#album retrospectives

[its-tortle]

— taylor swift albums as months of the year —

[jonismitchell]

all of midnights is like "i have to walk out on you but it's the hardest thing i'll ever have to do" and ttpd is like "walking out on you was the worst mistake of my entire life"

[thcbolter]

taylor swift — the manuscript

[coulson-is-an-avenger]

Starset really is the funniest band ever, they didn’t establish a fanbase before going off with their lore like most do, they dropped one (1) single in 2013 and then a year later, with no fame and one established song, walked up to the music scene like “hey we’re a secret society with a scifi message about a dystopian future, the only answer is to make science accessible and to fight against fascism and rock out” and then dropped the greatest cinematic rock album in history. unbelievable

[she-posts-nerdy-stuff]

Grishaverse text posts I made based on things my friends and I have actually said. In real life.

(Part 29, I’m pretty sure, but honestly I lost track)

Jesper: There is nothing funnier than falling down the stairs

Wylan: *unconvinced*

Jesper: It’s so funny! Have you never experienced falling down the stairs?

Wylan: Yeah, remember I broke my foot falling down the stairs!

Jesper, laughing: Well maybe that’s why you have a negative experience of it

Wylan: Yeah, MAYBE!

Jesper: Mm. Well just know that even if you’re deathly injured I’ll laugh if you fall down the stairs

Nina: I’ve decided I’m ignoring the weather and committing to my outfit choices based on what I want the weather to be. The gladiator sandals are coming out!!

Nina, later that same day: I have lost blood circulation to my toes

Nina, later that day when it’s sunny again and she’s discovered her feet are covered in blisters: I can feel my feet again, but at what cost?

(This was me but I stand by my actions bc those sandals are cute as heck)

Jesper: Maybe I could write my thesis on evidence that the Scythians were the original horse girls

Jesper: Time to listen to Take That’s Greatest Hits and hide under a table until my problems go away, I fear

[silverzoomies]

That Peter x Reader fic you're working on atm looks DELICIOUS. Tell me more!!!!

oh man oh man oh man im so glad you asked bc i really love that one !! basically, concept is - it's the 90's and Peter's depressed for...reasons. lots of reasons. the fic will explain. but while he's depressed, he goes on this trip to miami with his boys. he meets reader at a club there and immediately assumes they're an escort. but they're actually, like...a hardcore fangirl. anyways, as usual, it eventually gets filthy.

it's a dreary, melancholy club vibe with lots of 90's neon and black lights and shit 👍👍👍

[radionotfound]

"American Idiot is special to me for many reasons. It’s not only the album that made me a fan, but it also came at a pivotal moment in my life. I was 15, finding my own identity and becoming more aware of the injustices in our world. I was forming my own beliefs, and questioning what I saw around me. This album echoed what I was feeling: restlessness, anger, sadness, angst. It encouraged me to forge my own path, fight for my beliefs, and speak out against society’s ills. It pushed me to keep moving forward when it felt like the world was trying to stop me. Whether it was following my passion for writing or standing up for myself, Green Day was there cheering me on."

Read my new retrospective on American Idiot and 20 years of loving Green Day on Green Day Authority.

Link in source.

[aeolianblues]

Kings of Leon: 2003 and 2008

Here are some of the Kings of Leon albums we were sent promotionally at my campus radio station.

July 2003, a promotional CD of Youth And Young Manhood, with the band's silhouette in a shiny embossing, which on digital versions is just replaced with a grey negative space.

In October 2008, we were sent Only By The Night, the album that truly broke Kings of Leon out of the realm of campus, indie and underground radio, and put the band on the commercial and national airwaves.

Up until this album, the band had been the dark horses of the indie scene: too alternative for commercial and rock radio, but too uncool for an indie scene synonymous with NYC nightclubs, haircuts on the front page of the NME and alternative city boy fashion. In a world of Karen O's style, Julian Casablancas' melancholy, Alex Kapranos' sharp dressing sense, Russell Lissak's hair and Pete Doherty's volatility, the Nashville band seemed a little out of place.

Then came the singles, Sex On Fire and Use Somebody, and suddenly the brothers (and friend) were in heavy rotation on commercial indie radio. Or so I'm told by my cohost, who has been a radio DJ through all those crucial early Kings of Leon years. Me, I was in primary school and didn't care for indie music, that's why I'm on campus radio right now.

Anyway, figured I'd post these since Can We Please Have Fun just came out. This one's for the Kings of Leon fans!

[drdemonprince]

Oh, my heart will fantasize of Eden

My love, my dream, make love to me

Surrender your spirit, sing my eulogy

Oh, my heart is chained to thee, my angel

You haven't seen the last of me, my love

I give you everything

[wavesoutbeingtossed]

I should leave this in a tag post so it's not on main but whatever, I'm in a mood and listening to "peace" for the first time in awhile along with this rambling mess from the other night puts me in my feelings because "[you know that I'd] give you my wild, give you a child" is such a vulnerable, raw, honest confession to share with someone (let alone put in a song on a Grammy-winning album) and I don't know how much clearer the pipeline from there to the events on TTPD could be but just. It's heavy, but obvious and understandable (to me). And I'm not about to delve into why because of reasons and also don't want to come across as projecting or speculating or whatever but. Once again I think if you're in a certain age bracket and life stage so much of this just makes sense inherently.

[bwaldorf]

my life really has genuinely changed since i found out kendrick lamar’s 5’5” or whatever 😭😭😭 like bro what are you doing down there

[gxbtx]

The Internet - A Retrospective on the Odd Future Splinter Project

In the early 2010s, Tyler Okonma, or ‘The Creator,’ banded together an experimental hip-hop group of young black artists, naming the group ‘Odd Future.’ While the brand is highly recognizable and respected in today’s world, it was not always this way. This new sound of black artists creating art tailored to the (at the time) dominantly white skate culture led the group to face the discrimination of being called ‘weird’ and ‘gay.’ However, this group persisted in committing to being themselves, serving as an incubation period for many reputable artists we know today. Tracks such as ‘Oldie’ and ‘White’ introduced many of the popular music artists in today’s musical landscape. Odd Future curated the talent for the likes of Tyler, The Creator, Earl Sweatshirt, and of course, Frank Ocean.

In 2011, OF members Syd ‘tha Kyd’ and Matt Martians ventured off to create the splinter project dubbed ‘The Internet,’ introducing their discography with the album “Purple Naked Ladies.” Two years later, “Feel Good” introduced Patrick Paige II as the bassist and Christopher Smith as the drummer, tailoring new elements to the foundational sound PNL created. In honing their signature style, they experimented with Raliegh Ritchie in a few remixes such as “Free Fall” and “Stronger than Ever.” Syd stepped up confidently to the role of lead singer, reaping the soothing vocals that represented her undeniable swagger; additionally, her assistance in engineering early 2010s albums such as Goblin by Tyler, the Creator, Doris by Earl Sweatshirt, and Ali by Mike G built up her reputation as a talented music engineer. Paired with Patrick’s admirable bass skills and Matt Martian’s dreamy keyboard presence, the band would come to put out projects establishing their contribution to the new sounds of R&B.

LOVE SONG - 1

This short, simple ballad of a break-up holds a steady beat throughout the piece, with a short verse delivered by Syd. Syd’s soft, yearnful analysis of the state of her affair represents a common struggle of figuring out when to give up on the relationship. What is uncommon about this piece is the signature dreamy keyboard harmony, notably introducing a signature element that would come to identify this new band in future projects to come.

STRONGER THAN EVER - THE INTERNET REMIX

In a remix of several tracks from the Game of Thrones actor Raliegh Ritchie, The Internet brings an electronic buzz to the table that electrifies the heartfelt lyrics of resilience. The echoing of every verse resonates with the notion that the hardships associated with the constant strive to succeed can feel like shouting into a tunnel that lacks a response. Towards the end, Ritchie raises his tone and intensity, reaching a breaking point of feeling lost and alone, revealing he is driven mad by the implication of no resolution. However, the melody, “I fall but when I rise I’ll be stronger than ever,” is repeated to remind him of his resilience that will allow him to persevere. I connect to this song as I too have felt the struggles of reaching success, and like the melody, I have to remind myself what I am capable of to drive myself to succeed.

In 2015, Steve Lacy joined the group as the leading guitarist, graduating high school that same year. Steve’s relationship with the strings represented an incredible symbol of talent, taking inspiration from artists such as Jimi Hendrix, Thundercat, and the Neptunes. Combining these elements into the artistry of The Internet led to the production of the critically acclaimed “Ego Death,” breaking through the R&B world with unheard combinations of funk, jazz, indie rock, and R&B. Tracks such as Get Away and Girl challenged the very idea of what R&B can offer, with Tyler’s feature at the end reminding us of the humble beginnings. Rightfully so, the album was nominated for Best Contemporary Urban Album in 2016, as well as winning two BET awards.

GET AWAY

Lowering the tone to a deep bass sound, this provocative track begins Ego Death with a new concept of what The Internet can produce. Syd’s lyrics make the track portray themes of ostentation, calling on her same-sex affairs to create a unique singing dynamic about a girl in the articulation of an R&B woman singer. The low and slow beat still contains those dreamy elements in every Internet song, with Steve Lacy strumming a soft and light riff during the melody. The bittersweet theme is found in the lyrics of using drugs to escape the worries of committing to a relationship and is reflected accordingly in the instrumentals.

SPECIAL AFFAIR

This irreverent track mimics the sounds of nature; the dark and tense motif continues the character of a heartbreaker embodied by Syd. Syd’s soothing confidence creates a comfortable environment for the listener, while the deep bass lines and light, dreamy elements of Steve Lacy’s riffs continue throughout the track. The lead singer’s presence endures privilege, as the lyrics signify that she’s purely interested in intimacy without feelings. This provocative piece uses the sounds of nature to enhance the track’s tenderness, serving as an excellent nocturnal sound to accompany night drives.

GIRL (w/ KAYTRANADA)

The Internet continues to provide impressive collaborations, as Kaytranada's role of electronic/house producer registers a mesmerizing track that pulses a vibe unheard of. Kaytranada’s trippy yet tender sound paired with Syd’s vocals creates a gentle presence that makes the listener feel at ease. The lully track serves as a testament to the themes of yearning Syd creates, which can be misleading as conceived in previous tracks. The pulsing of the guitar riff alternating in and out of the beat, along with the small balance of bass, comes together to form a contemporary jazz track that few can pull off.

PALACE/CURSE (w/ TYLER, the CREATOR)

Palace/Curse ends Ego Death on a chill note, with Tyler’s accompaniment creating a whimsical ode to the girl. In Palace, a crowd is present to create an atmosphere that gets the listener hyped as if they’re actually in the crowd. The metaphoric Palace Syd sings about refers to the idea of seducing someone into her life of luxury, in accordance to the theme of the album. Transitioning into the low and slow “Curse” creates a feeling of daze, allowing the daydreamy elements of this band to shine. In the repetition of Steve Lacy’s repeating melody, ‘Baby I’m under your curse,’ and Matt Martian’s hypnotizing keyboard element to end the album on a jazzy note, this track entails as the perfect wrap-up of the incredible work that is Ego Death.

In 2018, the band created their last studio album under the name The Internet, dubbed ‘Hive Mind.’ More coverage of talent that Steve Lacy obtained peeked through, allowing the development of a new audience for his solo career. Before the release of this album, several members put out their own solo projects, such as Stevy Lacy’s ‘Demos’ and Syd’s ‘Fin’, alluding to the direction the band would go after the album. This final album serves as a more conscious reflection on the growth of the members throughout the years and the effect that music had on the process.

LA DI DA

Launching with his groovy guitar riffs, La Di Da allows Steve Lacy to shine through his vocals on the melody. Elements of the band’s signature style persist throughout this track, with added elements of funk. The fresh sound transforms into a softer jazz improvisation with a saxophone ending the track.

IT GET’S BETTER (WITH TIME)

If you’ve ever heard the track from Lil Uzi Vert, ‘The Way Life Goes,’ you’ll definitely be reminded of the same message Uzi presented to the listener. This tender track uses a bendy guitar riff to interact with a steady foundation of percussion, to which Syd’s lyricism provides a hopeful message of healing through hard times. Syd’s higher register in this track creates a satisfying comfort to the intended audience and is accompanied by an unexpected conscious verse from ‘Big Rube.’ His message of ‘The easy path rarely leads to what the heart truly desires’ comments on the discomfort required towards the pursuit of happiness. The track ends with a sunny jazz background to accompany a story from bassist Patrick Paige, who ardently explains his struggle with alcoholism and how he persevered through what seemed like a never-ending battle.

Overall, The Internet left an impact on the R&B world leaving a lasting impression. The contemporary elements the unique members contributed honed a signature sound of lulling comfort accompanying passionate and tender lyricism. This splinter project created an outstanding representation of the talent Odd Future would end up making, shaping these artists to be highly respected members of the musical community. While the band may no longer be together, their core values of passion for music bleed through the discography of The Internet, leaving the listener with a concept of how we can use music to truly create an emotional atmosphere.

[asukiess]

something about listening to an album from your past—a really important record—and remembering lyrics that you haven’t sung to yourself in a decade, they come back before the singer gets to it. I can remember I’d listen to this song before work, I’d listen to this at night when I felt lonely. I can remember the parts that were my favorites—but it doesn’t hit the same. but it’s got old me all over it.

[ninalapotatoes]

A little 2023 retrospective

[tayfabe75]

"End of era. I can't make retrospective statements. It's why I've been filming this documentary for 12 years. Every single time a statement ends, the idea to follow that with a retrospective statement, something that looks back, something that is celebratory of a previous thing, blargh, it makes me wanna crawl out of my skin, I hate it. I just wanna go forward. This is the only record where I do look back a little bit. I mean, I think the only time I specifically do it is in 'Guys'. 'The moment that we started a band, was the best thing that ever happened'. It's quite sad. It was also one for the homies, you know. I wanted to write a love song for friends. People don't have that very much. I love that idea. And even if it was the fact that going through the DNA of who we were, to make this record, there's so much reference to old emo core, or house music that we were growing up with. It feels like we went right back. We went and found all the old photos, you know, of where we came from, is almost how it felt to make this record. When I made this record, I was like, '[beep], this is the last 1975 record, for ages'. Not the last 1975 record, but this is definitely us stopping making music for a bit. There's essentially been lots of different album out, for this record. We live in a world of, you know, iTunes uploads six months before the record comes out. Someone's like, 'we needed a piece of artwork,' and I keep going, 'Okay, 'I'll give you our piece of artwork'. The artwork changed every week. The artwork now is basically the most minimal version, example, of what we've had, and it's all been based on texture, and the concept of wabi-sabi. The record's been about deconstruction. The record feels like it should be just in a paper bag. I wanted to steal The Durutti Column idea. The Durutti Column, one of my favorite bands of all time, they made one record, the vinyl cover was sandpaper, so it destroyed any record that it was next to. I mean, oh my God, how [beep] badass is that shit? That is so my vibe. I wish that I had of done it, but the thing is I love that idea so much that I couldn't have passed it off as my own. I grew up in punk and hardcore. The most punk person that I have ever met in my life is Greta Thunberg. She gave me a sense of hope, do you know what I mean? We're all kind of wallowing in nihilism, and what's the point? And when you meet her, she don't give you a pat on the back, I'll tell you that much, but she [beep] means what she's talking about. We were talking about the Sega Mega Drive startup sound of The 1975, and we were talking about how that happens every time, and we were like, 'What is the most modern version of that?' And then the conversation became, 'Well, what is the most modern thing? What is the most modern statement?' And it was Greta Thunberg, we realized, we get Greta Thunberg to sing it. 'We are facing a disaster of unspoken sufferings for enormous amounts of people'. That idea was obviously exciting, immediately. Using that platform is a great thing to do, and it's also creatively exciting. The moment she's deemed, she's one of the most important figures of our generation, but I really like the idea of formally encapsulating that in a piece of music that therefore exists in pop culture, in the way that music does, and goes on a record. You know, no one's gonna find a tweet about Greta Thunberg in the rubble, in a thousand years, do you know what I mean? But if in a thousand years they found that record, that would move somebody in a thousand years, who finds that in the rubble."

May 22, 2020: Matty explains The 1975's Notes on a Conditional Form album. (source)

[tayloralisonswift]

hello, previous anon here! I’ll try to explain more of what I mean.

first, imo the concept of a “breakup album” really only applies to an album about a broken romantic relationship that comes out relatively soon after an artist’s breakup. taylor’s next new album would be more “breakup album” material (assuming she doesn’t have any breakups between now and then). but depending on when that album comes out, if it’s like 2 years from now, well, the song material would really dictate whether it’s a “breakup album.” if she writes about non-relationship stuff, I don’t think it should be considered a “breakup album.” the first part of my argument is that there is some intellectual reason for albums to be considered “breakup albums.” there’s existing discourse (academic and pop culture) about these types of albums specifically, so it’s not a categorization to throw around as lightly as people like to.

second, humans never have knowledge of the future. reinterpreting art that came out in the year 1950 with the lens/values/culture of the 2020s obviously comes with some nuance and gray areas that people interpreting art have to tackle. that’s why we understand that, okay, maybe some lyrics seem dated or inappropriate today. of course you take into account what was happening in the artist’s life before the album was released. and 1950s album is going to sound way different than a 2020s album too. point is, there are plenty of parts of an older piece of art that are explainable because of a time difference between its creation and when someone is opining about it, or because of biographical reasons. but there are some parts that aren’t explainable in that way, and it’s also unrealistic to say that every artist will have made art about (for example) their breakup to happen in the future. no one of us could have really known what taylor and joe were feeling when midnights came out. obviously everyone had interpretations of songs that were more positive or negative about their relationship than other people’s interpretations. consensus, though, was generally that they were pretty happy and solid. most people were not claiming midnights was a breakup album…yet. so another part of my argument is that swifties writ large only claimed midnights was a breakup album after the breakup. that doesn’t pass the basic smell tests of “did you put some legitimate thought into why midnights belongs in the genre of ‘breakup albums?’” and “are you assuming you can figure out taylor’s feelings more than you actually can ever know?” if someone would have answered yes to the first, they were probably in a small minority pre-joever, ie not part of the consensus. saying yes to the second is also usually something that delegitimizes lyric interpretations.

to me it seems like the swiftie habit of saying “omg ___ is a breakup song, it makes so much sense now!” or “think about *insert lyric here* in the context of joever” is rooted also in online-ness and/or sensationalism for clout. this might just be my narrow viewpoint, but most of the times when I see someone claiming midnights is a breakup album, they’re doing it with that kind of internet cookie-cutter speak that gets interactions. something like “I want to d*e because I thought about how sweet nothing is about wanting nothing and him not even being able to give her that.” or a 3 minute tiktok analyzing a single line like “you don’t really read into my melancholia” and concluding that, omg of course we should have seen joever coming, she said he wasn’t even paying attention to her feelings. I’m being hyperbolic, but you get the picture. it’s literally just swifties discovering dramatic irony. those readings against the grain were always possible, it’s just that most people didn’t do them because they didn’t think they were real/valid/realistic. because joe and taylor were still together. so if you read it that their relationship was anything but solid you were just wrong. you were not using your brain to see the obviously more correct interpretation. you were not worth listening to. and therefore you could not influence the consensus.

the reason the tide shifted is that it was joever, and then people engaged in the noble and favorite pastime of analyzing taylor’s lyrics, and then internet and social dynanics took over, and popular interpretation shifted to “midnights is a breakup album” because of many and/or vocal people engaging in small acts of sensationalism and internet-izing their discovery of dramatic irony. I’m of course not saying everyone did this, nor that the people who did are evil for doing this, nor that they were trying to be anti-intellectual, nor that any one person having such a realization is dumb or anti-intellectual on its own. it’s more the collective effect is anti-intellectual.

anxiety about the general state of culture and thought aside, I’m sad that swiftie culture makes those kinds of sensational lyric analyses some of the most valuable. I would much rather hold other virtues, like thinking lyrical analysis is good because it’s unique or different or makes you inspired to find other connections.

hopefully that makes sense, I’m really not trying to be a hater, just trying to have a conversation about an unpopular opinion! love to you, kathryn 🩵

I realized i never posted this!

I think I’m probably someone you’re criticizing here, but your opinion is valid ! 🩷