#I really do think the new title track will reference No More Dream because they're taking it back to the beginning

[anistarrose]

Why are A CYBER'S WORLD and WELCOME TO THE CITY... Like That?

[Title text: "Why are A Cyber's World and Welcome to the City.... Like that?" with the track names in all caps. End text.]

I know now is a weird time to come down with Deltarune Brain-Wormes (affectionate), but as is always the case when I come down with the Brain-Wormes, I rewatched the Andrew Cunningham video on Gaster's Theme, as if this time I'd make a new connection that somehow eluded me all six or so times before. Except... this time, I actually did realize something!

For context, Andrew identifies a Gaster's Theme reference in Welcome to the City with "low-ish" probability of brainrot, ie a relatively reliable quote of the leitmotif — and he finds this mildly vexing, as did I. Because Scarlet Forest has a very strong Gaster quote, and that makes two consecutive "second areas" in Dark Worlds with Gaster-y music, yet no clear thematic connection to the good doctor — unless you presume Gaster to be the egg man, who appears in both areas — but then A Cyber's World immediately quashes that connection, by sharing the Gaster-adjacent melody that Welcome to the City has, and we all know Cyber Field has no egg man.

So, like... that clearly begs the question, what's up with that? Waiter, there's some Gaster in my Cyber World! Is this not a reliable Gaster's Theme sighting after all? Did Toby just let it slide in by accident?

Well, I don't think so. And upfront, I don't actually have a lore explanation for the Gaster hints. But I do have evidence that Toby did it on purpose, for some reason — and that we might need to pay more attention to Cyber Field and Cyber World going forward. Because, I mean, just look at this:

[ID from alt: a screenshot of the 6th and 17th tracks in the Deltarune official soundtrack. They are A Cyber's World? and Welcome to the City respectively, both written in all caps. End ID.]

I don't even know where to begin with the weirdness of these two tracks, as they appear on the soundtrack. I mean, they're capitalized! They're the only capitalized tracks from Chapter 2 that aren't Spamton-related!

Gaster talks in all caps! The secret bosses, which are rife with musical and textual Gaster references in their own right, talk in all caps! The only Chapter 1 tracks in caps are Another Him, The World Revolving, and The Holy! Almost as Gaster-y as you can get! Yet while we're back in the Card Kingdom, neither Field of Hopes and Dreams, nor Scarlet Forest, are in all caps! So why are their analogues?

And if that wasn't weird enough... Cyber Field and Cyber City have the sixth and seventeenth track, respectively! You know, like stats of 666, like fun values in the 60s? Like Entry Number 17? Chapter 1's sixth and seventeenth track, Cliffs and Checker Dance, are neither in caps nor otherwise reeking of Gaster! Genuinely, what the hell is going on here?

...Did Toby literally just happen to notice these tracks were 6th and 17th respectively, and throw in the caps to fuck with us? The Gaster motif sightings make me seriously doubt it. And the fact that Kris and Susie's first foray into the Cyber World, walking on green platforms that by all means look identical to the Cyber Field proper is suspiciously silent, with no sign of the Cyber Field theme — until Queen shows up with two whole tracks, ensuring A Cyber's World gets pushed back to Track 6 — well, it could absolutely just be to build an unsettling atmosphere while the player is presumably disoriented. But there's so many Gaster-colored flags here that it needs to be examined, right?

The only other thing I can think of is how Gaster really put emphasis on "fields" in the Chapter 2 announcement... but that doesn't explain why Field of Hopes and Dreams isn't equally suspicious, nor account for the weirdness of Cyber City:

[ID from alt: a tweet from Gaster, via the Undertale account, reading: "The second field. The second connection." in all caps with a link to deltarune.com. End ID.]

Truly, I don't know. This seems like something we might not be able to solve with the information we have as of Chapter 2, but it's simultaneously hard to leap to that conclusion when this doesn't even look that much like a recurring pattern from Chapter 1. Is Gaster or a related entity naming these tracks — like how Gaster names certain "devices" in the code all caps, for things like the Goner Maker sequence? I mean, maybe, but then why? I have more questions than answers.

In summary, I guess... you know how Deltarune showed us that in hindsight, Waterfall in Undertale had been really freaking suspicious, in some ways we recognized but other ways that were right under our noses? I just think that Cyber Fiend and Cyber City might wind up in a similar position, after future Deltarune chapters.

[thefreshfinds]

Summer In Jersey - The Garden State Hip Hop Hour’s Richard Scott

By: Natalee Gilbert

In a land full of snakes, the Garden State is far from one.

Composed of only free spirits who "ride that wave" at all cost, New Jerseyans put on for their hometowns. As a union, they mostly have sleepless nights and quick snooze sessions throughout the day. But alone, they come from different backgrounds that helped them grow.

Even so, there is one thing that all residents can agree on: Summer In Jersey lives up to all of New Jersey's hype.

When you tune into Summer In Jersey, expect songs that highlight New Jersey's undying pride and summer functions. As one part of the compilation references to the club (or klerb as others might say), the others fall in line as beach, flex or nightclub anthems. Besides this, Summer In Jersey carries a three-part skit by The Infinite Nudist. Essentially its all about a friend who is convincing another to go with him to the beach. Then, a girl whos fed up with his distant ways as they go to the shore and it closes off with a late-night "You Up?" call from a friend who tries to convince the other to leave and go to a lituation.

A few notable tracks like "Mexico Bity (Cliquot Mix)", "Dollar Sign Malc", "Sorry Not Sorry", "Maria", "Can I Call You', "Black Pool Party" and "Invited" help tourist get the jist of what it's like to live in a goal-driven yet party oriented state. The 21 piece collective is curated by The Garden State Hip Hop Hour's boss man, Richard Scott who sought to make a timeless summer tape that everyone can enjoy.

Cued into a section of every song, Siri does her part in announcing that it's a "Garden State Hi-Hop Hour Exclusive."

The first song "Valentino" by Chad B is moreso a flex track that seperates itself with self-reflection and words of encouragement. One reason why he's able to shine is because of the daily grind. Still, his success mostly stems from an undeniable skill with rhyme schemes and autotune. Following in unison is a "diamond-in-the-rough" beat that embellishes on the obstacles he's encountered. But Chad B teaches all that there is a silver lining if you just believe and focus on yourself.

"Bad Girls Only” by Melo V is a salute to all those women working 9 to 5s! The beat is influenced by pop, techno even some R&B but the power of the track is held by Melo's strong, melodic vocal play. "Bad Girls Only" really allows women to let loose and enjoy themselves.

Fourth in line, "No Way" by Trophy Hitta Sage keeps up the momentum especially with this one liner, "Wearing yellow in the summer, you're a bright catch." Like Chad B. she uses auto-tune but its a bit more airy and passionate. At most "No Way" is a techno/hip-hop track. Trophy Hitta Sage uses the beat to speak about a girl whos got her going crazy and she just wants to know whats up.

Then theres "Invited" by BUMPPRO, a track thats quite infectious and falls as an anthem to those who don't get invited to the "off-the-wall" parties. Sonically "Invited" dabbles into rock but then carries on with futuristic synthesizers, techno and auto-tune. The song speaks about a party next door that BUMPPRO has heard about but he wasn't invited to. Nevertheless he's with the hype and is going anyway because everyone needs to let loose every now and then. The best line thus far from "Invited" is "Sounds like a sick party bouncing off the wall/ I got a case, I got a bottle. But I look fly, I came to party/f*ck those problems."

In pursuit "Act Up" by Rich Smiles stresses the projects care-free flair. It's hard to fit "Act Up" 's genre into one because of the R&B vocals at hand with a dancehall and caribbean feel. Here, he sings about a women has caught his attention but he's not looking for commitment. To have her for one night is enough and he won't let anything (or anyone) stand in his way. The highlight of "Act Up" is when Rich Smiles does a vocal run on the phrases "back up" in chorus and "act up". He really cranks up the heat with his ability to alter R&B's main focal point on love.

'Intentions" by Ganja Killz and "Zaya" take a similar approach. Driven by latin and caribbean vibes, they both use soothing vocals so listeners can feel at ease. Besides this, their native tongue pays homage to where they’re from. It’s nothing but tropical slashed with a whole lot of sultry energy.

Next, “Mexico Bity (Cliquot City)” by Killa Klerk Cobain travels back to Spanish Harlem. Killa Klerk Cobain gives glory to Jersey Club and uses it to drive the beat selection. But really, its to show listeners that people in New Jersey “really just be vibin’.” This track is solely for those who are looking to have a good time. So the tango might as well go on!

Fast forward and "Jersey Anthem" by GrooveBoyPut ft. Dougie F., Tsu Surf, Sonny Breeze, Crunch Calhoun, Albee Al Daddy pave the way for all New Jersey artists to keep going! Just like them, they've been through the struggle but still conquered. Now they're realistically living their dreams. For those who weren't there for the long haul, just know these emcees hold weight. They're coming with the pounds and don't care what others think regardless!

"For The Low" by $uper Drug$ ft.Threat Digga says it all in the title. Proficient in the ways of trapping and counting blue faces, these two only wreak havoc when someone disturbs their peace. Beat wise, "For The Low" takes the aggressive approach. These two do justice in being blunt, flexing and collecting their coins discreetly.

Now if there comes a time when a jam for night drives is needed, then "All Summer" by Dollar Sign Malc is the perfect fit. Because it gives off a 90's vibe, "All Summer" will be the only thing that shines this season. To summarize, this song fits all occasions like going to the beach or riding around the town with a shawty. Same applies for "Can I Call You?" by Najir. Even though it leans more towards a early 2000's sound, its still something with hype due to the Jersey Club influence. Najir in this song speaks about how hes in need for love and doesn't want to lose his girl.

Funnily enough, "Maria" by Smooch also speaks on a love whos got the artist stuck. Like “Mexico Bity (Cliquot City)” the beat takes a trip to South America and uses some boom bap flair. On a vocal standpoint, he hits more notes than rhymes but he excels when dabbling into the two.

"Te Fallo" by Lilskrt4k feat. Chris Cruz is similar to 'Intentions" and "Zaya". Same tropical sound with a bit of reggaeton but theres more energy and switch between Spanish and English. Seems like this song is speaking about doing anything for love also. The part that gets me is the ad-libs. It really makes one feel like they're on an island.

To say the least, "We Jus" by Bulletproof Belv tells all about summer flings. Although they're great in the moment, it's really short-lived once the leaves turn brown. "We Jus" beat leans into the trap side. But because of the background drums and snares, it distinguishes itself as a summer vibe. Overall "We Jus" is a song to play when it's just too hard to say "this is a DTF situation."

On the other hand, "Sorry Not Sorry" by GrooveBoyPut and Smoove The Rapper goes in the opposite direction. GrooveBoyPut and Smoove The Rapper are really feeling this girl but shes done them dirty so now they've started to care less. Because of the drums in back and xclophone, it categorizes itself as a summer anthem. Still, "Sorry Not Sorry" has some trap influence and can easily be mistaken as another flex or derogatory song. All in all "Sorry Not Sorry" is a song for the heartbroken. It goes hard on self-liberation and leaves no room for tears or empathy.

"See This" by DOMS is worth all the hype. Trap-ridden at its own leisure, DOMS dares anyone to step up because it'll be them against him and his boys. Equally important, DOMS flexes at an all time high. One line that speaks volume is, "Gotta make those sacrifices if you want to beat them."

Like the last track, "To the 6ix" by A-Money$ is a trap song. Aside from highlighting his luxurious trips around the world, "To the 6ix" doesn't forget to talk about the exotic women and drip that he easily obtains.

Next to last, "Can't Be" by Honey gives off a bittersweet feeling. A once mutual love, Honey catches on to her mans sneaky ways. Thus she can’t help but to be hard on herself for not noticing sooner. Following is Honey's emotionally captivating vocals and a beat that pulls heart strings.

Finally, Summer In Jersey closes off with a lucid song called "Black Pool Party (CLICQUOT MIX)" by Clicquot Geno and Jet Lyte. Contrary to the beat, these two go all in with smooth sailing vocals and confidence. Some can even go so far as to say that "Black Pool Party" is making waves. Don't believe me? Listen for yourself. This song basically speaks on how they have no time for the B.S. and how certain individuals are now trying to swim on their stream of fortune. To summarize, the R&B and hip-hop influences run deep.

Go and stream Summer In Jersey now. It's available on DatPiff.

Link(s):

1. Summer in Jersey: https://www.datpiff.com/Various-NJ-Artists-Summer-In-Jersey-mixtape.941839.html

2. Instagram of Richard Scott: @itsrichz

[serendipitybutterfly]

Being a Theorist ARMY...

So... I’m really thinking the title track is going to be a new take on No More Dream...?

It’s just... we’re going back to the beginning to find the ‘map of the soul’ right? 

Like I’ve been thinking about how in the Persona trailer there’s ‘Dream’ above ‘Persona’, ‘Love’ above ‘Shadow’ and ‘Happiness’ above ‘Ego’. If we look at this new series as a trilogy which will track their musical history as well as personal growth as artists and, more personally, as young men (which considering their recent focus on ‘looking back’ it really seems it will), then it would make sense to start at the very beginning... No More Dream. That new version they did for the Armypedia talk show... maybe that was a bit of a teaser in of itself... 

If I’m on the right track (and I know there are other Armys thinking along these lines) then the next album, ‘Shadow’, with a title song called ‘Love’, will probably reference their ‘2nd generation’... so maybe the title track will be a new take on ‘I Need You’?... or maybe (and I am almost shaking to type it) Blood Sweat and Tears (honestly with a album called ‘Shadow’ in this context of retracing their journey... the dark Wings era has got to be referenced a lot) .... Whatever the case... if this is correct...I feel like Yoongi will get the intro for ‘Shadow’... the thought already gives me the shivers. 

So that would mean that the last of the trilogy ‘Ego’ would be referencing their ‘3rd gen’ ... so the LY era, and I think Hobi will take the intro. If the title track is called ‘Happiness’... perhaps we’re going to be looking at a song which references and/or opposes Fake Love?? Or maybe a big climactic celebration song like Idol? Hmmm... 

Of course... It isn’t at all confirmed that ‘Dream’ will be the name of the title track for Map of the Soul: Persona... and if it isn’t then... a lot of this can be chucked out the window... lol...