original C!C!C! is based out of Toronto, I think, and it's pretty much a large, free-from group of people who all get together, learn a song, and sing the heck out of it. They have a ton of awesome covers on YT (their Space Oddity is a standout), but I love Sarah Harmer, and this version of a Neil Young classic is particularly soulful.

6. Uthuling Hyl - Osi and the Jupiter (full album)

Honestly, I dont even know how I came across this band or this album, and I don't really know how to describe it; my best stab is "ambient progressive dark norse folk" but basically it sounds like it's halfway between the Lord of the Rings soundtrack and if Radiohead made a soft metal album with input from Bjork. It's really interesting & soothing by turns, and it's in fairly heavy rotation on my writing playlist.

7. I'd Rather Be With You - Bootsy Collins

First of all, I freaking love Redbone by Childish Gambino, which samples Bootsy here. Second of all, Bootsy Collins. He's funk royalty, this song bumps, and Andre 3000 probably wouldn't be the man he is without this intensely cool dude having paved his way.

8. Careless Whisper (Beave Remix)

I don't know much about Beave except that they're an Irish DJ who drops the kind of whomping deep dirty house that makes me wish I was still 22 wearing glitter and staying up all night dancing myself sore at the gay bar. Those were, as they say, the days. Some might say you don't fuck with a classic like this, but I say I've had myself some excellent boogie breaks to this edit.

(Bonus: this trap remix of Careless Whisper is stonkingly ridiculous and I love it.

9. Warm Enough - Donnie Trumpet & The Social Experiment (ft. NoName Gypsy & J. Cole)

jfc these LYRICS though.

Deceptive carnations, our wedding we announced On Sunday for the holy of it/ Solely covet me and you, for you and I/ Are blissfully tethered to simple redeeming When sadness gets worse and we don't know why/ Our city is bleeding for crimson/ I don't protest, I just dance in my shadows/ Hallow be thy empty/ When my name don't sing, shallow waters/ Under bridges don't forget 'bout me/ Who are you to love me and not call me by my name?

10. Need to Feel Your Love - Sheer Mag (full album)

I totally get that some people do not jive with the vocals of this Philly punk rock group, but they & this album have seriously grown on me. It's got serious cred & I bet Dean would be totally into it. :p

11. Sisters - A Tribe Called Red ft. Northern Voice

Another banger! First Nations music doesn't tend to get much representation in the mainstream media, and ATCR have been amazingly successful at helping to break down that barrier with their unique EDM. Their shows have been some of the most energetic & electrifying I've ever been to, and I 100% recommend going if you ever get the chance.

12. The Darkest One - The Tragically Hip

I'm still not over Gord & I probably never will be. Let's round out our Canadian contingent with probably the most Canuck music video that ever was.

13. Anais Mitchell: NPR Music Tiny Desk Concert

Oh Anais...somehow over the last 2 years I managed to forget that I'm absolutely in love with the woman who wrote Hadestown, the folk rock opera based on the myth of Orpheus & Eurydice. I have been such a fool, and rediscovering her lyricism has been like coming home.

okay okay okay, I'm really done now. I tag @bowleggedcharmer @nox-lee @knittedgauntlets @60r3d0m @conquestcastiel @hadespuppy @lucy-flawless- @theriverscribe @magicalmess93 and @goodtidingsdean