#Lyrical themes: Rocking Freedom | Explore Tumblr posts and blogs

verysium · 11 months ago

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blu lock top artists on Spotify??? i need your thoughts on it

anon you had me pulling up my spotify playlists and browsing through the entirety of genius.com for three hours straight. i'm going to tweak this prompt a little bit and include specific songs that best represent them since it's easier for me to explain that way.

RIN

the fanon answer for this is chase atlantic. while their songs do encapsulate parts of his personality (mostly the edgy teenager and disillusioned youth persona), i feel like this choice does not do his full character justice.

the canon answer for this is king gnu, more specifically the song "prayer x." i can picture this since rin seems like the type to enjoy alternative rock/indie, but the fact that it's the ending theme to banana fish is what gets to me. like...do you see yourself in ash or something? i hope you don't cus it doesn't end well. that anime had me bawling my eyes out for months, and i still can't think about it without breaking down again.

furthermore, the lyrics and music video to this song are very cryptic and borderline nihilistic. for example, "hiding behind this nonchalant smile" and "my life's spark will wink out of existence." i feel like this speaks volumes about rin's mental health and internal thought process. he obviously does not process his emotions normally and instead represses them. he also struggles with the idea of finding a purpose in what is otherwise a cyclical routine with no end. he's worried and, quite frankly, afraid that if he ever stops pursuing his dream, everything will come crumbling down, and he will have to face all the demons he's avoided for so long. the main theme here is that he cannot face his reality (the fact that sae's dream is not his own.) so he does everything in order to escape this fact even if it ultimately destroys him.

from my own playlists, i'd assign him the following songs/artists:

"beautiful boy" by john lennon

this is a love letter to baby rin. i feel like he would've enjoyed this song as either a lullaby or something he listened to on car rides to the beach during summer vacations. he probably still listens to this when it's raining outside or he's had a bad day. reminds him of his childhood and the good parts of it.

"the love club" by lorde

this is something pre-teen rin listened to. the irony is spot-on, and i feel like the lyrics would be relevant during a time when he was going through his rebellious phase and fully fleshing out his place in society. in this instance, the club would metaphorically be wherever his brother is at, whether that's the guys sae meets in spain or the group of football players considered "top-notch" in japan. everything is about finding a place in this club/clique in an effort to become free and differentiate himself from others. the only problem is that rin ironically loses his freedom because he tries so hard to be among the best. he signs his life away in pursuit of a dream, and it's something that now defines him.

"the only problem i got with the club / is how you're severed from the people / who watched you grow up"

this lyric in particular could apply to either one of the itoshi brothers. it's one of the caveats that comes with fame. you gain everything, but you lose everything before that. both of the itoshis likely experienced some amount of separation from their loved ones, including each other. also lorde's vocals are beautiful as always, so there's no reason not to include this song.

"howlin' 404" by DEAN

the production for this song is on point. the intro has a segment from a 1930s american horror radio program which is fitting because rin canonically watches horror movies. i think this song is something rin might listen to during cold autumns or midnights when he just can't sleep.

lyrically, there is the motif of a time loop which is also present in "prayer x." rin's character itself just has this connection with the raw grittiness of existentialism and this idea of repeating days without purpose. (in fact, he would make a great psychological thriller lead.) rin is also a control freak. if he lets one loose end go, it will unravel the entire thing. that matches up with the idea of "killing me softly." rin would rather prolong his pain than have it ripped from him all at once and leave him with nothing. i find this in a lot of people in real life too. even if your trauma wasn't good for you, it sometimes becomes the only thing you truly own. it's like that one quote from bojack horseman. "if i don't, that means that all the damage i got isn't good damage, it's just damage." rin feels like he has something to prove, and if he fails, all his suffering would've been for nothing.

"moonchild" by RM

i may be a bit biased since i love the mono mixtape, and i've written a rin fic about celestial bodies, but....this song just fits him. there's also a remarkable similarity with the lyrics of the previous songs i've listed. i'm just going to list a few:

"smiling in endless pain / you know / there's no freedom when you say freedom out loud"

one thing i love about RM is that he doesn't shy away from character flaws. he writes songs specifically for those who are always picked last, who aren't remarkable in any way, who feel weighed down by their normality. he gives them their spotlight and due diligence. for example, the entirety of the chorus is a repeat of "moonchild, you shine." i find this interesting since it's usually the sun that shines. but the sun is already sae, and rin is relegated to being the moon. yet even though the moon doesn't have its own light (it merely reflects the sun), it still shines bright in the darkness. rin doesn't know it yet, but he himself is a big role model for others such as isagi, his fans, and people just like him. so yeah....i'd take this song as a message of hope for future rin.

SAE

the fanon answer is lana del rey, and i would agree to a certain extent. under the right circumstances, he could become one of those dreamy, emotionally stunted, and tired men you guys all lust over. if y/n ever wrote a romantic song about him, it would be either "west coast" (for the spanish influences) or "art deco" (for the vibes.)

the headcanon answer is nothing. i don't think he listens to music much. even if he did, it would be probably classical/instrumental or just white noise for his long flights. i imagine him listening to erik satie's "gymnopédie no. 3" on a train ride or something.

from my own playlists, i'm going to give him these songs/artists:

"remind me" by röyksopp

i don't know how to explain this, but this song gives a bittersweet sense of nostalgia. think early 2000s when the TV footage was still grainy and had retro graphics. you're carrying around your mini mp3 player whilst wandering through the airport and wondering how the hell you even ended up there. that's the general ambience of this song.

lyrically, the song also matches well with sae. i'm going to give you a few examples:

"it's only been a week / the rush of being home in rapid fading"

again, this is a tribute to the disconnection sae feels from his home. he goes everywhere, but he belongs nowhere. when he finally returns to japan, he finds himself missing spain. when he's in madrid, he thinks about the ocean back in kamakura. there never is a place that truly fills that gaping hole in his chest. i also feel like sae experiences FOMO on a whole other level. he constantly feels like something is wrong/missing and he's not doing enough.

"brave men tell the truth / the wise man's tools are analogies and puzzles"

the idea here is that though sae is blunt with his words, he is a coward with his intentions/true feelings. he can brutally call out someone without hesitation, but to actually reveal his own truths and motives? he'd rather shrivel up in a hole and die. this is especially applicable to love. to him, a wise man is someone who doesn't open his heart up easily. instead, he hints at his feelings, and whether or not you can figure that out is on you. sae hates it when others play games with him. it's where his hypocrisy lies. he demands straightforward honesty from others, but he himself will unintentionally play games with you if it means he can hide himself behind his walls.

"a woman holds her tongue / knowing silence will speak for her"

this is the closest you guys are ever going to get to sae itoshi's ideal type. he loves people who don't need to say something for him to believe it. they just get it. your silence is automatically enough for him to know that you love him. similarly, you don't even need to speak a word to understand what he's feeling.

"night shift" by lucy dacus

this song is sae if he was that one ex-boyfriend who really fucked you up emotionally, and you never got over him even though you said you did. now that i think about it, the story could be told from either POV. this could be sae trying to erase you from his mind, or it could also be you post-breakup.

"you've got a 9 to 5 / so i'll take the night shift / and i'll never see you again / if i can help it"

i know this one lyric caused controversy all over tiktok, so i'm going to add my own interpretation. at face value, this is exactly what it says it is. sae doesn't want to see you again, nor do you. he's willing to go out of his way just to avoid you, and truthfully he would. when sae finds himself in trouble, he doesn't look for something new to fix him. instead, he cuts everything off and subtracts anything that is deadweight. if you're out of his life, then you're out of his life. he's not coming back for you (or at least that's what he says to convince himself). same thing with rin. he knows he hurt rin, but he's not going to go back and try to make it right. he's going to move on and try to justify his actions every step of the way. one day, rin will move on too, and then sae would have been right all along. (unfortunately, that is not the way things work, but that's a lesson for another time.)

the alternative interpretation is that y/n is the other woman. this could be literal as in sae already has someone else in his life, and he only sees you at night. you're only ever going to be the night shift. it could also be metaphorical as in you're merely a distraction in the grand scheme of things. you're the mistress, but football is his wife if that makes sense. his career will always take precedence.

"you get me so high" by the neighborhood

this song is all the words sae wished he said to rin but never did. it made me cry because everything would have been so different if they had just set aside their pride and truthfully sought each other out.

"hope you don't regret it / i pushed a lot back but i can't forget it"

repressing feelings seems to be a recurring issue with the itoshi brothers. like....maybe if i just push it out of sight, it will also go out of mind. and at its core, this all stems from fear. fear of facing the consequences, the hypotheticals, the terrifying realization that you did something you regret and there really is no turning back from it. but realistically, if you think about it, a lot of this is the byproduct of overthinking. sometimes the situation isn't as complicated as we might make it out to be. sometimes an apology doesn't fix everything, but it's a proposition to be something more, an attempt at a solution. but sae and rin are so blindsided by their own internal turmoil that they cannot see this.

"for a long time i took it all for granted / i really thought we had it / but at the time it was more than i could manage"

ah....the "taking for granted" part. i could ramble on about that for hours. i think it really is some sort of self-fulfilling prophecy that we never miss something until it's gone. and in a way, it's not something that we can always control. the value you assign to a person/object when you have it is going to be fundamentally different from the value you assign to it when it's no longer in your grasp. that's how scarcity works. something with a limited supply is always going to be worth more. the vice versa works as well. you might yearn after something but then throw it away the moment you finally have it and grow tired of it. this sort of dilemma that comes with appreciation is so common i really wouldn't blame the itoshi brothers for what they did. it is immensely difficult to know when you're going to lose something or when you need to let it go. and sometimes it's hard to be constantly grateful for what you have because many of us are wired to want something more. tbh that's what makes the itoshis relatable.

"if we can leave it all behind us / and meet in between"

now sae would never say this unless he himself had actually reflected on what happened and fully processed it. but maybe in the future, they could set aside their differences and reach out to each other. (this is how i cope)

"but i just had to let you know / i never meant to hurt you, though / i had all my motives / i didn't know they wouldn't mix with your emotions / i just had to reach my goals / never knew i'd meet you though"

that's the thing with personal ambition. sometimes you get so caught up in yourself, you forget all about others. and this isn't really selfishness, or at least intentional selfishness. it just sort of happened that way. you never meant to hurt them, but you still somehow did.

"we should stick together / you're my best friend / i'll love you forever"

yeah....this line was the one that did it for me. something about the dysfunctional sibling dynamic just eats away at my insides. like....i could've loved you, we could've been so much together, but why aren't we? what we have isn't hate, but it isn't the love i know and crave either.

"we could be the greatest / it doesn't matter if we're never rich or famous"

ok but if rin ever heard this leave sae's lips, i think all of his trauma would just be magically healed. he just wants his brother to see him. like fully see him and love him. but alas, what is blue lock without angst, am i right?

"love in the dark" by adele

now i don't think sae would ever listen to adele, but the lyrics are just too fitting. i was going to write a fic on this, but it's going to have to ferment a bit in the drafts for now. basically this is the entire rin/sae traumatic scene but as a melodramatic torch song with adele's heavenly vocals.

"take your eyes off of me so i can leave / i'm far too ashamed to do it with you watching me"

um...this is literally sae's internal monologue??? i feel like letting go of things is something both the itoshi brothers struggle with. their lives are constantly pulling them in different directions, and eventually they become numb to it all. they don't form any strong attachment to anything besides football because that's the one thing that won't change for them. in a way, this is necessary for their character development (in the sense that they need to discern for themselves what to keep and what to let go), but it also destroys any sense of belonging they might have (hence why they feel lonely.)

"don't try to change my mind / i'm being cruel to be kind"

sae would definitely say this. like word for word. if only he wasn't a vague dumbass with no communication skills.

"i can't love you in the dark / it feels like we're oceans apart"

this is literally their dynamic in one lyric. there is the physical distance, and then there's the emotional distance.

"we're not the only ones, / i don't regret a thing / every word i've said, / you know i'll always mean"

this sort of reminds me when sae said that the world is huge, and there's so many players way better than him out there. i think spain really gave him a reality check, and he grew angry at rin when rin couldn't understand his disillusionment.

"everything changed me / and i don't think you can save me"

adele sort of echoes this softly at the end of the song. i feel like sae would do that too. he wouldn't admit his own insecurities until the very end, and only then does the truth come out.

"i'll sleep when i'm older" by bruno major

this is sae when he's older and fully mature, preferably after he meets you. he finally decides to damn it all and do what he wants.

"conversations with elders and the wisdom they bring ... / the view from an aeroplane at twelve thousand feet"

sae views things that previously annoyed him in a new light. he used to hate his elders, but he visited you and your mother once, and something changed within him. now he calls his parents more often, and his eyes linger on the old couples near the park benches. sometimes, his gaze softens just a bit when he imagines the two of you growing old just like them.

flights used to be a mundane part of his routine, but now he finds himself leaning over your window seat to see the mountains down below. the clouds and sunny weather set him aglow. and you just look so pretty when you fall asleep on his shoulder. he doesn't ever want this change.

"meet god on a mountain top along with the stars / find love somewhere, anywhere / fall deep from the start"

sae used to avoid love, but now he's running at it full-force. people tend to shy away from making sae a romantic because it seems too ooc. however, in the right situation, i think sae could entirely abandon his previous ideals and become someone else entirely. (that's why it's called a character evolution guys.)

"misplace my mind and follow my heart"

again, if you're able to make sae lose all rationality and let his heart guide him instead, then you've really done something. kudos to you for penetrating the walls of the coldest asshole known to mankind.

"i'll be a firework, not a flickering flame / treat life all around me like a one-player game"

this one lyric applies both to younger and older sae. younger sae is someone unafraid of risking it all if it means he can achieve something worthwhile. it doesn't matter how many players he has to defeat, how many people he has to leave behind. in this world, it is just him and the goal he has to accomplish.

however, after he's mellowed out after a few years (i'd say around middle age), he probably reinterprets this as something else. he's not going to constrain himself to his tunnel vision anymore. there's so much more to life than that.

"i'll go to the party and forget all the names / should it climb back to haunt me, / it ends all the same"

sae finally lets himself live the life he never thought he'd have. he does stupid things like get drunk and make a fool of himself. but you're there for him, so he doesn't really care. in fact, he can finally say that for the first time in a long time....he's having fun.

KAISER

the fanon answer is the weeknd. i'm not going to lie, i completely agree with this one. i saw this one edit of him to "party monster," and i can say i have been fully enlightened and converted. however, this is not just about a toxic male manipulator anthem. it's much more than that.

this is about running away from the ugliest parts of yourself, becoming a slave to your vices, knowing you're broken somewhere and you can never fix it. i would say his character is most similar to "starboy" in the fact that he literally flaunts everything he has to hide the fact that deep down inside, he really has nothing else to hold onto. "starboy" is all about the status symbol (money, red lamborghinis, glass table girls turning into ebony table girls lol). but at the end of the day, he doesn't really have anything except an empty heart and a satirical quip for all those who made him famous. the same theme applies to "the morning" and "house of balloons."

in the romantic sense, i think "don't break my heart" would represent kaiser. and no, this is not a justification for him being an f-boy. it's more so an exploration of why people might think he is an f-boy. i do not condone his actions, but i do try to understand them. in particular, i feel like the lyrics of "sacrifice" also fit him well.

"i was born in a city / where the winter nights don't ever sleep / so this life's always with me / the ice inside my veins will never bleed"

i headcanon kaiser as being born in either berlin or munich. and if you don't know anything about those two places, just know that you freeze your ass off during wintertime. i think it's interesting how his past could be intrinsically tied with a place, and he takes a piece of his past self with him wherever he goes. the ice in veins part also made me think about how kaiser would rather freeze up every weakness within himself than let them run free and make him human.

"every time you try to fix me / i know you'll never find that missing piece"

guys...did you hear that? to all you delusional people out there, this is your service announcement. you cannot fix someone who does not want to be fixed. write that down and memorize it. all meaningful change starts with a shift in mindset, and if they themselves are not in the right headspace to recognize that something is wrong and actively want to change, you're not going to get anywhere. so yeah....kaiser is not going to change unless HE starts doing the changing.

"i hold you through the toughest parts / when you feel like it's the end / 'cause life is still worth living"

i think this lyric sort of explores kaiser's dynamic with ness. on one front, he is the one picking ness up from his miserable past and instilling a sense of hope into him (intentionally or not.) but on another front, this could also be a problem. kaiser is almost forcefully optimistic in the way that he believes anything is possible. it has to be possible because there can be no other way. but the thing is.....you have to know your limits sometimes. blind optimism is, ironically, similar to cornering yourself.

"i can break you down and pick you up / and fuck like we are friends / but don't be catching feelings"

this is definitely the type of bullshit kaiser would spew. i could picture a fwb or situationship with him where y/n just constantly receives the short end of the stick. now this may be reaching, but i also feel like this is how kaiser projects his own trauma onto others. he himself clawed his way up to the top and put himself back together every time he fell down. the problem is that he also expects you to be that resilient. he's going to treat you badly because you're supposed to be like him: someone who can overcome everything and strive towards the impossible.

the headcanon answer to his top artist would be keshi. in particular, i think kaiser would fit the vibe of "2 soon" and "drunk." long story short, you finally broke up with him, and he's still reeling from the impact.

within my fics, i envision a dialogue between kaiser and y/n from each one of their perspectives. so based on that, i'm going to assign him the following songs/artists:

"gibson girl" by ethel cain

i know i said earlier that kaiser's character is not solely about toxic manipulation, but you have to understand that all bad habits originate from somewhere. kaiser is innately self-destructive, and he brings you down along with him. this song is about that but from y/n's perspective. there's this idea of trying to find agency in a situation where you have none. i don't have the word count to explain ethel cain lore in all of its naked glory, but all i can say is that this song is a banger and deals with themes like femininity as a performance, finding power in pain, religious motifs, etc.

"glory box" by portishead

this song is y/n's last plea to kaiser before they fully give up on him and leave. i'm also a sucker for anything that involves an exploration of gender dynamics and what it means to be a woman, and this song is riddled with it.

"suffocation" by crystal castles

this is kaiser post-isagi defeat (cue that one scene where he was trying to choke himself.) similar to sae, it's all or nothing with him. he suffers from this feeling of inferiority. everyone made him out to be this great figure of impossible dreams and legends, but look at him now. he's nothing. aren't you disappointed? he had you fooled, but he also fooled himself. so yeah....kaiser is definitely the most self-deprecating out of all of the boys at blue lock.

ISAGI

the fanon answer is laufey, and i also agree. he's so sweet, and laufey's music just makes me feel all warm and fuzzy inside. he would also be that one love that came creeping up on you when you least expected it. "valentine" would be the song for that. i picture a reader who's had a series of unfortunate breakups and is right on the edge of giving up entirely. but then isagi comes along, and it's just so easy to love him. as easy as breathing. and then you think maybe it wasn't so bad after all. you just never found the right one until he came into your life. furthermore, isagi is a jazz pop princess, and you can't convince me otherwise.

the headcanon answer is IU. more specifically, i would say "troll" from her lilac album. i feel like even if you and isagi broke up, it would still be like you two never broke up at all. you're both on good terms, and even though you know it's counterproductive to keep cycling back to each other, you do it anyways. and it's okay because you're both still in love.

from my own playlists, i would assign the following songs/artists:

"winter bear" by v

this is my comfort song. it feels like those big sherpa blankets you tuck yourself under when you're lying next to the heater in winter. isagi would kiss your forehead and nuzzle your nose before you two drifted off to sleep.

"a boy named pluto" by hailey knox

this one is so romantic lol. i also like the dynamic where one party is afraid to love, but the other person loves them unconditionally. that would be isagi. he'd respect your decision and wait for you as long as you need it. but if you're ever ready to give him a chance, just know that he's going to treasure all of you.

"put your records on" by ritt momney

the inspiring thing about isagi is that he never lets anyone put him down. he takes rejection as redirection, failure as room for improvement. and in that way, i think this song encapsulates his resilience. he'd be such a good boyfriend not just romantically but in the way that he would literally pick you back up to your feet, dust you off, and make sure everything was alright.

"fairy of shampoo" by dosii

i picture isagi as someone who falls first and falls harder. he just loves you so much, and he doesn't even need a reason why. i saw somewhere that sometimes you don't love someone because they're your soulmate/twin flame/supernaturally fated other. you love them because you consciously made the decision to. isagi is like that. he loves you on purpose.

helppp why does this sound like an academic paper...i'm sorry anon. i got carried away with this, but i hope u like it.

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tomorrowxtogether · 5 days ago

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TXT Debut a Sparkling New Chapter — and Reveal Which Previous Era Their New Album Is a Throwback to (Exclusive)

PEOPLE spoke to Soobin, Yeonjun, Beomgyu, Taehyun and Hueningkai about making "The Star Chapter: SANCTUARY"

Tomorrow x Together's latest release is an evolution and a nostalgia play all at once.

The Star Chapter: SANCTUARY (out Monday, Nov. 4), is officially the start of a new era for the K-pop group's five members — Soobin, 23, Yeonjun, 25, Beomgyu, 23, Taehyun, 22, Hueningkai, 22 — who spoke to PEOPLE ahead of its release.

They're moving out of "The Name Chapter" — two albums that reveled in the freedom and occasional chaos of youthful indiscretions — and into "The Star Chapter." Represented by a bright, shining logo rebrand, it carries messages about finding true love and lasting happiness.

“To some extent, I think it really reflects us growing up,” says Hueningkai.

"In our past installments, it was more of those magical moments, like ‘Run away together with me,’ or something that could be a little bit less responsible," adds Taehyun. "But this time around, it's romantic, but in a sense that it's grounded and more realistic.”

Sonically, SANCTUARY has a sweetness that recalls some of the group’s earliest releases.

"I think you're spot on about talking about how you thought of The Dream Chapter when listening to this album," Huengingkai confirmed while discussing their influences with PEOPLE in October. "It's something new, but it's something that also provokes nostalgia as well," he adds.

The lead single, "Over the Moon," is dreamy pop but includes some very grown-up themes with lyrics about living under one roof and planning for the future. Other tracks, like "Danger" tip into funky Bruno Mars-like territory, or in the case of "Forty One Winks," more upbeat R&B.

While there's no real rock or pop punk moments (something they've leaned into with great success in the past with songs like "LO$ER=LO♡ER"), "Higher than Heaven" does have a romping pop-rock bent.

youtube

The album's sound isn't just a reflection of the group's shifting tastes. “We have this big narrative that overarches every installment in our musical journey," Hueningkai explains.

Their discography, and the larger lore of the group, incorporates a sprawling fictional backstory that can feel intimidatingly complex for the casual fan. But the themes — the pains of growing up, the reality of facing adulthood, and the heartbreak that so often goes along with it — are universal enough that they come through easily in their earworm singles.

While TXT has shared in the past that their music is often informed by personal experience, they often keep a distance from speaking about their own relationships, instead telling the song's stories of crushes or lost loves as the tales of a “boy” (representing all and none of them) directed at “you,” an embodiment of their fans.

Explaining the meaning of their latest album, for example, Beomgyu says, “It’s a chapter where the boy finally recovers his name and remembers the promise he made with you. And they finally reunite in this album. So it's the rejoicing that they all feel with this reunion.”

All five members wrote lyrics and music on SANCTUARY, something they've been increasingly passionate about over the six years since their debut.

Taehyun admits to doing most of his writing in the car and on planes, amid their busy schedules. They still find space for collaboration though. "We tend to work separately on lyrics, but when we get stuck, we ask for help from the other members," says Soobin.

Seemingly non-stop promotions can be draining, but they're candid about how they keep their minds and bodies healthy. "Sleeping well is the best thing you can do for yourself," says Beomgyu. Adds Soobin, "We eat a lot of supplements, too, and try to work out a lot so that we can stay healthy and keep up our stamina."

That work ethic has gained them a mountain of accolades in relatively short career.

In 2023, they headlined Lollapalooza in Chicago, then performed at the VMAS in New York, where they also took home the award for Push Performance. Their last album debuted at No. 3 on the Billboard 200, making them only the second K-pop group to enter the chart 10 times, with the only other being their label mates BTS.

Asked if that sort of accomplishment is exciting or intimidating, Yeonjun explains, "We feel both. We feel both elated, and also we feel a sense of responsibility. And I think both are needed, because only when we feel that responsibility can we grow as artists and evolve as artists. So because so many people are giving us love and support, It's our duty to grow and evolve, and show new sides of ourselves as artists."

Adds Taehyun, "We are eternally grateful to Global MOA who always provide us with a lot of love and support. And with this album and the albums going forward, we're going to pay back to them by providing really good music and performances."

The Star Chapter: Sanctuary is available to stream now.

#txt #tomorrow x together #241107 #article #people #soobin #yeonjun #beomgyu #taehyun #hueningkai #the star chapter #Sanctuary #Youtube

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userparamore · 2 months ago

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PARAMORE'S DORK INTERVIEW

i thought i'd gather some of the highlights/important quotes from their newest interview with dork magazine; all from new music, more solo music from hayley, and fine print. i've put it under the cut as it got a little long:

– hayley talking about new music:

Well, the band have already started toying with new music. At home, before the tour began, Paramore created some early demos that "really surprised" Hayley, with the tracks taking inspiration from the Bjork-fronted alt-rock band The Sugarcubes. But they've also spent a few days off from tour in the studio. In Hamburg, they visited Clouds Hill Studio and started messing around with another idea that "felt like it was on the other side of the tracks to what we'd been working on at home," offers Hayley. "But that excites me."

"Lyrics have always been a huge driving force for me as well. I feel a deep sense of discomfor when we go home to the American South in this political climate and a lot of poetry that I've been writing lately feels like adulted versions of the themes I was writing about in 'Brand New Eyes'." The band's third album was an exploration of faith, betrayal, community and pain. "Also you mid-30s are wild. I was told they were supposed to be breezy but it's like another puberty."

After the overwhelming positive reaction to the glistening pop of 'After Laughter' and the scuzzy rage of 'This Is Why', there's a real sense of liberation to whatever comes next. [...] "It does feel like there's more space now to do whatever it is we're inspired to do and not look back," she adds. "It doesn't have to be on thing either."

– hayley talking about more solo music:

"Fine Print is about creating a better ecosystem for our creativity," explains Hayley. And that includes potential solo stuff as well. "Paramore has always been the thing that I want to do the most, and I get really passionate and protective of it," says Hayley, but something shifted after seeing that nothing major changed with the band after releasing solo album 'Petals for Armor' and follow-up record 'Flowers for Vases/Descansos'. "I don't feel done with it at all," she adds. "And that feels so good to say."

"Originally she wanted her solo music to be released under the Petals for Armor name because it felt like a nice cloak. "Even when I was doing press for 'Petals', I was really worried people would think I was done with Paramore because those rumours fly so fast, but now I don't feel that fear at all. I know the three of us will be creative until we die, and that's going to manifest as a million different projects," she explains. Some projects will be Paramore, sure, but others might be Zac shooting music videos on film or Taylor acting as a producer for other people's records, like he did with 'Petals for Armor'. "I think Fine Print is going to be a really great catch-all for those things."

– on "Fine Print" and independence:

Not having a label is the closest Paramore have ever got to the "total freedom" they felt when they first started the band. "I think the creativity is about to get cranked up," offers Hayley.

With Fine Print, Paramore want to find a balance between creating art and living life, especially because "the music industry does not reward taking care of yourself," says Hayley, who is also asking questions about fairer payments for musicians and how to support new artists as well.

Paramore are still laying the foundations for Fine Print but the whole thing is being built on the same ethos of their 2018 Art + Friends festival. "If it's not people I would be happy to have a cookout with, I don't want them involved," says Hayley. "Music is community. It's such a great connector, and that's the energy I want around anything that we do."

– on their inspirations right now:

Right now Hayley is inspired by the fearless, slightly chaotic world of pop that's being ushered in by the likes of Billie Eilish, Olivia Rodrigo and Chappell Roan. They're not afraid of messy feelings and they don't care if they don't have all the answers either, which is something Paramore have always done really well. "You have all these women ruling the world, and I don't think pop has ever been cooler," says Hayley. "It's so inspiring to see young artists being really bold, expressing themselves freely and making good shit that everyone wants to sing along to, while also speaking about things that perhaps don't always feel good to speak about," she adds, with that new generation of pop stars kickstarting discussions on politics, abortion rights, body image and predatory fan behavior.

"But there's also so much exciting stuff happening with guitar music as well," Hayley adds, name-checking Amyl And The Sniffers and "sick" new band Font. "I'll always love indie sleaze and bands like The Rapture and Yeah Yeah Yeahs, but I'm ready for whatever comes next in the dystopian future that we're all entering. We need punk music, and we need those underground movements," she explains. "Not because I want to hide from pop music, but because there's life there that I want to live."

– hayley said she thinks zac is the most underrated drummer:

"Can I also just say in an interview that I think Zac is the most underrated drummer in whatever fucking genre we're in," says Hayley, still struggling to find a label for the band. "When he was 11, and I was 13, I saw him play for the first time, and I just knew." She can't explain how she knew, because what does anyone really know at that age, but at the end of every Eras show when the rest of the band huddles around him for the furious, cathartic conclusion to 'This Is Why', it's every dream Hayley ever had for the band come true. "I'm so grateful Zac came back for 'After Laughter' because he's the backbone of Paramore. He makes us better."

– hayley on performing:

"I remember when we were touring 'Brand New eyes' and our tour manager kept telling people the only time we didn’t fight was when we were onstage. I didn't want to accept it, but he was right," says Hayley. "We were beat down, uncomfortable, and that was such a rough time, but there's a reason Taylor and I never quit, and it was the shows. Paramore gigs did get a lot of the poison out."

"My smile is sorta too big for my face but make no mistake, I am but a bird-sized woman still filled to the brim with rage. If i didn't get to make music or throw my body around the stage every night, I wouldn't survive."

"I've realised I can't be alone," says Hayley." I can't be by myself in this, so I guess we'll keep touring until we physically can't. Can you imagine seventy-year-old Taylor York doing light choreography on stage?" she laughs. "Honestly, I am so excited for the next incarnation. It feels like there's something in the water."

[On playing The Only Exception] "It's not 'Misery Business' but I didn't want to endorse that message either," she explains. This time it was her vocal coach who had a word. "He said, 'You're in a band with your partner. Just look at him and pretend nothing else ever existed'. You know what is so dumb about me?" asks Hayley. "I felt so stupid doing that at first. I felt stupid having this pure expression of adoration and tapping into the hopefulness I had as a 19-year-old. This tour completely changed my relationship with that song though. Now when I sing it, I feel happy."

#hopefully someone finds this helpful #i copied all this and wrote it out by hand like a loser lol #so if there's any spelling mistakes i didn't catch please ignore 🤗#paramore

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edennill · 22 hours ago

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Analysis/thoughts on Finrod's Duel with Sauron in the Finrod Rock Opera:

(I take the English translation of the lyrics from here — it's the 11th song)

Sauron, classically makes the first move, and in a very Sauron-typical manner. "How dare you come here — the world is dark and horrible — loyalty doesn't exist — et cetera as nauseum". I just really want to know what has he got against Fëanor specifically ("Into the world has come a curse, whose name is Fëanor!") He's the only person mentioned by name in the fragment too.

(I'm also fascinated by the costuming choices in the version I usually watch — the newest one? — that seemingly have Sauron steal Morgoth's fashion style. The crown specifically, it's even got three jewels. I know Morgoth doesn't really have much focus in this version, so they may have wanted to use the visual, but still. As for the rest, it's a very standard phobso-influenced design, ginger hair and all. Someone has definitely been on Tumblr, or at least very active on Pinterest.)

Finrod's first response starts off frustratingly vague, in my opinion, and at the same time, mixes together too many images in one stanza. As for "The poison of lies is harsh/But in this world there is no poison greater than love" — I don't think Finrod would say that, not the second part at least. Oh, well, Amarië — but Finrod is not a Romantic, and his view of what Love is would be far wider.

Then we get to the good stuff, however. "The crossbow has been twined with ivy/Harpstrings replaced the bowstring/Blossoms will turn the bloody trail white/The sound of a song will replace curses..." There is a definite echo of "swords into plowshares" with this one that feels at least semi-conscious — and thus makes me wonder... the biblical passage where that comes from is a strongly eschatological one, and I wonder if this does not imply Finrod is now singing about his "dream" or vision.

Well, Sauron's only reply to that is to say: It's too late, "the thread has been twisted too far and too terribly" and denounce Finrod's ideas as "a pitful likeness of the Creator's original designs". (By the way, Sauron is one of the characters to reference Eru most often here (that is two times), only he never calls him by that name. I don't know what to make of that)

Finrod's second verse: "Where there is no oblivion/Runes weave over the stone/And the strings of the lyre/Do not speak of the power of time/Behind me, the youth of the unmarred world has risen like the dawn/et cetera" and "But darkness and slander/Have vanished, like a dream/Such is the law/As long as the firmament is full of imperishable light". I'm quoting in full because my thoughts basically boil down to: this is a lot of words, and I'm not sure what they all mean in this arrangement, or what they call back to — although I think you can interpret them in accordance with my vague ideas about his previous lines. Lastly, Finrod seems to invoke the Day of Valinor in an explicit attempt to match powers with Sauron.

(Also, the phrase "i struny liry" is just honey on the tongue when set to music, I don't know why)

Enter Sauron with "Strength in this world belongs only to the one/who will doubtlessly break the shackles of slavery." Given later context, it seems pretty clear this is to refer to a general promise of "freedom", not to Morgoth and Sauron merely. Which — I don't think is far off from how they would like to be seen, but I wonder what gave the writers this intuition. I don't think the theme is particularly outright expressed in the book, is it? Hmm, or could it be an idea from the Black Book of Arda (which I'm pretty sure goes down that path), or a reaction thereto... I'm never sure just how much influence I should assume the 90s/00s Russian fandom madness (wank and wars included) had on local works. Concluded with "I am free to do whatever I want to you."

Finrod: "My choice is made/And fate is in the power of Eru" — direct refutal, great. "Both light and shadows/Are gifts in his hands." — He would not freaking say that, unless it's supposed to translate into "Your power is not innate either", that I can get behind. And the famous "I do not believe in endless losses." — people have written full essays on that so I will remain silent. Of course Finrod speaks of eucatastrophe though 😊.

Then we get to one of my favourite exchanges. Sauron (after an obligatory segue into how he sees in Finrod a fear that befits only cowards and slaves, because he's like that) calls out Finrod for being "guilty before the Creator". And my darling, dearest Finrod (oopsie, this was meant to be a serious post — I'm afraid I've gotten too deep into blorbo territory) immediately has a riposte: "But the greater guilt is on the one, who in a dark hour, and with open eyes, taught us pride."

Which naturally does not really make him innocent of the blood-guilt, but as a "And you're the one asking about it?" it works very well. Sauron's comeback is "That was done to set you free" which is lame and contradictory with his just preceding attempt to guilt Finrod and I love this. I feel like this inconsistency is something that Tolkien would have agreed with very well in terms of "how evil works" — again, I feel like the people behind this are so strongly either hit or miss in terms of themes that I wonder if the text wasn't written by more than one person.

Finrod tells Sauron that he may at most kill him, Sauron is... enraged and, it seems, instigated, and then we have one of Finrod's best moments in the show, in which he genuinely feels like he almost pities his opponent for wasting himself like that, especially with the right intonation on the part of the actor. "First answer me/Why does the dark throne/So draw your eyes, o Sauron?/As if the dead glitter of crowns/Will save one who was not born?" indeed

As for: "If by such is Light defended, Darkness will triumph" — I hate Sauron for that insult; even more since it's "kicking a fallen opponent" — but it works. He would say that.

And of course he finishes off with "—and me with it!" because Dark Lords are nothing if not preoccupied with self. It's childish really, when not sung in a strong voice — but that's the point, or should be.

#finrod rock opera #Silmarillion #silm #finrod #sauron #the rock operas #my post

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morganeactually · 26 days ago

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How Björk's avant-gardism breaks the fetichization of music genres beautifully

Hi everyone ! For this week's post, I would like to introduce you to my favorite female artist : Björk. Her genre-melding approach is the reason why I find her musical identity particularly remarkable. In constant evolution, the latter is marked by a fearless exploration of the new and the unfamiliar. Indeed, she refuses to be confined by only one style or tradition and chooses instead to continually redefine her music. Björk's unique sound embodies both cultural fluidity and artistic freedom. Her albums embrace diverse influences such as the British electronica movement of the 1990s, pop music, jazz, classical music, folk and traditional Iceland music, world music, etc.

For instance, in "Homogenic" (1997), she creates, through the mix of orchestral strings with industrial beats, a soundscape that opposes easy categorization. Furthermore, both Asian culture and Björk's Icelandic roots served as inspirations for the album and its cover. They underscore the themes of identity and self-reinvention. On the one hand, her stylized hair and kimono-like dress remind of the traditional attire of a geisha. On the other hand, the minimalist aesthetic echoes the unembellished beauty of Icelandic landscapes : the cold and metallic tones of the color palette resemble its glaciers and volcanic rocks. The futuristic vibe is connected to Iceland's reputation as a land of myth and mystery.

Björk is also known for her experimental approach, breaking new ground with new technologies and unconventional sounds. In the album "Biophilia" (2011), she blends organic and digital elements by integrating nature sounds and interactive apps. She displays her engagement for both nature and technology in a holistic way. Additionally, the artist combines a wide range of global influences (Icelandic folklore, British multimedia apps, Asian and African percussions, European classical music and American electronic music). She doesn't reduce them to stereotypes but celebrates their complexity. Thus, the artist creates a rich and multifaceted album that defies borders and genres at the same time. Björk's dress on the album cover bridges the gap between the natural and the artificial just like her music. Her voluminous flame-like hair gives a visual representation of the album's boundary-pushing and innovative spirit.

Björk's music videos and stage performances are genre-defying as well because they incorporate avant-garde fashion, digital art and theatrical elements like surrealism and performance art. In this way, they connect high art with pop culture. To illustrate, her song "All Is Full of Love" mixes high-tech visuals with a classical string arrangement. It challenges the elitism associated with classical music, making it accessible and relatable. The clip blending robotic imagery with sensual themes proves that technology and emotions can coexist. The lyrics were inspired by love in spring. According to Björk, “The song, in essence, is actually about believing in love. Love isn't just about two persons, it's everywhere around you. Even if you're not getting love from Person A, it doesn't mean there's not love there.“ The video depicts Björk as a robot being assembled in a factory, who kisses another robot passionately. The robots are humanized : they have a heart and are able to fall in love and to express their desires. The clip is considered as one of the milestone of computer animation.

youtube

#björk #i love björk #youtube

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psychedeliclush · 1 month ago

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( INFORMATION AND EXAMPLES OF EACH GENRE UNDER CUT )

HARD ROCK !

Artists: Guns N' Roses, Scorpions, Thin Lizzy, Whitesnake, AC/DC

Most popular Era: early 80s

Basic definition: Art punk is an experimental music genre that emerged in the late 1970s, blending elements of punk rock with avant-garde and diverse musical influences. Known for its raw energy, unconventional song structures, and thought-provoking lyrics, art punk challenges traditional notions of music composition and performance. It often incorporates dissonant guitar riffs, unconventional rhythms, and abstract vocals to create a unique and edgy sound that pushes the boundaries of conventional punk rock.

Song examples:

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nshtn · 8 months ago

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NSHTN Personality Sheet! (aka Incendiary Dano Riddler, or Incendi)

Music Vibes to Match > Ambience: 3 Tonal Tracks without Lyrics SHE - DIGITAL AMBIENT DESIGNS - BOOT DBOKEY - ASMR TOPRE KEYBOARD [LEOPOLD FC660C 45g] MINDFULNESS ON MONDAYS - CALMING UNDERGROUND LAKE Negative: 5 Tracks with Lyrics and 'Negative' Themes KEYGEN CHURCH - NEL NOME DEL CODICE

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MY LIFE WITH THE THRILL KILL KULT - THE DEVIL DOES DRUGS

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AYESHA EROTICA - SYNTHETIC [Slowed + Reverb]

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VIENNA TENG - THE HYMN OF ACXIOM

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KASANE TETO COVER - AISHITE! AISHITE! AISHITE!

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>>Footnotes:

|BUSDRIVER - EAT RICH

|AESOP ROCK - DOG AT THE DOOR

|LAURA LES - HAUNTED

Positive: 5 Tracks with Lyrics and 'Positive' Themes BUSDRIVER - NEW AQUARIUM

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OR[G]Y - OPTICON

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COMBICHRIST - THIS SHIT WILL F C U K YOU UP

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GABEMTNZ - GLITCH IN YOUR HEART

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KAYLA RAE - MAD?

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>>Footnotes:

|POWERCYAN - DISCIPLES OF THE NIGHT

|DORIAN ELECTRA - DADDY LIKE!

|DUAL CORE - HOSTAGE DOWN

Favorite Foods > Three comfort, three healthy, three high class Comfort: - Poptarts - Pizza - Goldfish Healthy: - Carrots - Steamed Zucchini - Sweet Potato Fries High Class: - Salmon with Lump Crab - Hambone Pea Soup with Herbs - Herb-Roasted Multicolor Potatoes

Political affiliation, beliefs overview > How do these beliefs affect their daily life? General Far left anarchosocialist. Anti 'three letter associations'. Pseudoskeptic. Atheist. 'Positive' Strong believer in personal freedoms. Water and housing should be mandatory for all. Workers should unionize. All people deserve plenty of time off to handle their needs. Government is shackles. 'Negative' - get spicy A bit of a tech bro. Poses a legible threat to people with power. Anti-psychiatry with an unfair bias to doctors. Overly-positive outlook on deeply illicit substances (also uses them). Anti-theocratic, headache to people who are religious. Privacy paranoid.

Personality > What words describe them? Contemplative, intelligent, shy, hypomanic, paranoid, unstable, obsessive, hyper-empathetic, witty, cynical, touch-deprived.

Game Vibes > Five games that have their vibe NIGHTDIVE - SYSTEM SHOCK DRIZZLY BEAR - HACKMUD CREATURES LABS - CREATURES: DOCKING STATION FACEPUNCH - GARRY'S MOD CHUCKLEFISH - STARBOUND

Collage Vibes > Cite your sources! Square image board collage.

tagging: @danosrosegarden @sweetums0kitty

#the riddler #danonation #edward nashton #dano riddler #nshtn #INSPIRED by theriddlerdiscordkitten's eddie hcs #/dev/writing/#Youtube #incendiary riddler

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planet-gay-comic · 9 months ago

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The Robber and the Prince

"A handsome young prince lost in the woods. Then robbers seized him, yet one of the robbers loved this prince. I love you my prince. I love you my robber. Dark and gold."

Original German text: "Ein schöner junger Prinz verirrte sich im Wald. Da packten ihn die Räuber, doch einer von den Räubern, liebte diesen Prinzen. Ich liebe dich mein Prinzen. Ich liebe dich mein Räuber. Dunkel und Gold"

These lines from the song "Der Räuber und der Prinz" by Deutsch Amerikanische Freundschaft (DAF) encapsulate more than just an unusual narrative. It is a poetic depiction of love and desire that challenges societal norms and expectations. Released in the early 80s, this song is emblematic of how DAF explored themes of sexuality, identity, and nonconformity in their music.

DAF, often regarded as pioneers of electronic music and the Neue Deutsche Welle, have left an indelible mark on music history. With their radical aesthetic, provocative lyrics, and minimalist synthesizer sounds, Gabi Delgado-López and Robert Görl represented an art form that consciously deviated from the commercial pop and rock music traditions of their time.

DAF's significance to the LGBT movement in the 80s cannot be overstated. At a time when LGBT rights were largely ignored or openly opposed, DAF offered a rare glimpse into queer love and desire. "Der Räuber und der Prinz" stands out for its story of unexpected and socially taboo love that defies conventional narratives.

The fact that one of the band members, Gabi Delgado-López, openly lived his bisexuality, lent DAF's music authenticity and a political dimension. Their songs were not just expressions of personal freedom and sexual liberation but also acts of resistance against the repressive social norms of the time.

DAF's influence extends beyond the boundaries of music. They helped increase the visibility of LGBT themes in the public sphere and initiated a dialogue on gender, sexuality, and identity that continues today. Their fearless commitment to individuality and nonconformity makes them icons of the LGBT movement and pioneers of a cultural revolution that began in the 80s and echoes in today's society.

"The Robber and the Prince" thus symbolizes not only DAF's artistic vision but also a moment of emancipation in the history of the LGBT movement. The song and the band itself remind us that love in all its forms should be celebrated and that music can be a powerful force for change and acceptance.

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Base Image generated with DALL-E, overworked with SD-1.5 and SDXL inpainting and composing.

#DAF #TheRobberAndThePrince #LGBTQMusicHistory #ElectronicMusic #NeueDeutscheWelle #LGBTQRights #LoveIsLove #Pride #QueerIcons #Nonconformity #SexualLiberation #gayart #queer #LGBT #manlovesman

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cyarsk52-20 · 8 days ago

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happy anniversary to both rage against the machine self titled debut and the battle of Los Angeles both turning 25 and 32 years old this week respectively

The Battle of Los Angeles is the third studio album by American rockband Rage Against the Machine, released by Epic Records on November 2, 1999. At the 43rd Annual Grammy Awards, it was nominated for Best Rock Album, and the song "Guerrilla Radio" won the award for Best Hard Rock Performance. In their year-end lists, Timeand Rolling Stone magazines both named the album the best of 1999.

The album has been certified double platinum by the Recording Industry Association of America, indicating sales of at least two million units. It would be the last full-length studio album of original material released by the band before their first breakup in 2000 (their next album consisted entirely of covers and was released after the breakup).

singles:

"Guerrilla Radio" Released: October 12, 1999

"Sleep Now in the Fire" Released: November 4, 1999

"Testify" Released: June 7, 2000

Rage Against the Machine is the debut studio album by American rock band Rage Against the Machine. It was released on November 3, 1992, by Epic Records, one day after the release of the album's first single, "Killing in the Name".The album was based largely on the band's first commercial demo tape of the same name, completed 11 months prior to the album's release. The tape contained earlier recordings of seven of the ten songs.

With politically themed, revolutionary lyrical content, the album artwork was notable for its graphic photograph of Vietnamese monk Thích Quảng Đức performing self-immolation in June 1963.

The album was a critical success upon release, with several critics noting the album's politically motivated agenda and praising frontman Zack de la Rocha's strong vocal delivery. Ranked number 24 on Rolling Stone's list of the "100 Greatest Metal Albums of All Time", the album peaked at number 1 on the US Billboard Heatseekers chart and number 45 on the US Billboard 200 and has gone on to achieve a triple platinum sales certification from the Recording Industry Association of America (RIAA) in the US. Multiple publications have ranked it as one of the best albums of the 1990s.[citation needed] In 2020, It was ranked 221 in Rolling Stone's updated list of the "500 Greatest Albums of All Time".

singles:

"Killing in the Name" Released: November 2, 1992

"Bullet in the Head" Released: December 29, 1992

"Bombtrack" Released: June 20, 1993

"Freedom" Released: August 23, 1994

#Rage against the machine #pop rock #music #alternative rock #audio #song #political music #“Guerrilla Radio”#“Sleep Now in the Fire”#“Testify”#“Killing in the Name”#“Bullet in the Head”#“Bombtrack”#“Freedom”

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rivyuus · 25 days ago

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The Beatles - Chains (Song Review)

"Chains" is a captivating track by The Beatles, originally written by Gerry Goffin and Carole King. It stands out as one of the early songs in The Beatles' discography, particularly significant as it showcases their burgeoning artistry and vocal harmonies. Released in 1963, it appeared on their second album, "With The Beatles". The song is notable for its rich vocal arrangements and emotional resonance, which are hallmarks of the band’s early work.

Musical Composition and Arrangement:

"Chains" is characterized by its infectious melody, which reflects the early 1960s pop sound prevalent at the time. The song is primarily in the key of A major, incorporating a simple yet effective chord progression that supports the vocal harmonies perfectly. The arrangement starts with a gentle introduction featuring George Harrison on lead vocals, which immediately captures the listener's attention. The rhythmic structure is steady and straightforward, allowing the harmonies to take center stage.

The instrumentation incorporates rhythmic guitar strumming, a solid drumming pattern, and a deep, melodic bass line that complements the harmonies. Harrison’s clear tenor voice carries the lead, backed by the harmonizing efforts of John Lennon and Paul McCartney, which enriches the overall sound. This track exemplifies the band’s early capability to meld individual talents into a cohesive sound, ensuring that the vocals remain the focal point throughout.

Lyric Analysis:

The lyrics of "Chains" revolve around themes of love, longing, and emotional vulnerability. The narrator expresses a deep sense of yearning and entrapment in a relationship, as symbolized by the metaphor of chains. This evokes a powerful emotional response, which is accentuated by the earnest delivery of the lyrics. The lines convey a yearning for freedom while simultaneously acknowledging a passionate bond that is difficult to sever.

The verse structure leads into a poignant chorus that captures the essence of being both captivated and constrained by love. Phrases like “You got me in chains” resonate with a sense of helplessness, adding a layer of complexity to the message. The repetition of the chorus reinforces the intensity of the feelings being conveyed, further immersing the listener in the emotional landscape of the song.

Vocal Performance:

Harrison's lead vocals in "Chains" are particularly notable. His smooth and expressive delivery imbues the song with a heartfelt quality that elevates the emotional impact. The blend of harmonies from Lennon and McCartney complements Harrison’s voice beautifully, creating an ethereal texture that is enchanting. Their collective harmonization is exemplary of what would become a defining characteristic of The Beatles' sound. The tight harmonies reflect their early influences from American rock and pop, and while the song itself maintains a pop structure, the execution is anything but simplistic.

This track serves not only as a display of Harrison's vocal prowess but also highlights the burgeoning interplay between the members of the band. Their ability to seamlessly intertwine their voices sets a precedent for the intricate harmonies that would permeate much of their later work.

Cultural Context:

At the time of its release, "Chains" found itself amidst a musical landscape dominated by infectious pop melodies and harmonies. The Beatles were still in the early stages of their career, and this song is indicative of their quest to find a distinctive sound while drawing from existing influences. Originally recorded by The Cookies, The Beatles’ rendition brings a fresh and distinctive flavor, contributing to their rapid rise in popularity.

The cover also serves to showcase the songwriting prowess of Goffin and King, who were quickly establishing themselves as prominent figures in the Brill Building sound. With this track, The Beatles not only paid homage to the era's songwriting trends but also integrated their unique identity into the fabric of popular music.

Reception and Legacy:

"Chains" was met with a favorable reception upon its release, helping to solidify The Beatles' reputation as a formidable pop group. The song found success on the charts, contributing to the momentum that propelled their career forward. Over the years, "Chains" has often been revisited by fans and music historians alike, appreciated both for its emotional depth and its role in The Beatles' early days.

While the song may not be one of The Beatles' more iconic tracks, it undeniably laid the groundwork for their future experimentation with pop and rock music. The harmonic sophistication displayed in "Chains" would manifest in more elaborate compositions in their later albums, ultimately leading to the innovative and genre-defining tracks that would follow.

Conclusion:

In summary, "Chains" is a significant entry in The Beatles' early catalog, encapsulating the essence of youthful love and emotional conflict. With its beautiful melodies, rich harmonies, and heartfelt lyrics, the song speaks to the listener on multiple emotional levels. It exemplifies how The Beatles, even in their early years, were able to transcend simple pop constructs to create music that resonated deeply with audiences. "Chains" is a testament to the band's evolving artistry, highlighting their early influences while laying the groundwork for their magnificent evolution into one of the most beloved musical acts of all time. Even decades later, "Chains" remains a poignant reminder of the power of love and longing, serving as a bridge from the past to the future of popular music.

#the beatles #paul mccartney #john lennon #george harrison

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skeeverboyreviews · 3 months ago

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Death Cab for Cutie - Transatlantacism

An analysis.

Overview

Transatlanticism is a third wave emo/indie rock concept album about a long-distance relationship. It's Death Cab for Cutie's fourth studio album, and it's by far my favorite that they've released.

The lyrics explore speaker's loneliness within his long-distance relationship, and it generally has a very somber tone supported by the instrumentation. The songs range from sorrowful ballads to higher energy, more upbeat tunes.

Personally, I love Ben Gibbard's voice. It's very smooth and melodic, and I find it nearly hypnotic. I find the vocal melodies very captivating, especially in tracks where he shows off his range- Death of an Interior Decorator, Lightness.

The lyrics are captivating, perfectly descriptive. They're poetic, devastating, and so painfully real. I love the instrumentation, too, from the beautiful yet simple piano part in Passenger Seat to the heavier chorus of Tiny Vessels.

This is one of my top five favorite albums of all time. I find it so captivating, so beautifully written. Everything, down to the album art, is so incredible.

The New Year

If you ask me, this is the perfect opening track. Starting off with a more powerful instrumental introduction, leading to the minimalistic but moving lyrics, this is overall a memorable track. It's one of the strongest songs on the album.

It works very well in introducing the themes of the album. It starts off with the lyric "So this is the New Year / And I don't feel any different," setting up the depressive, empty tone of the song. He isn't present at the celebration, lyrics saying things like "Thirty dialogues bleed into one" suggesting his disinterest in the celebration.

Later on in the song, he introduces the overall idea of the album with the lyrics "I wish the world were flat like the old days / And I could travel just by folding a map," then, later, repeating the line "There'd be no distance that could hold us back." This reveals what the speaker is truly upset about- the absence of his significant other.

Lightness

This song has a heavy theme of head versus heart. The second verse sets up a metaphor; "Your heart is a river / That flows from your chest / Through every organ / Your brain is the dam / And I am the fish / Who can't reach the core." While I find this metaphor a little bit silly, it sets up that head versus heart theme that's later expanded upon in the lyric "Instincts are misleading / You shouldn't think what you're feeling."

Now, I'm no expert on lyric analysis, and I will admit that I went to a couple sources in order to decode some of these lyrics. I found a few interesting interpretations about the chorus, "Ivory lines lead." One that I found intriguing is that the "ivory lines" are the white lines in the road (credit to u/Double_U120 on Reddit). Other interpretations in the same thread suggested the ivory lines are legs (u/cathalaska) or bra straps (u/ToysNoiz) but personally I love the road interpretation. I love that links to the other car-related songs in the album like Title and Registration or Passenger Seat.

I also love how the chorus feels unfinished. He sings, "Ivory lines lead," but trails off without finishing. What does it mean? Don't ask me.

Another fact I found out through Genius is that Ben Gibbard credited the book The Unbearable Lightness of Being by Milan Kundera as an influence. This book is on my reading list, but I haven't gotten to it yet. I do, though, have a friend who is currently reading it (thanks Elliot!) who told me that the overarching theme is that of lightness, being complete freedom without morals, and heaviness, being morality and emotions. This heavily ties into the idea of brain and soul earlier described. Perhaps I'll be able to analyze this song further after reading the book.

Title and Registration

This track really explores the disintegration of the relationship after the speaker's girlfriend moved away. It's fairly straightforward; the speaker laments over the good times his relationship had, wishing it was what it used to be.

I believe this is the song where the relationship ends, with the lyrics "I stumbled upon pictures I tried to forget / And that's how this idea was drilled into my head / 'Cause it's too important to stay the way it's been." I think the speaker then breaks up with his partner, the breakup being the idea drilled into his head.

This song is truly devastating. The chorus, "But there's no blame for how our love did slowly fade / And now that it's gone, it's like it wasn't there at all" is heart-achingly realistic. The speaker's regret and longing are clear in his tone.

Expo '86

The speaker wants so badly to rekindle the relationship he ended. It explores the cycle they experience, of toxicity- maybe even an off-and-on sort of relationship dynamic.

It starts off with the lyrics "Sometimes I think this cycle never ends/ We slide from top to bottom, then we turn and climb again," demonstrating that cycle. The good parts of their relationship, followed by the lows, and neither can stop.

One of my favorite lyrics in this album is in the chorus: "I am waiting for something to go wrong / I am waiting for familiar reason." This is so captivating to me; the speaker believes the relationship's end is inevitable, and he almost wants his partner to break up with him because it's what he's expecting. This is later expanded upon when he says "I am waiting for that sense of relief." He can't relax in the relationship because he's constantly waiting for the end, and when it happens, he's relieved.

Another lyric I love is "Sometimes it seems that I don't have the skills to recollect / The twists and turns of plot that turned us from lovers to friends." This is how the cycle repeats itself; the singer forgets the reasons they broke up in the first place, blinded by his love and desire for the subject.

Sound of Settling

This track is much more energetic than the previous tracks, almost sounding upbeat you're not reading the lyrics. Though, this is a song about settling for second best.

The song starts and ends with the line "I've got a hunger twisting my stomach into knots." This is the singer's desire for more. I love that it both starts and finishes the song, showing that this feeling was never resolved.

The line in the second verse, "And I'll sit and wonder of every love that could've been / If I'd only thought of something charming to say" shows the hunger for something more, but it's too late to do anything. Therefore, the speaker has to settle.

Really, I have nothing to add to this song. He's settling.

Tiny Vessels

The singer's brief and meaningless rebound. It starts off bluntly, "This is the moment that you knew / That you told her that you loved her but you don't." It goes on to describe the speaker's physical relationship with this girl, and his realization that he never loved her, that the relationship was never more than a physical desire.

The lyric "All I see are dark gray clouds / In the distance moving closer with every hour" remind me of the line in Expo '86, "I am waiting for something to go wrong." The speaker knows the relationship is doomed, and he's only putting off the inevitable end. He's plagued with the anxiety over the end of their relationship.

In the end, they go their separate ways, and each pretend that the relationship meant more. For the girl, she pretends that she meant more to him, and for the speaker, he pretends he never got with the girl in the first place. He describes the relationship as "vile and cheap," acknowledging his own cruelty in leading on the subject.

Interestingly, in the beginning of the song, the singer uses second-person language: "she was beautiful, but she didn't mean a thing to you." Later on, he switches to first-person language, addressed to the woman: "You are beautiful, but you don't mean a thing to me." This switch indicates the speaker taking responsibility for his actions within the relationship and acknowledging his own fault.

This song also transitions so beautifully into the next track.

Transatlancticism

Holy shit, this song is a work of art. The lyrics are minimal; the real star of the show is the delivery and the instrumentals. The track starts off with piano and a sort of percussive part in the background, then introduces vocals.

For a song with such few lyrics, it fits so much into those two verses. It's the namesake for the album, obviously, describing the birth of the Atlantic Ocean. My personal favorite line is "I thought it less like a lake and more like a moat." The ocean only serves to separate the speaker from his partner across the sea.

The metaphor of the Atlantic Ocean being created in a single day is used to describe how the speaker feels about his lover moving away. When he says "The Atlantic was born today," he obviously doesn't mean literally; it only feels that way because his lover moved across the ocean, and now that is a massive obstacle in his way of seeing her.

After the verses, more instruments are introduced accompanying the piano as the feelings get more intense. The final half of the song is just two repeated sentences. First, "I need you so much closer," repeated over and over again. While he repeats this line, the instrumentals get louder and more intense, crescendoing on and on even after he stops. This just shows the increasing intensity of his feelings and the cascade of emotions as he's thinking. At the peak, he changes to saying "So come on."

Passenger Seat

Without the context of the rest of the album, this song is a beautiful ballad of love, for all of time. In context, it's only a memory. There's no percussion, no guitar or bass, only piano and vocals, and the melody is filled with such longing and desire. Just the first few measures, the piano part, nearly bring me to tears.

It's a pleasant memory of the speaker and his lover, being driven home. He focuses on all the good parts of the memory; the sweet smell of evergreen, his lover's smile. In the end, he promises: "If you feel embarrassed / I'll be your pride / When you need directions / I'll be your guide / For all time." This is a beautiful promise of eternal companionship. Without the rest of the album, it's a simple love song about true love forever.

I find it so devastating. When the speaker promises "For all time," it's within the context of their inevitable breakup, the inevitable fade of their love. When listening to the song, the tone is very longing, very depressing, melancholic, and nostalgic. It crushes me every time, listening to the full album, knowing what is to come for their relationship.

Death of an Interior Designer

This is a retelling of the Woody Allen movie Interiors. I haven't seen the movie, but I read the Wikipedia plot summary, and, yeah, it's pretty much that.

As for how this fits into the context of the album, I think it has something to do with the relationship between Arthur, Eve, and Pearl. Arthur and Eve are married, when Arthur suddenly and out of the blue separates with Eve. He meets a woman, Pearl, across the ocean in Greece following Eve's suicide attempt and marries her back at home, which leads eventually to Eve's death in the end of the movie.

The speaker is comparing either himself or his lover to Eve; I'm inclined to say he thinks himself Eve, as his lover was the one to move across the ocean, although he does start the song with the line "You were the mother to three girls so sweet" and refers to Eve continuously as "you." He also, though, vaguely refers to Arthur as "he" rather than "I" so it's unclear who's who.

We Looked Like Giants

I see this song as very similar to Passenger Seat, reflecting on old, cherished memories, though it's much less melancholic and much more energetic. Instead of looking back at the young relationship with regret and longing, he's simply remembering the relationship for what it was.

Most of the song is him describing sex in the back of his car. He makes it clear that this was young love, using the phrase "learn[ing] how our bodies worked" which suggests this is a somewhat immature and younger relationship.

I don't have much to say about this song. It was covered by Car Seat Headrest, though, which was pretty cool, I guess.

A Lack of Color

The first verse of this song is romantic. He refers to the subject as "lover," promising them that there's color everywhere. It's almost sweet, optimistic about their relationship.

The rest of the song changes tone. My favorite line in the song, "This is fact not fiction for the first time in years." This contrasts his optimism in the first verse. His loneliness is very real.

Thanks to Genius annotators for pointing out that 703, mentioned when he says "I'm reaching for the phone to call at 7:03," is the D.C. area code. Ben Gibbard stated that he had a failed long-distance relationship with a woman who moved to D.C., so it ties into that theme.

He repeats the regretful, lamenting line: "I should've given you a reason to stay." He regrets the end of the relationship. Then, the song ends, on the line, "This is fact not fiction for the first time in years."

I think that this alludes to the off-and-on dynamic explored in Expo '86, though this time, their breakup is final. Instead of a temporary break, this one is fact, and they aren't getting back together.

It's a tragic end to their relationship and the album. But there aren't happy endings, not for Ben Gibbard.

I wanted to add here at the end something about the album cover. I find the red thread interesting, the crow wrapped in some sort of red string. It reminds me of the red string of fate, which I'm sure everyone is familiar with.

#death cab for cutie #album review #music review #transatlanticism #song analysis #lyric analysis #third wave emo #indie rock #ben gibbard

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bestgrungealbum · 1 year ago

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What is Grunge?

Grunge is the name of a subgenre of alternative rock and subculture that began in the 1980s in Seattle, Washington. It has been described as a hybrid fusion of elements of punk rock and heavy metal.

Typical of the genre is a heavy reliance on the sound of distorted electric guitars. Additional influences also came from indie rock bands such as Sonic Youth, and proto-sludge metal bands like the Melvins.

Lyrics typically centered around angsty, nihilistic emotions and addressed themes such as social alienation, self-doubt, abuse, neglect, betrayal, isolation, addiction, psychological trauma, and a desire for freedom.

#grunge

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mthguy · 2 months ago

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youtube

Happy 75th Birthday, Bruce Springsteen!

Born September 23, 1949

Nicknamed "the Boss", Springsteen is widely regarded as one of the greatest songwriters of all time and has been called a "rock 'n' roll poet" who "radiates working-class authenticity". He is a pioneer of heartland rock, a genre combining mainstream rock music with working class thematic concerns and socially conscious lyrics. According to Rolling Stone, his work "epitomizes rock's deepest values: desire, the need for freedom and the search to find yourself." Often described as cinematic in their scope, Springsteen's lyrics frequently explore highly personal themes such as individual commitment, dissatisfaction and dismay with life in a context of everyday situations. Springsteen's themes include social and political commentary and are rooted in the struggles faced by his own family of origin.

#youtube #bruce springsteen #the boss

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theoriginalsapphic · 2 years ago

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what the opening track in their spotify playlist represents according to ChatGPT

Will Byers (Should I Stay or Should I Go by The Clash)

The song “Should I Stay or Should I Go” by The Clash is a classic rock track that features themes of uncertainty, ambivalence, and indecision. It’s a song about a character who is struggling to decide whether to stay in a relationship or leave.

A character who is represented by “Should I Stay or Should I go” might be someone who is facing a difficult decision or crossroads in their life. This could be a romantic relationship that they are considering leaving or staying in, or it could be a broader life choice.

The character might be feeling torn between conflicting emotions or desires, and struggling to weigh the pros and cons of the options. They might feel trapped or stuck in their current situation, but also afraid of making a change and facing the unknown.

Overall, a character represented by “Should I Stay or Should I Go” would likely be experiencing a sense of uncertainty o inner conflict, and grappling with the difficult task of making a tough decision.

Mike Wheeler (Smalltown Boy by Bronski Beat)

“Smalltwon Boy” by Bronski Beat is a powerful and emotive song about a young gay man who feels isolated and ostracized in his small town. The lyrics describe the character’s experiences of discrimination, rejection, and loneliness, as he struggles to find acceptance and a sense of belonging.

A character who is represented by “Smalltown Boy” might be someone who is grappling with their identity as a sexual minority, and the challenges that come with being open and honest about their sexuality in a society that doesn’t fully accept them. They might feel alienated from their family and community, and struggle to find a sense of connection and belonging.

The character might be experiencing feelings of shame or guilt around their sexuality, and might be afraid of the judgment and rejection they might face if they were open about it. They might feel trapped and alone in their small town, and yearn for the freedom and acceptance they believe they might find elsewhere.

Overall, a character represented by “Smalltown Boy” would likely be experiencing a sense of profound isolation and disconnection, and struggling to find acceptance and belonging in a society that doesn’t fully embrace them for who they are.

El Hopper (Papa Don't Preach by Madonna)

“Papa Don’t Preach” by Madonna is a song about a young woman who is dealing with an unexpected pregnancy, and is struggling to navigate the conflicting pressures of family expectations, personal autonomy, and societal norms.

A character represented by “Papa Don’t Preach might be someone who is experiencing a sense of conflict or tension between their desires and goals, and the expectations or demands of their family or community. They might be facing a difficult decision that challenges their sense of identity or threatens to disrupt their established relationships or social status.

The character might feel torn between their own desires and the expectation placed upon them, and might be struggling to find the courage to assert their own agency and make decisions that feel authentic and true to themselves. They might feel pressure from their family or society to conform to certain norms or expectations, and might be experiencing feelings of guilt or shame around their choices.

Overall, a character represented by “Papa Don’t Preach” might be someone who is grappling with the complexities of balancing their own desires and needs with the expectations and demands of their family and community, and who is seeking to find a path forwards that feels true to themselves and aligned with their own sense of identity and purpose.

Dustin Henderson (Break On Through (To The Other Side) by The Doors)

The character represented by “Break On Through (To The Other Side)” is someone who is seeking a way to escape their current circumstances and find something more meaningful in life. This person may feel trapped in their current situation, whether it be a dead-end job, a stagnant relationship, or simply a lack of direction or purpose.

The lyrics suggest a sense of urgency and a desire to break free from these constraints and find a new path forward. The character may be feeling frustrated or restless, and may be willing to take risks or make bold choices in order to pursue their goals. At the same time, there may be a sense of fear or uncertainty about what lies ahead.

Overall, the character represented by “Break On Through (To The Other Side)” is someone who is struggling to find their place in the world and seeking a way to break free from the limitations that are holding them back. They may be willing to take risks and pursue new experiences, but may also be wrestling with doubts and fears as they navigate their journey.

Lucas Sinclair (Bicyle Race by Queen)

This character is someone who is searching for a sense of freedom and liberation in their life. They may feel trapped or limited by their circumstances and are looking for an escape from their mundane routine. Riding a bicycle provides them with a sense of liberation and a feeling of being in control of their own destiny.

At the same time, this character is also someone who is a bit of a show-off. They like to be seen and recognized for their skills and abilities. They have a certain level of confidence and swagger, and they enjoy being the center of attention.

Underneath this carefree exterior, however, this character may be hiding deeper emotional pain or a sense of dissatisfaction with their life. They may feel disconnected from the people around them or unsure of their place in the world. Riding a bike is a way for them to escape these feelings and find a new sense of purpose and meaning.

Overall, this character is someone who is searching for a sense of freedom, independence and self-expression in their life, while also struggling with deeper emotional issues. They may be a bit of a risk-taker, but they are ultimately looking for a way to find a sense of meaning and purpose in their life.

Max Mayfield (California Dreamin' by The Mamas & The Papas)

A character represented by the song “California Dreamin’” by The Mamas & Papas could be someone who is yearning for a better life or a new beginning. The song’s lyrics describe their desire to leave a cold and dreary place behind in search of sunshine and freedom in California. The character may feel trapped or unsatisfied with their current situation and longs for a change.

The song’s themes of hope, escapism, and the search for something better could also suggest the character is somewhat of a dreamer, with a desire to break free from the limitation of their current circumstances. They may be optimistic about the possibilities that await them and willing to take risks to achieve their goals.

Alternatively, the character may have a sense of nostalgia or longing for a simpler time of past that they can never return to. The song’s lyrics could represent a desire to recapture a moment in time or a feeling of freedom that has been lost.

Overall, a character represented by “California Dreamin’” may be someone who is searching for meaning, purpose, or a sense of belonging, and is willing to take risks or make changes to find it.

Jonathan Byers (Creep by Radiohead)

The character represented by “Creep” by Radiohead is often someone who feels like an outcast or misfit, struggling with feelings of insecurity, inadequacy, and self-doubt. They may feel like they don’t fit with the people around them, and may even feel like they don’t deserve to be loved or accepted.

At the same time, this character often has a deep yearning for connection and intimacy. This character is aware of their own flaws and shortcomings, and feels like they are fundamentally different from the people around them, but they still long for human connection and affection.

In some cases, the character may be dealing with depression or other mental health issues, which can contribute to their feelings of alienation and isolation. They may feel like they are trapped in a cycle of negative thoughts and emotions, unable to break free from their own self-destructive patterns.

Ultimately, the character represented by “Creep” is someone who is struggling to find their place in the world and connect with others, even as they feel like they fundamentally flawed or unworthy. The song captures the pain and longing that comes with this struggle, and offers a powerful message of empathy and understanding for anyone who has ever felt like they don’t belong.

Nancy Wheeler (Girls Just Want to Have Fun by Cyndi Lauper)

A character represented by the song “Girls Just Want to Have Fun” by Cyndi Lauper might be someone who is breaking free from societal expectations and gender roles. This character could be a woman who has been raised in a conservative or traditional environment and is now rebelling against those norms. They may be seeking to assert their independence and individuality, and the song’s upbeat and catchy melody reflects their newfound sense of liberation.

At the same time, the character may be facing pushback from those around them, including friends, family, and society at large. They may be judged or dismissed for their desire to enjoy life, and could feel misunderstood or isolated as a result. However, the character remains determined to live life on their own terms, embracing their own identity and celebrating the joy and freedom that comes with it.

Overall, a character represented by “Girls Just Want to Have Fun” is someone is unapologetically themselves, breaking free from societal norms and expectations to pursue their own happiness and fulfillment.

Steve Harrington (Take On Me by a-ha)

The song “Take On Me” by a-ha has a vibrant and youthful energy to it, which suggests a character who is adventurous, daring, and willing to take risks. The song’s lyrics also hint at a sense of longing and desire, as the character seems to be trying to win over someone’s affections.

A character who is represented by “Take On Me” might be someone who is not afraid to pursue their passions and dreams, even if it means going against the expectations of others. They might have a charismatic and charming personality, with a talent for making people feel energized and alive. At the same time, there may be a sense of sadness or loneliness lurking beneath the surface, as the character struggles to find genuine connection with others.

Overall, a character represented by “Take On Me” could be seen as a complex and multifaceted individual, with a bold and adventurous spirit that masks deeper feelings of uncertainty and insecurity.

Joyce Byers (Thriller by Michael Jackson)

A character represented by the song “Thriller” by Michael Jackson might be someone who is fascinated by the macabre, the supernatural, and the dark side of life. This person may be drawn to horror movies, spooky stories, and anything that gives them a thrill. They may also have a bit of a rebellious streak, as they are not afraid to challenge societal norms and embrace their inner weirdness.

At the same time, this character may also be struggling with their own identity and trying to find their place in the world. They may feel like an outsider, disconnected from those around them, and yearning for a sense of belonging. They may also be drawn to the darker side of life as a way to escape their own problems and find a sense of purpose.

Overall, a character represented by “Thriller” may be complex, multidimensional, and even a bit enigmatic. They may embody a mix of darkness and light, rebellion and conformity, and fear and excitement.

Jim Hopper (I've Been Everywhere by Johnny Cash)

“I’ve Been Everywhere” by Johnny Cash is a song about a wanderer who has traveled all around the country, visiting a multitude of different places. The song’s lyrics list off a vast array of locations, from small towns to major cities, and it paints a picture of someone who has seen and experienced a lot in their life.

A character represented by this song might be someone who is a bit of world-weary and jaded. They’ve seen so much and been to so many places that they might have become a bit cynical or disillusioned with the world. They might feel like they’ve seen it all and that nothing really surprises or excites the anymore.

Overall, a character represented by “I’ve Been Everywhere” might be someone who is equal parts adventurous and disillusioned, someone who has seen and done a lot but is still searching for something more.

i'm not saying that a stupid spotify playlist should serve as evidence of how a character's arc would proceed, but i'm saying that so far it feels pretty fucking accurate.

#the fact that two characters that are believed to be straight by the ga have the songs about dealing #with homophobia/struggling with your sexuality and not the one confirmed mlm queer character it's so 💀#also the fact that el's song basically talks about the most common but wildly different interpretation of her character depending on who #birthing a new generation of the x-men or a character arc about autonomy and discovery of identity it's hilarious #byler #<< target audience #i also love how most of these talks about societal pressure and struggling with conformity vs freedom #and more specific with hopper being cynical and disillusioned after the things he has lived (war and child loss)#or jonathan with low self-esteem and sense of alienation from everyone #or max who longs to belong somewhere (and unsatisfied at the beginning of s2 because she had to move from california)#will byers #mike wheeler #el hopper #lucas sinclair #dustin henderson #max mayfield #jonathan byers #nancy wheeler #steve harrington #jim hopper #joyce byers

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