#album review

[aleximustpl4y]

My Chemical Romance – I Brought You My Bullets, You Brought Me Your Love: album review

Year: 2002

Label: Eyeball Records

Genre: Post-hardcore, emo, punk-rock, pop-punk

Members: Gerard Way (vocals), Ray Toro (guitar), Mikey Way (bass guitar), Matt Pelissier (drums), Frank Iero (additional guitars)

Producer: Geoff Rickly

Listen to it here: [x]

Join me in this beautiful journey of cathartic destruction where two lovers are doomed to meet and die in every lifetime.

You must keep your soul...

History

I don't think American rock band My Chemical Romance need any introduction, but for the sake of the review, I have to start from the beginning.

Hailing from New Jersey, the band was founded by Gerard Way in September 2001 after he witnessed the Twin Towers attack on his way to work. They are considered one of the most influential rock groups of the 2000s and a major act in the pop-punk and emo genres, despite the band rejecting the latter label. The name of the band was suggested by Mikey, Gerard's younger brother, who was working in a Barnes & Noble when he was struck by the title of a book by Irvine Welsh named Ecstasy: Three Tales of Chemical Romance.

I Brought You My Bullets, You Brought Me Your Love (Bullets for short) is their debut album, produced by Thursday vocalist Geoff Rickly. Despite being sold under the alternative rock genres, it is considered an emo album with strong influences from punk rock, hardcore punk and heavy metal.

The graphic impact

The album cover, as well as the disc, features Harry Houdini hanging upside down in a straitjacket. Gerard Way has stated that it is not a digital image, but was in fact made with some watercolor, some borax, some plastic wrap, and a color photocopier in the Eyeball Records offices.

Why put Houdini on the cover? All references to Houdini in the following albums aside, it's clear that Gerard admired the magician and saw in one of his most famous tricks – escaping from a straitjacket while dangling from a crane – a possible analogy for life: you can spend a whole lot of time in your life ‘escaping’ death, but it will still come eventually.

Autumn color palette, play of light and handmade special effects: aesthetically speaking, the album cover is very interesting to look at.

The tunes

Bullets starts off with Romance, an acoustic cover of an instrumental piece known as “Romance Anónimo,” “Romance d'Amour,” or “Spanish Romance,” composed by an unknown nineteenth-century musician. The sweet and melancholic melody lulls you into a (false) sense of security.

Honey, This Mirror Isn't Big Enough for the Two of Us kicks off with a tits-blowing metal-core guitar riff, hitting you hard and fast, setting the real tone for the entire album. A very young Gerard yells the frustrated lyrics about a toxic relationship which, given the title's theme of the mirror, may be with an ex as well as drugs and/or alcohol. The chorus is an anthem for those who are sick and tired of their partner's (or the personification of drug abuse) manipulation tactics, and the way Gerard screams his lungs out makes it cathartic for those who haven't any words left in them anymore.

“This song is about sucking dick for cocaine.” – Gerard Way introducing the song in concert

Vampires Will Never Hurt You catapults you into another dimension, a darker, more eerie one, brought mostly by the intriguing bass line and the backwards whispering in the intro. The lyrics are the last rational, yet desperate, words of a man who's about to transform into a vampire against his will, and begs his lover to “put a spike in [his] heart” as soon as the sun goes down and to go hide before they'll get her too.

Drowning Lessons starts off with a bittersweet riff, introducing us to probably the saddest story told in the album. Drowning Lessons talks about a man who killed his spouse. My personal interpretation (I don't know if someone else had this idea before me) is that he killed himself shortly after and this is his otherworldly punishment: reliving this day over and over for eternity, perpetuating the cycle of insanity and guilt. The ending leaves you with a feeling of waiting and suspension, the fade-out suggests that the narrator is stuck in this loop and it will be like this forever.

In the fast paced Our Lady of Sorrows Gerard encourages his interlocutor to strip away their insecurities and live freely, to trust and believe in him so that they may be saved. The song is painted with religious imagery (hence the title), and implies that the narrator and the person he's speaking with are constantly at each other's throats: letting go of their doubts is the only way to end this before they murder each other. Gerard is angry, almost arrogant, but it's an arrogance driven by desperation since he doesn't want to lose his friend/lover over their insecurities, inviting and insisting that they “take [his] fucking hand and never be afraid again”.

Musically speaking, Headfirst for Halos is a sucker punch in the teeth, and yes, that is a compliment. The guitar is very Iron Maiden-esque, especially in the intro, and on a technical level, this song proves that these guys know what they're doing. The lyrics' grim undertones go in complete contrast with the upbeat tone of the music, turning it into a suicidal anthem. Despite the fact that it discusses how the narrator is stuffing himself with psychotropic drugs that make him numb to any kind of feeling, as well as his struggle against the idea of killing himself in this spiral of madness, Headfirst for Halos could be considered a powerful message of hope. This song, in my opinion, is not only about someone who succumbs to a psychotic episode, but it's also a way for the lyricist to remind us not to give up, not to do what the song proposes. Its end, where the protagonist probably commits suicide while repeating himself to “think happy thoughts”, is cathartic and destructive, truly beautiful in its tragedy.

"This song is about suicide - don't do it." – Gerard Way

I don't think I'll ever be ready to talk about Skylines and Turnstiles, but I'll try to give it justice. The track, the first one that was recorded while making the album, is a moving tribute to the victims of 9/11. It describes both the last moments of those people's lives and the experience, the feelings that Gerard had while witnessing it. The previous track's message of hope is reinforced in Skylines: when Gerard witnessed the tragedy, he knew he had to do something in hope to help people go through their grief and sadness and make the world a brighter place, giving them a reason to keep fighting. The song starts with “You're not in this alone”: Gerard is offering friendship for those who were hurt or scarred from 9/11, and it could also work in a broader sense, where he reaches his hand out to those who are feeling like this life isn't worth living anymore.

Inspired by Dawn of the Dead, Early Sunsets over Monroeville begins with a sweet and romantic melody, painting a dream-like picture of two lovers living a perfect life, “just like upon the screen”. The song, after that, takes a left turn that gives me shivers to this day just like the first time I heard it. The lyrics are a desperate call for help from the man who has to kill his lover, because she has been bitten by a zombie and is turning into one. He doesn't have the heart to shoot her, but on the other hand, it would be a mercy killing. The whole theme of the zombies could also be a metaphor for the couple's relationship that has gone awry, so the narrator has to “shoot” and hurt her by telling her that there's no love anymore between them. Gerard's voice, in the early stages of the song, is filled with nostalgia and melancholy, making the second part even more striking and emotional to listen to. His cries become more and more insistent, in a crescendo of desperation, and the fact that he repeats the same lines over and over only accentuates the interior dilemma he's having, while the melody becomes more and more fast-paced as well. The last line hangs in the air, which, again, marks the horror of the whole situation, leaving you in a state of suspended turmoil.

This is the Best Day Ever tells a story of a couple who meet in the emergency room, likely after they both attempted suicide, and they plan to escape the hospital together. It doesn't matter to them if they'll die after: they'll be free either way by doing it. What stands out the most is the upbeat and fast-paced melody, which accentuates the anticipation of the protagonists and their hope to get out of the situation they're in.

Cubicles tells a story of a shy and lonely office worker who falls in love with a woman who works two cubicles away from him but doesn't even realize he exists. He spends the time writing her love notes, but never gains the courage to give her the letters, let alone talk to her, until she quits her job and he misses his chance. From that point, he spirals into madness and is terrified he'll die alone, as portrayed by the repetition of the verse “sometimes I think I'll die alone”, which changes into just “I think I'd love to die alone” at the very end, coming to terms with his suicidal thoughts.

I think there's no better way to end this album, other than with Demolition Lovers. The song starts with a slow, sweet yet dark melody, while Gerard begins singing the beautiful, tragic story about a Bonnie and Clyde-esque couple, who run in the desert and eventually get shot by the people they were escaping from. As the music grows more intense, the man tells us how he isn't afraid to die for his lover and he is willing to prove how much she means to him despite their relationship being flawed. They die in a pool of blood, when they kiss for the last time. Demolition Lovers is masterfully made, with one of the most beautiful solos I've ever heard and with lyrics that are an arrow to the heart, not only for the passion they're sang with, but also for the meaning they carry. The ending is simply breathtaking.

Conclusion

Words can't even describe how much this album means to me. The themes, the arrangements, the messages of hope derived from destruction and tragedy, the whole meaning of the band itself... it's just beautiful. The genre is not cohesive but since it's their first artistic effort, it makes sense that they had yet to find their own style: after all, creation is just experimentation. But despite Bullets not being coherent in style, the atmosphere remains consistent thanks to the lyrics that have all the same feeling of catharsis in romantic destruction. I just wish that some songs were mixed better (but if anything that adds to their charm) and that it would last longer. Also it's worth mentioning how all the songs are connected without being connected at all (just how they are connected to their next album, which we'll check out next time), which makes me love the mind behind them even more, if possible.

Final, very personal and unprofessional score: ★ ★ ★ ★ ☆

...like a secret in your throat.

[girlreviews]

Review #146: Parallel Lines, Blondie

Man oh man oh man. I love Blondie so much. I found this record in the Windsor Oxfam. I don’t remember exactly how old I was, but I remember what boyfriend was with me so that puts me between 15 and 18. Yeah, same guy. I actually don’t remember if he ended up getting his hands on this record or not. I think I still have it. Will rifle through my collection later to check.

Blondie was in the “being cool” wilderness for some absolutely crazy reason at that point, and nobody really gave a shit about them anymore. When I was 17 or 18 they were playing the Reading Hexagon which is honestly still just such an unbelievable insult I’m still annoyed about it. I’ll circle back to that.

Parallel Lines epitomizes the complete and total coolness and badassery of Debbie Harry. I have never wanted to be someone more than I wanted to be her. So much confidence. Such incredible cheekbones. Such commitment to art. No apologies. The voice of an angel one moment and snarling whimsical warnings, like, hey you, don’t fuck with me, the next. Always standing in front of all of those completely non-descript nobody dudes. Yeah they’re playing the music, but who cares, who are they? It’s all her. She is Blondie.

Can I pick a favorite? It opens with Hanging on the Telephone, in which she is really threatening to rip the phone clean off the wall. It might be that one. But we’ve also got the classic One Way Or Another, which needs no comment, and one of my actual favorites of all time, Heart of Glass which never fails to fuck me up, but like, it’s a god damn disco track? Like sure, yeah, let’s boogie away our heart break. And I did. And I have. And I will. And these are all SINGLES. We aren’t even discussing the actual album tracks yet. Just listen to it. Honorable mention goes to Sunday Girl, which I always really loved. It’s cute and it’s kind of sweet in a very teenage girl kind of way that worked for me since I was in fact, a teenage girl. Also, not on the official album release, but there was a version of that track where the latter half was sung entirely in French and I always really dug it.

Okay so circling back to the Hexagon. This is a weird story and I’m still not sure how I feel about it, to this day. As I said, Blondie were playing a show at the Hexagon. I was absolutely obsessed with them, and Debbie Harry. I was also 17 or 18 and spent every penny I had on going to shows, but those pennies were pretty limited. I worked as a waitress at the pub that was two doors down from my house. It was full of characters. One such character was a regular, he was in his late 40s, was very wealthy, didn’t drive, was single, and spent literally every bit of his spare time in that pub. Think on that. He paid a lot of attention to the various young women that worked there. Was he creepy? No not exactly. But did it make you uncomfortable? Yes it did. Because you never knew when he might make it weird. Everyone liked him well enough. One day out of the blue this guy presented me with five tickets to the Blondie show. I didn’t know what in the hell to say or whether to accept them. Or what it meant. Whether there were expectations attached to them. Whether it was okay to take them. I was uncomfortable. I was 17.

Here’s what happened. My Mom, who sort of knew him too, since he was always there, decided it was fine, because she wanted to go. But for it to be okay, she decided he also had to come. So we went, he came, and a few friends too. The thing is though, she never knew him like I did. I saw him every day. I saw him with the other girls that worked at the pub. I saw him drunk off his ass. I don’t know that I ever would have taken the tickets. Or if I did, I’m not sure I ever would have invited him. I feel a bit queasy about it to this day. I think in the end something really off-base happened one night between him and someone on staff and he got barred. That was usually the way it went with regulars who were there that often.

The other thing to note is that Blondie ended because Debbie Harry was with Chris Stein, who was literally dying of some rare autoimmune disease throughout their last tour. There were other factors at play, but essentially, they broke up because he was too sick and she stayed at his side and became his full-time carer. When he was well, he left her. They are, remarkably, still close friends to this day and still perform together. Just never forget that men are dogs, and that Blondie is and always will be Debbie Harry. I love her. To this day she looks better than I do in a mini skirt and I love that for her.

ETA: I checked and in fact, I do not still have Parallel Lines in my record collection, but I am quite confident it got lost when I moved back to the US. Also, I’m not 100% certain that show was at the Reading Hexagon. I just know it was a shitty venue not worthy of Blondie. This was 18 years ago. You get the idea.

[thats-the-teen-spirit]

Linkin Park - From Zero - Album Review

Well, a few months ago I didn't think that I would write such a review but here we go. So Linkin Park announced their return in September followed by a tour and an album, to everyone's surprise. The new singer after the great Chester Bennington's passing was announced to be the former Dead Sara vocalist, Emily Armstrong. The announcement was followed by many controversies which I'm not gonna touch on in this review, I'm just here, purely for the music, so take all my opinions with a grain of salt.

From Zero (Intro)

A very short, barely even 20 seconds intro is a Queen-like gang vocal/choir harmony followed by Emily asking about the name of the album. It sounds like they recorded her first reaction to Mike's idea for the album name, which is - as Mike mentioned many times throughout the promotion of the album - a double entendre. From Zero means from the ground up, a new beginning which is definitely true for the band after losing a beloved former member and a friend, but also From Xero which was the first name of the predecessor band of Linkin Park. It's genius if you think about it, and by the short and cut end of the intro Emily realizes this as well.

2. The Emptiness Machine

The first single and the song that started the return. The video and the song are both great, though it left a sour taste in some fans' mouth, expecting either a Chester-imitation or someone completely different (rumors were Amy Lee and Deryck Whibley). The Emptiness Machine opens up with a modern beat and Mike's rapping, he even sings the first chorus hinting at something new to come. The second verse starts with Emily singing and while at first I thought she lacks the power Chester had, by the end of the second chorus she proves her place is right among the boys. The lyrics are about an abusive relationship to someone or something which left people thinking about Emily's past (imo the lyrics definitely fit into Linkin Park's past catalogue as well). The passion of the last chorus and the "I only wanted to be part of something" bridge will leave you wondering though: how would this song sound with Chester?

3. Cut the Bridge

Already a non-single with a choppy hard rock riff and octaves, Mike starts rapping and you realize this is definitely a Linkin Park song. In my personal opinion this sound would have fit into The Hunting Party as well as this album. I'm not the biggest fan of the chorus but it's a fun song that might get a few headbangs at concerts. Emily definitely carries this song, the bridge melody by Mike is... not the best, a little jarring and does not fit his vocal style and range. We'll hear a few moments like that in the coming songs.

4. Heavy Is The Crown

Heavy Is The Crown was the second single and the anthem of this year's League of Legends championship which gave to already one of the biggest bands of the planet some extra boost of publicity. If I had to describe this song with old Linkin Park songs I would say this is a renewed version of Faint with the breakdown of Given Up. The beat and the melody throughout the song is very Meteora-era and the "THIS IS WHAT YOU ASKED FOR" breakdown pretty much calls out the fans who wanted a nu-metal banger. It's like they knew their return was controversial and they have to do the maximum nostalgia factor to appeal to the same audience that once loved them. Emily shows her real power in this one, letting out the beast and hinting at what's coming.

5. Over Each Other

A pure Emily song and the third single. Mike is not singing nor rapping in this one, and in the video we see Emily being in a relationship, breaking up and fighting with her girlfriend until the story takes a dark turn when she fakes her own death to get away from her now ex-girlfriend. It's a very honest and upbeat song that really arrives by the second half. The lyrics show a burnt-out relationship that seems to be over soon. This one I cannot even imagine with Chester's vocals, which is the first and the last time this happened during this album. The instrumentals in the second half are (in my personal opinion) very much Minutes to Midnight-like, almost as if Rick Rubin produced this one as well.

6. Casualty

Undoubtedly the heaviest one on the record, there's barely any clean vocals, (even Mike is shouting for most of the song) and there's even a hardcore punk beat in it. This is basically like their song Victimized was on The Hunting Party instead of Living Things. The guitars and drums are filled with rage and in the bridge we hear a new sound from Emily which is very In This Moment/Maria Brink. I didn't expect a hardcore song by Linkin Park but in 2024 even that could happen.

7. Overflow

After a very lengthy intro the song arrives to a space-y, flowy verse which is reminiscent of Deftones and I.O.U, the song Mike recorded with Chino Moreno off his solo record, Post Traumatic. The chorus keeps up the same slow pace and by the bridge I figured that this song would be very fitting to A Thousand Suns. Which is possibly the only song on this record that I can say this about. Like a more modern version of a medley of that album, strange sound and it's not gonna be my most listened song but I think it will find its audience.

8. Two-Faced

Ever wanted to hear a Meteora/Hybrid Theory song sung by a female singer? Well, here you go. Imagine if Figure.09, A Place for My Head and One Step Closer got together on a drunk night and had a lovechild. The verses are also very much like Nobody's Listening, another song from Meteora. The breakdown is so much fanservice to the HT fans that it's almost exactly the One Step Closer riff (even the turntables are there). This will be one of my favorites for sure, it gives me that Cure for The Itch for a old-new HT sound. The fans who can get over to be ready for the new era of the band and only love the first album will be happy to hear this one.

9. Stained

Another song that is hard carried by Emily's vocals, I swear it's like they're doing this on purpose. Mike is one of my favorite songwriters and musicians but man, is he boring in this song. This is the first song where I felt like it's a filler. Chorus melody is alright especially in the last one where it's much more epic, but the verses, the instrumental and the overall vibe of this song is very forgettable. If I wanted to be really harsh I would say, this one is a more pop-ish song of One More Light got rerecorded with a different vocalist and distorted guitars.

10. IGYEIH

IGYEIH or I Gave You Everything I Had is another heavy banger. The riff is very nu metal, reminding me of Burn by Three Days Grace. It's another one that Emily is carrying on her back, her performance is 110% again. Mike's "the clock keeps tickiiiiing" call-ins are very much forced, and in my opinion lack chemistry with the rest of the song. The yea-yea-yea-s by Emily are also somewhat forced before the chorus, the buildup and the breakdown are great though. It's not as mid as Stained but I honestly expected better from the riff.

11. Good Things Go

Probably my favorite song of the album, straight up. The modern rap beat and Mike's work on the rapping and the wonderful vocals by Emily make this composition a pleasure to listen to. Some people I saw online compared it to Leave Out All The Rest, I don't think that is true. While this is a ballad of some sort having very emotional lyrics, it's an unfair comparison to LOATR. The delivery by both Mike and Emily is amazing though and the buildup is one of my favorites of this year, it's both relieving and cathartic. This is this album's take on Good Goodbye and this one undoubtedly wins both the message and the delivery battle.

Overall I'm not gonna lie, I expected more. Upon the second listen I realized that I lost recency bias already. Some moments turned out to be probably the worst in their catalogue while others were highlights of this year's musical journey for me. The singles are definitely the stand-out songs, though Good Things Go and Two-Faced are up among them. Emily carried most of the songs as I mentioned many times before and it's clear that the band's intention was to make the audience love her as much as they loved working with her, even if this effort cast a dark shadow on the rest of the bands' performance.

7/10

[thehuntfortrencherlostmedia]

Hello folks.

So, I waited a while to let everything marinate in my brain before writing this. Haven is an interesting album to discuss in the grand scheme of the Trench discography. Everything feels familiar & status quo, but different, new & exciting all at once. Its production is fantastic throughout and truly allows for everything to shine. It’s also their most cinematic album to date, which is saying something given what Astoria was inspired by.

So let’s break down each track, shall we?

A Normal Life: Already gushed about this one when it came out and my thoughts haven’t changed one bit. This just might be my new favourite opener. There’s just a little sprinkling of everything from all across their discography that allows this beauty to marinate and stand on its own.

Lightning & Thunder: I’m torn. I like it still, but I do think that when you listen to it within the context of the album it loses something. It was definitely made to be a radio single. There’s nothing wrong with that.

I’m Not Getting Better: Straight to the point, catchy & fun. I really have nothing else to say on the song.

Down To You: Arguably the biggest earworm on the album. This one gets in your head and it just stays with you.

Now or Never: The By Now of the record for me. Soft & yet full of momentum all at once. This is a dream worth fighting for, indeed. Also, while both INGB & DTY show off a more R&B/Funk flow, it really sticks on this song, and now that you’ve noticed it, you’ll be hearing it a lot throughout the record.

Into The Storm: Hello, Porcelain. But also… it’s own thing. It might not be giving up, but I don’t see it as surrender either. I see it as going with the flow, facing your problems head on. This is also the first true dive into Josh’s relationship with Amanda on the album, and how he’s so happy they finally figured out how to co-exist.

Ancient History: Oh hi, Astoria. You mind if I take elements of Burning Up & Yesterday and blend them into something new? And how about the past arguments in his and Amanda’s relationship don’t matter, and how it was nice to meet back up with her. It shows how time can heal relationships. Also, SAXOPHONE. That is all.

Stand and Fight: The actual Porcelain of the record. People thought they were gonna go in a This Meets War for this song, when instead it’s a slow burn that truly stays with you.

Turn & Run: Here’s how you do a sequel song and then make it stand out from its older brother. Much like the combos of Celebrity Status/Perfect & B-Team/Toy Soldiers, both sides of the coin make me giddy inside. And holy cow… welcome to the edge indeed. That hint of Fix Me screaming… I need more of it Josh. Please? I’ll be a good girl. There’s also a lot of Masterpiece Theatre II on this one. Easily my favourite of the short songs.

Worlds Collide: I go back and forth on this one in my head. There’s parts of me that love it, there’s parts of me that feels it’s too similar to the two tracks before it…. And then we have the end. And that just… made me smile. Also, I love Josh SCREAMING “Nobody’s Safe” and the fact they left in the vocal crack. That’s how you can tell his emotions are in full display here. So yeah.

Nights Like These: The comforting palette cleanser after three songs hit you with whiplash back to back to back. It’s very reminiscent of tavern songs, sea shanty’s & is just a warm hug of a track. Also, breaking down the fact that sometimes it’s nice to have just a cozy, relaxing night with friends. Feels like the Who Do You Love of the record too.

Remember Me By: Um, Micheal? Did you just possess Josh again? This feels so 80’s R&B I can’t help but love it. Also, Ian! Nice to hear you sing, bud. We’ve heard the other three all throughout this record and now we get your voice on top of the amazing percussion. Kudos.

Haven: So, here we are. The closing track. And, it’s good. It feels like they took The Killing Kind , Masterpiece Theatre III & End of An Era Abd threw them in a blender… and the result came out great, but… it does lack something to me? And if anything, it brings out the fact this album fits into the Relationship Theory too: It is about starting anew like I said ages ago but also about how their relationship (Josh & Amanda) isn’t perfect but he loves the imperfection now that they’ve figured out how to make it work. She might’ve broke his heart once but he reconciled & became stronger because of it. And now he can show that all across these 13 tracks.

So yeah. Haven’s likely my album of the year, and I do like it. But I do think that while it has some of the highest highs the band had ever reached, I do think they didn’t fully nail the Hero’s Journey theming & that it’s not as cohesive as some of their other work. It’s a sturdy S-, easily #2 or #3 in my overall rankings, even #1 depending on the day.

[negobeauriva]

New Music Analysis Part 1: Souvenir Pop - From Music for Children to Burnt-out Ballads

Last Friday I got to listen to both Joker Out and Käärijä's new albums, and I enjoyed them throughly. I loved the new experiments in music in the case of Joker Out, and the perfect mix of feeling and party music in Käärijä's case.

My friends pointed out some theories as to what stories were being told in each case, and I've decided to write this kind of critic/storytelling post to tell you both my opinions about the songs, the story I think the albums want to tell and how they relate to each other.

This post is about Souvenir Pop, because if I do a single post for everything I want to touch, I'll be here for like a thousand years. I based myself off the translations of @jokeroutsubs to do my interpretations.

People's Champion review will be [here] when I post it, and then the analysis of both [here], when I post it too. Stay tuned and follow me if you want the rest!

Without further ado, enjoy my yapping. And if you are Joker Out or any of their components - you guys are insane for reading all this but I love you.

This album has "discovery" written all over it. Joker Out know who they are - Balkan rockstars that go with their own flow, in a scene where passion is loved only if it's presented in the most marketable way. They are disruptive and unapologetic about it, which is why I love them in the first place. After Eurovision Song Contest, they gained a bunch of fans and started experimentating the hard punches of musical stardom, something that was fairly foreign to them, given the fact that they had never gone out of the Balkan zone.

It speaks about them adjusting themselves to the changes, about how the excitement for the music world became some sort of bittersweet grief they now live with. Let's be honest, they love what they do, and it shows in their music. But there is a hint of sadness, of heaviness to some songs, that I would like to explore a bit further.

I'll also add a "Souvenir" (which I'm also taking in it's literal sense, from the French word for Memory) associated to each song, because I discovered that all the songs in both Umazane Misli and Demoni talk about the theme of their title - let me know if you'd like me to elaborate on that too.

Let's go track by track!

Muzika Za Decu - This ain't rock and roll, this is music for children

A very strong start to the album that's sure to sweep you off your feet. I remember listening to this the first time and headbanging like crazy. In their last album, Demoni, Joker Out had a song called Novi Val (New Wave) in which they described the "Generation of Love" that would change the world and seek for what seemed to be lost. Muzika Za Decu takes this message again, as a "where we left off", and talks about the other side of it. No revolution is made without disruption, after all. It perfectly encapsulates the chaos, the naivety of being young and revolutionary, and of course, how great their music is.

This is the prologue of the story: Joker Out, the disruptive children of Balkan music that lead a revolution, who don't care about what others say and go forward with their ideas. This is their presentation card.

Souvenir: Revolutionary hearts tend to remember the lost values. This souvenir is about remembering good times and keeping them alive with music.

Šta Bih Ja - What would I do in this black night without you?

I'm going to be completely honest, and you all can judge me, but I don't really like this song. It's okay if you do, I see why you like it, but it's not for me. The change of pace at the end is strange for me and the vibe of the lyrics is completely different to what I expected the instrumental to be. Still, I must say that this song is the perfect power anthem when you need a pick-me-up. The guitars are immaculate as usual, and Bojan's voice adds an extra layer of unpredictability and flavor. It's a mini-storm inside a song, packed-full with flavors, like popping candy.

Chapter one of the story tells us about these heartbreakers. Bojan is Slovenia's sweetheart, the boyfriend of the Balkans. The city they might be referencing might be Liverpool, or even every city they've been for the pre-parties. But this paints the picture of the band: Pure rock music, party vibes, and vague love song lyrics. These boys are here to play and have fun.

Souvenir: This song is about the memory of someone who you love at long distance. You take their memory with you to get on by.

Carpe Diem - Let's dance and play until the stars fade

This is a classic. This song was a surprise for me when I saw it in Eurovision, and it struck me like lightning. Admittedly, I did not watch the semifinals last year because I was busy with my admission to law school (which requires you to do a previous course), but when I saw them in the final? I was sold. This is a perfect party song. It deserved so much more than it did. It's fun, it's catchy, it's everything.

Chapter two is about the Eurovision chapter of their life. How they conquered Europe and took it by storm, and how they gained most of their worldwide popularity thanks to the exposure.

Souvenir: The Eurovision Song Contest, the most important night of their lives.

Stephanie - Love ain't built for people like me

This is one of my favorite songs in the album. Bojan's English pronounciation has matured a lot and now it has deep, rich layers of tonality. This song is about finding and losing the love of your life and the despair that you'll never be able to make that connection again. After listening to it a couple times, I realized there's a subtle detail that makes me love the commitment to this song even more - Bojan mentions drinking to forget he lost Stephanie, and through all the song, his voice sounds slurred. His voice inflections make him sound drunk. Pair this with the vintage guitar sounds and the 80's pop beat, and you have the perfect "crying on the dancefloor" anthem for when you've gotten your heart broken.

Chapter Three is about the heartbreakers realizing how ephemeral love truly is, and how you don't know what you have until you lose it. Their switch to fame is bringing things in, sure, but it's also costing them some others.

Souvenir: That feeling of love at first sight, the memory of someone you loved for one night, but wasn't meant to be.

Ako Toga Više Neće Biti - If that won't exist anymore, love is nothing but a lie

A slow song, both beautiful and sad at the same time. Bojan has said that it's easier for him to talk about love in Serbian, and it's completely true. In this song, we can hear the process of a withering relationship, when you realize that you've lost something precious and it's not coming back, no matter how much you want it to. This song beautifully walks you through the five stages of grief and makes you feel like you're floating in the Dead Sea, wondering where all you used to love has gone.

Chapter Four of this story is about wanting to keep everything under control, but ultimately failing. It's realizing that things change inevitably, and dealing with the loss and the grief of things you love. It's wanting to keep it together, but being unable to.

Souvenir: The memories of a relationship you've had for years and now you have to let go.

Bluza - If the sun rises, I'll be alone

I don't know what kind of sorcery Bluza has, but everytime it comes on my random player, I have to stop and listen to it in its entirety (what kind of drugs did they put to that song, really?) and I inevitably cry. This song is just what falling in love feels like. I personally covered this song in my native language (Spanish) and got a nice feedback from Bojan, but that's a story for another time. This song was paired up with a great MV that also told a story of not wanting to lose something precious. I'd say that Bluza is a dream that happens right after Ako Toga ends, coincidentally, those two songs are in the same key and on a similar beat, so they could well be twin sisters. It's dreaming about that person you love, that for a moment you are back where you wanted to be, but knowing that it's just a dream and it won't last. It might seem like a love song, but the final lyrics seal the deal on this only being a fantasy, a place where you find comfort, but aren't meant to stay.

Chapter Five is about ephemeral dreams, and about finding those small pieces of comfort you want to keep but know you can't. This is about them falling in love with cities, crowds, places, but deep down knowing that once the party is over, it's time to go back to the grind, to planning concerts, protecting themselves and trying not to die in the attempt. You can notice the exhaustion on Bojan's voice in some points of the song (which can also be a nice nod to Ako Toga where he says he hasn't slept well).

Souvenir: A dream from which you don't want to wake up from, the warmth and comfort of a place you know you're not meant to stay in.

Lips - True love and pain go hand in hand

The first time I heard Lips, I was overwhelmed. Too much noise, the reverberation of Bojan's voice was more than I could take, and I remember texting my friend "this song needs drums" halfway through. This song has received mixed criticism, and with due reason. Nace was the mind behind this song and I have to say I am impressed. He is a through musician indeed. I've given this song a fresh new listen for this review, and I have to say that I don't dislike it as much as I did the first time, I'm getting used to it. Lips feels like a fever dream, like an overdose with lyrics that try to be about love, but somehow are about tragedy. This is the song I'm the most excited to talk about for some reason. Props to the bass and guitars in this song, by the way. Unsung heros, that paired with Bojan's breathy, silky voice, build a sensual, toxic and dangerous feeling.

Chapter Six is the fall of the rockstars. If I had to pair this song with another, I'd definetely go with Padam (Falling) from Demoni. This song is what comes to mind if you ask me to think about that fatidic Ptuj concert in August 2023, where Bojan had his biggest mental breakdown that forced him off the stages for some time. This is burnout catching up to them and making them realize that they aren't indestructible. The fact that the lyrics try to be about love, but ultimately end up being about despair, makes me think of Bojan making everyone believe he's okay and he can go on, but knowing deep down he can't.

Souvenir: Ptuj concert in 2023, and all the incidents that sent Bojan to the hospital before that.

Mesto Duhov - Music has died, laughter has gone out

This song feels like the opening to a beloved shonen anime. It's a fast paced song, which comes witht he added element of the slow portion that serves as a chorus, which sounds like a funeral march, very adequate for a song called City of Ghosts. The lyrics talk about a town where everything has died and there is nothing left. Where once stood a beautiful city, now there is sorrow and grief, just memories of what once used to be. The themes of loss in this album are pretty strong after you get past the initial euphoria Carpe Diem gave us. The mixture of rock and the haunting funeral song is one of those strange combinations you're gonna crave as a midnight snack. Definetely one of the best songs of the album.

Chapter Seven is reflection on the overdose that Lips put us through. The attempt at rock at moments is the rockstars trying to get back on their feet and give their fans that sound they crave, but when they get back to the funeral sounds, is when they know they can't ignore the pain anymore. The City of Ghosts is not a town, it's a heart, it's a mind, it's the enthusiasm that died out and is starting to fade away and disappear. It's almost like they're questioning if it's worth it to try again. Is the pain superior to the joy, or the other way around?

Souvenir: I associate this with Sunny Side of London. A cheery song that was released right after the storm. There is some sense of recovery, but it isn't quite there yet. At the same time, this is about memories of a familiar place that used to bring comfort but now has dread associated to it.

Sonce - I've lost everything that you called the sun

This is a gorgeous song. I am a pianist myself, so hearing Jan at the keys was very touching. This song reminded me a whole lot of a popular Argentinian song called "Alfonsina y El Mar" (Alfonsina and The Sea) which talks about poet writer Alfonsina Storni and how she left this world by jumping into the sea. This song feels like an elegy, and it ceirtainly is one. As far as I know, this song was inspired by "current social events", and I can see why. This is a song about despair, pure and unfiltered, with no more attempts at rock or love. This song is about fear of darkness, of feeling helpless and worthless in a world that keeps being violent and wild, and being a bystander, unable to do anything beyond singing to bring comfort. This world, this society we live in, is a chaos far beyond what we could imagine or control. The Generation of Love seems to lower their head, cover their ears and ask themselves "When did it get like this?".

Final Chapter is about the rockstars sulking and seeing how everything around them is crumbling down inevitably. The band has had it share of incidents and backlash, and it's been a particularly rough road, mentally and physically. There is a need for musicians to be involved in the world they live in, and when they don't speak up, there is backlash. This is a song where they arrive to a dead point. It seems like this story is not bound to have a happy ending.

Souvenir: Memories of easier times, when everything was a bit less terrible, and the feeling of familiarity that's lost in an everchanging world.

Everybody's Waiting - No one's ever gonna make it easier, you're the only one who can

The perfect final touch for an album that talks about changing world perceptions. The first time I heard this song, I cried, after knowing all that was behind it. Bojan's story with music and balance is not an easy one, not after all that he's been through. A kid who thought he could have the entire world in his hands but ultimately lost balance, tripped and fell. Luckily, Bojan has a support network composed by friends, family and even music producers, who wouldn't let him fall further and did everything in their power to bring him back up. Everybody's Waiting is a cathartic song that gives perfect closure to a cycle of self-torture and doubt. While it might not seem like a victorious or happy song, it's definetely a way to celebrate you made it out alive. By acknowledging the feelings of loss and the pressure he is in, Bojan was able to finally get it off his chet and realize he's not alone. And with this release, he sent a message to all of us who are in the dark and feel like they are lost - You are not alone. If he can make it out alive, you can. And there is no shame in asking for help.

This Epilogue is about finding balance, and the rockstars realizing that this world isn't perfect, nor is how they expected it to be. Everybody is waiting for them to do something good or bad, because anything goes in a world where talk runs cheap and fast. Everyone wants them to always shine and be perfect. But as much as they try, they can't always be perfect. This song is them embracing the fact that there might be expectations, but it's okay to take a break if necessary even if you don't meet them. The only one who can make your life easier is yourself. If you choose to hold out that hand and let someone reach it, if you choose to set boundaries and keep what's worth close to your chest, you'll be making your life easier. Just like that. It doesn't have to be a long journey. Just a step is enough.

Souvenir: Everybody's Waiting release. I also want to add Ptuj 2 because I feel that was the real moment where Bojan closed that chapter, by returning to that stage he once was frightened in, and now being able to be himself to a crowd that would not judge him. This is about closure, about accepting memories as they are.

Final words

Overall, this album has a great storytelling pace. It tells a story beautifully in very well told chapters, and it sums up perfectly the rollercoaster Joker Out has been through. It's very notorious that they have grown up as musicians, and the variety of music styles is proof of that. This is a perfect CD to show to someone who wants to see a newer face of the Slovenian boys who conquered Eurovision, even though they did not touch top 10. Not all losses are defeats, definetely speaking. I cannot wait to see what else these boys have in store, and I definetely want the album release tour to start already because I am very, very sure that the live performance will add just the perfect touch to cement these songs as masterpieces.

Overall rating score of the album: 8.5/10.

[louisupdates]

FULL ARTICLE ON EUPHORIAZINE

By Saskia Postema 26.4.2024

Mere days after winning “Artist of the Year” at the inaugural Northern Music Awards, Louis Tomlinson is celebrating the only way he knows how – by giving back. Tomlinson just dropped a surprise album, which includes a curated list of live performances over the past years. It’s a risky move, as live albums are notoriously difficult to make worthwhile. But there’s no doubt about it: Tomlinson is deserving of that award, and the recordings on Louis Tomlinson: LIVE deserve to live forever.

After an initial stop-start to his solo career, Tomlinson has certainly flourished since finally getting to hit the stage. He’s been touring extensively over the past few years, performing a mix of tracks from his first two albums. Both were solid records that heavily referenced anthemic, rich sonic soundscapes. In fact, Tomlinson previously admitted that he wrote certain tracks with a live show in mind. Indeed, songs like “Face The Music,” “Out Of My System” and “The Greatest,” from his No. 1 selling album Faith in the Future, absolutely benefit from the live instrumentals compared to their studio versions.

It isn’t often that live performances consistently seem to not only live up to but objectively improve the perfectly engineered studio recordings. Perhaps it’s the love that the album so clearly captures for live music that does it. The singer-songwriter is an avid fan of his own fans and gets to share a collective experience of joy with them. Just listen to the crowds serenading Tomlinson in return during “Chicago,” recorded live in – you guessed it, Chicago. From Tomlinson’s perspective, audiences across the world have always been part of breathing life into these live recordings. Now, people get to live that same experience with him by listening to this record that is woven together with impeccably mixed joyful screaming in the background.

Tomlinson’s storytelling isn’t hindered by the crowd’s reaction. Rather, it is bolstered by it. In both power ballads like “Common People” as well as raucous tracks like “Silver Tongues.” The live setting seems to function almost akin to a prism – each song shining brighter, richer, fuller. Perhaps the only track that is tighter in the original version, is the seductive “Written All Over Your Face.” Nonetheless, the instrumental break and palpable, wild excitement make for an enjoyable listen.

Similarly, right in the middle of the highly addictive “All This Time/We Are Beauty” mash-up, a fan can be heard screaming “I love you” if you listen closely. The sheer adulation of the crowd is decidedly earned. Tomlinson has worked hard to prove himself, despite never having lacked the talent. Perhaps merely the confidence that he could do it, would do it, has done it. Nevertheless, he’s been open about the tension between his own love for music, and his at times debilitating need for perfection. As he’s settled into his career, a quiet undertone of determination and grit, of relief and fulfillment – of gratitude remains in every single show.

On “Saturdays,” you can actually hear Tomlinson mumble that the view’s never been better from where he’s stood on stage. It’s a high-maintenance track with all the right ingredients for a Tomlinson classic. There’s confessional lyricism, emotive delivery, and a gradual yet powerful crescendo in musical arrangement. It needs to be sung with conviction, and it’s clear that Tomlinson pulls power from the audience to deliver.

Notably, none of the covers that Tomlinson frequently incorporates in his concerts made it onto this live album. With that in mind, perhaps this release signals that Tomlinson has finally embraced his own artistry. Because if anything, Louis Tomlinson: LIVE is a reckless celebration record. An ode to joy, the synergy between artist and audience, and the impact of well-timed, flawlessly executed live guitar solos.

[applepiesandalibis]

Uboa — The Flesh of the World

Released: May 20, 2020

Genre: Industrial, Death Industrial, Noise, Drone, Power Electronics

Song ranking:

The Flesh of the World

Inside/Outside

God Unbounded

Exsanguination

Thoughts: Yep, Uboa post again. I just adore her work so much and I listened to this EP today and found it to be absolutely amazing.

Xandra mixes heavenly vocals with some of the harshest, rawest screams as well as brain-scratching electronic instrumentals, which made TFOTW one of my favorite records by her. Well, to be honest I've only listened to three of them so far and all became my favorites. Though this EP feels slightly different from her full-length albums, it still has the classic "Uboa" elements, including the oddly comforting feeling of despair and hopelessness, perfectly transformed into musical pieces and just the raw emotion that scares you in the best way possible.

This review is pretty short but I think my point is clear: I really really loved this EP. An underrated work of art that I want you all to check out!

Overall rating: 8,5/10

[singularwetramennoodle]

The Crane Wives Have Gone Above and Beyond Beyond Beyond: An Album Review

The Crane Wives' newest album, Beyond Beyond Beyond, was released on September 6, 2024. It has been haunting my life ever since.

The album has ups and downs. The slowness in "Say It" really brings the anticipation, and everything past "if you could, would you erase me?" is pure liquid gold. But it just isn't as strong and visceral as the other songs on the album. "Higher Ground" also doesn't have the same energy because of the lack of structure, but after a few re-listens, it really grew on me.

As far as "Predator" goes, it takes a second to get used to the rhythm, but I love how it almost feels mocking. The melody rocks back and forth as the lyrics tear you into pieces. And I am absolutely GOBSMACKED by "Scars," "Bitter Medicine," and "Mad Dog." They all bring the feral energy that gets me so addicted to this band, and they bring a lot to it. I need to flat-out ignore the theme of "Black Hole Fantasy" and aggressively daydream to these three songs.

"Black Hole Fantasy" has, by the way, brutally murdered me. "Even in my fantasy I keep the car running in case I need to take off" stabbed me directly in the heart.

Finally, "Arcturus Beaming" seems to take a step forward after a long period of contemplation. You haven't quite reached a destination-- "nothing will change until I change" after all, but you're ready to return to the real world. It's a fitting song to hold the name of the album.

As custom for The Crane Wives, there are strong themes of the past, change, and "moving on" in their masterful lyrics. The story is keeps pushing forward, and you're following the character's thoughts as you're swept into the future along with them. There's less rhythm and structure in these songs compared to their biggest hits. While it takes a bit of getting used to, there's still a beautiful flow present throughout the songs and their craftsmanship.

[pretentious-art-love]

Album Reviews #47 - Disco Volante by Mr. Bungle

Mr. Bungle were always inspired by David Lynch’s style of combining dream-like surrealism with the uncomfortable and the nasty. They had included some samples from Blue Velvet in their self-titled record, and now, they have gone ahead to create a full album of Lynch-inspired oneiric reverie. Disco Volante's music evolves with its own logic; the songs shift from moments of intense and scary other-worldly emotion to completely dissipate into miscellaneous sound collages, and then evolve into more miniature samples of wrecked music.

As with any David Lynch film, the atmosphere in the album can be as thick as it is ordinary. While the music seems dissipated and random in most senses, it is only so in its structure. I have always said that Disco Volante shares many sound similarities with Jeux des Dames Cruelles, an album by the band's first album producer, John Zorn. However, while the music of Jeux des Dames lets itself spill like the paint of a splashed canvas, the music of Disco Volante turns into something at the same time less and more tangible—not the world of smeared paintings, but the world of dreams. There are so many miniatures of music composed in a wonderful tapestry of influences, ranging from Nuevo Tango and Psychedelic Pop to Klezmer, Raga Rock, and Acid Techno. All these miniatures of sounds can be as catchy as they are cinematic. While these moments can be memorable on their own, Disco Volante dissolves instantly into a cacophony of banal musique concrète sounds and field recordings or changes its train of thought to a completely different genre or composition without losing its character. For example, "Phlegmatics" starts with a Thrash Metal section, only to suddenly stop and slowly build up where both guitar and voice seem to be independent of the rest of the song in a beseeching lament while the drums are still on a chase. This way, "Phlegmatics" blends the sensation of yearning and anguish, which you can experience in nightmares or delusions caused by sickness. "The Bends" is composed mostly of an atmospheric piece exuding different ominous melodies per minute around a sci-fi flair. "Violenza Domestica" has momentary bursts of violence around cheap sentimentalism, slowly deteriorating into a creepily possessive song. This is something that many Bungle-inspired bands were unable to understand: Bungle’s eclecticism is more about genre-bending rather than song-swapping. The songs do not change one after the other in the same track, but they can explore wildly different sounds around the same idea while staying cohesive as a single, albeit broken, piece. Even when the jar is broken, it is assembled with the same parts it is composed of, rather than pieces from different jars, and that’s where its genius lies.

The emotions in the record can be as terrifying and revolting as they can be in Lynch’s movies (as, for example, in Blue Velvet itself, with its plot involving kidnappings, sexual slavery, and abuse), but there are brushstrokes of an added emotional palette in this record. It is Mike Patton’s whimsy and the band's knack for jest that give life unique of its own rather than one of a simply Lynch-inspired record. The buffoonery that embodies the record works to make it even more nefarious and depraved. With its banter, Disco Volante transforms what could be a world of pure horror and shock into a complete tapestry of depravity, making it one of the most horrifying albums you could ever hear. It is true that as it stands, this might as well become the less popular of the three mainline Mr. Bungle records, with its average dropping further every year and its overall track ratings barely managing to get a few bolded songs to date, which curiously enough seem to favor the tracks that maintain a proper rhythm instead of the more freeform ones. Still, though, I find it an absolutely incredible record, probably more so than the other two records, considering its attention to detail in creating a cohesive soundscape—a palpable, almost tangible experience in the freeform song, which is something all other Bungle bands have not either managed or focused to create. If you find it way too difficult to properly grasp, my advice would be to start with the tracks that are more freeform and climb your way up, leaving the tracks with more apparent rhythm at the end, to not let your brain get used to their momentum before it is wise. The record as a thematic piece is summarily cohesive, but if the order of its movements disconcerts you more than what it helps you, you can still take advantage that all these are different songs and that they are pieces you can independently digest as you see fit.

As it stands today, Disco Volante is one of those records that might be too difficult for most people, but its experience is undeniably unique and amusing. It's edgy, funny, hilarious, and incredibly vivid and striking. If you are interested in art that accurately represents the world of dreams, I absolutely recommend it to you, not just because of its oneiric quality, but also because it is completely evil and hysterical.

My version thing to do is putting all The Bends sections between each song, this connects the album with a thematically spooky ambience. Moving Nothing after After School Special and putting The Bends ending, Re-Entry, allows the album to end in a gust of noise and loop back to Everyone I Went To High School With Is Dead.

Everyone I Went To High School With Is Dead

Man Overboard

Chemical Marriage

The Drowning Flute

Carry Stress In The Jaw

The Secret Song

Aqua Swing

Desert Search For Techno Allah

Follow The Bubbles

Violenza Domestica

Duet For Guitar And Oxygen Tank

After School Special

Nothing

Phlegmatics

Nerve Damage

Ma Meeshka Mow Skwoz

Screaming Bends

Backstrokin’

Panic In Blue

Platypus

Love In The Event Horizon

Merry Go Bye Bye

Re-entry

8/10

[icemftmm]

What makes this album work so well is its cohesion. Unlike the uneven patchwork of many of his past releases, One Assassination Under God feels meticulously constructed, each track feeding into the next with purpose. The sound is rich and layered, often leaning into the brooding melancholy of darkwave while retaining just enough of Manson's trademark snarl to remind you who you're listening to. It's an album that invites repeat listens, not because it's catchy in the traditional sense, but because it feels like it has something to say - a quality Manson hasn't consistently delivered since the early 2000s.

For those of us who've followed Manson from the sidelines over the past two decades, One Assassination Under God offers something we'd almost stopped expecting: hope. Hope that the self-proclaimed God of F*** can step out from the shadow of his own legend and fully embrace the artist within. The album isn't just a return to form; it's a transformation, a shedding of old skin to reveal something darker, sharper, and, surprisingly, more human. "Wormboy"?

Reviews of his recent live performances have been overwhelmingly positive, a stark contrast to the uneven shows of the past. There's a newfound clarity and energy in his delivery, fueled no doubt by his sobriety. For the first time in years, it feels like Marilyn Manson isn't just surviving - he's thriving.

[glass-beasts]

ILYSFM ALBUM MELODY ANALYSIS!

SHOW PONY

Similar: Creatures In Heaven, Helium, It’s All So Incredibly Loud

Mood: wistful, healed hurt, reminiscent, piteous

WHATTHEHELLISHAPPENING?

Similar: I Don’t Wanna Talk (I Just Wanna Dance)

Mood: satisfaction, bitter joy, relief, overwhelmingly exhausting contentment, careful carelessness

CREATURES IN HEAVEN

Similar: Helium, Agnes

Mood: cumbersome love, finality, unclouded closure, acceptance of regret, nostalgia, state of missing

WONDERFUL NOTHING

Similar: Mama’s Gun, Flip, Toes, Space Ghost Coast To Coast

Mood: lusty vengeance, satisfying hate, moth-to-a-flame mindset, anger-less despise

A TEAR IN SPACE (AIRLOCK)

Similar: Mama’s Gun, Domestic Bliss

Mood: obsession, depressive love, desperation, mercurial passion, capricious feelings

I CAN’T MAKE YOU FALL IN LOVE AGAIN

Similar: It’s All So Incredibly Loud, Helium, Melon and The Coconut

Mood: deep-seated miss, nostalgia, hopelessness, wishing, broken-hearted, knowingly contradictory desires

HOW I LEARNED TO LOVE THE BOMB

Similar: Heat Waves, A Tear In Space, Youth

Mood: unintentionally intentional distancing, passive frustration, dissuasion

WHITE ROSES

Similar: Space Ghost Coast To Coast, Poplar Street (lyric-wise), I Don’t Wanna Talk (I Just Wanna Talk), Show Pony

Mood: dark path towards light at the end of the tunnel, de-villainization, dying desire, lonesomeness, selfless reminiscing

ON THE RUN

Similar: Waterfalls Coming Out Your Mouth, Tangerine

Mood: light humor, self-scapegoating, decided closure, hopefulness, yearning, blind belief, self-loss

LOST IN THE OCEAN

Similar: Mama’s Gun, Hazey, Dreamland, Hot Sugar

Mood: exhaustion, passiveness, relaxation, carelessness, agape (Greek love type)

OVERALL ALBUM MOOD:

Oxymoronic, loving, grieving, preciousness

[toothybj]

Music Fan

[crying-screaming-throwingup]

my thoughts on prelude to ecstasy:

the intro orchestral movement?? it felt like something out of a roman period piece. it was so perfect and just *chefs kiss* and the ending crescendo was so gorgeous

burn alive felt so dramatic like watching the lead up to a murder “let me make my grief a commodity” and “there is candle wax melting in my veins” are just such poetic lyrics. the guitar riff during the verse feels like a warning- eerie and stark. “i am not the girl i set out to be” is such a raw line it makes me feral omfg. abigail morris’ final line felt like an open wound

i’ve heard caesar on a tv screen before but in the context of the album as a whole changes it. it’s almost like a sequel of sorts, showing what she “set out to be”. musically, the contrast between the verse and chorus itches a scratch on my brain. “champion of my fate” feels so spiteful idk why

the feminine urge gives lana vibes maybe cause of the darker imagery and tone. it feels like a performer cracking their mask. “i am a dark red liver stretched out on the rocks” is sUCH A GOOD LYRIC. “to nurture to wounds my mother had” killed me my god

again i’ve heard on your side before but the album changes the feelings within it. if the feminine urge was the cracking of the mask then this song is the removal of it. it is vulnerable and raw and open about love and shame. the vocals feel like they’re pleading but already resigned- it’s heartbreaking

the flute opening for beautiful boy sounds so wistful. this so is so queer omg. “what good are red lips when faced with something dark” the lone piano chords in the chorus plus the harmonies are so ethereal they make me feel like i’m at my funeral service.

gjuha makes me feel like i’m intruding on something private, a ritual between a girl and a god. THE TRANSITION OMFG

the placement of gjuha before sinner MAKES ME FEEL THINGS OMG. like the contrast of imagery, between sin and holiness. “TURN TO THE ALTAR OF LUST” this song made me feral when i first heard it and it makes me feral now like omg. the religious imagery in this entire album is so interesting

my lady of mercy’s bass line is so groovy and perfect and amazing. and the percussive claps are so amazing. again, this so is so queer™️. the heavier sound in the chorus is so amazing and the bridge makes me feel like i’m fighting my final stand and praying to win

i love the stripped back piano of portrait of a dead girl compared with my lady of mercy. even further in the track, it remains kinda mellow and softer but no less direct. “the dignity of letting me go” when it finally gets more upbeat it the chorus it rly doesn’t disappoint. and the strings omg. also song title could be a nod to the album cover or vice versa??

the beginning of nothing matters feels like a prayer and the harp is so bloody good. “a sailor and a nightingale dancing in convertibles” the guitar riffs in the second verse are so funky i love it and the solo just makes me want to dance.

mirror feels like the end of the battle- the drums and solemn voice. it’s the end of the performance, the final death. “pretty glass and empty heart” death of the performer is the death of the album. but the final fifty seconds feels like a rebirth in a way, growth and renewal.

i don’t know if u could tell but i fricking loved this album like it’s everything i’ve ever wanted in terms of vibes and blend of dramatics and sincereness. i’m just praying that i get tickets omg

[thesleeptokenarchive]

Social Media Update: Rock Sound TV Album Review

In 2021, Sleep Token posted a link to Rock Sound TV's review of their recently released album, This Place Will Become Your Tomb.

[Web Archive Link] [FB]

An offering, from the Rock Sound publication.

SLEEP TOKEN'S ‘THIS PLACE WILL BECOME YOUR TOMB' INTENSELY DEMONSTRATES WHAT IT MEANS TO BE HUMAN

By JACK ROGERS

With their second record, Sleep Token have created a piece of art that transcends this existence whilst also staying firmly rooted in what it means to feel so strongly. This is why it is so vital.

For as long as history will allow us to look back, music has been a means of exercising and exorcizing emotion. A vessel for the most beautiful, brutal and boundless feelings that our minds and bodies can conjure, it's a means of connection that transcends language, creed and culture. A universal escape from the trials and tribulations of the world that will outlast and outlive its creator by the millennia.

Music is humanity at its most vulnerable and visceral, and that is why it is so vital.

It's within this space that Sleep Token has always existed. Since their introduction to the world back in 2016, beginning as a means to present their love and appreciation for the ancient deity Sleep but becoming something much more significant in the process, they have built up a rabid and relentless following via their musical output and nothing more. By hiding away their identity and giving away no additional information, the focus is solely on sound and that sound has always attempted to breach the very essence of what makes us who we are. Tales of devotion and devastation, hope and heartache, are presented by Vessel and his associates in ways that enrich the soul and ensnare the senses, with only our own experiences there to compare the adoration and anguish with.

And it is with 'This Place Will Become Your Tomb', their brand new offering, that unique delivery comes to a head, and where Sleep Token show just how special they really are.

Following on from the ambitious variety of 2019's 'Sundowning', there is a new sense of otherworldly cohesion to this new album. A dense atmosphere, clinging to you like tar but with the texture of newly woven silk, the record feels like a deep glimpse into the magical universe that Sleep Token exists in. A place where time and space collide like lovers kept separate for too long and reality and fantasy blend like petrol seeping into water. A place where Vessel, as this sentient being, delivering these songs feels powerful and mysterious, someone to be feared as much as they are revered. From the towering dominance of 'Alkaline' to the haunting seduction of 'Like That', you are transfixed and taken to the other side by the intoxicating sounds filtering through you.

But on the other side of that comes the humanity of it all. With every heartbeat comes the threat of heartbreak, and to live passionately comes with the risk of feeling the worst that life has to offer as much as the best. Every moment that feels like it exists in a completely different dimension on 'This Place Will Become Your Tomb', another is firmly rooted on Earth, where desolation is always just around the corner from delight. You have the blossoming 'Mine' standing toe to toe with the tear-stained 'Distraction. The deep need of 'The Love You Want' is only a short distance away from the bellowed despair of 'High Water'. The spiralling longing of 'Hypnosis' and tender infatuation of 'Telomores' stare directly at the stark admissions of 'Fall For Me' and broken spirit of 'Missing Limbs'. The highs and lows of leaving ourselves open to others and committing our everything to them are presented in the most touching and terrifying ways, and it takes something rather remarkable to bottle that part of existence. But Sleep Token make it feel like second nature.

'This Place Will Become Your Tomb' is the sort of album that cannot be simply plucked out of the ether. It is a record from deep inside the soul, where layer upon layer has been chipped away to reveal the very essence of existence. Where life has been lived so viscerally, to the point where feelings you didn't even know were possible, have been felt, that every single movement made feels like either heaven or hell. It exists on a plane of its own crafting as much as it does here on in our own reality, and that is what makes it so extraordinary. It is a perfect summation of what it means to be human, whilst also trying to explain what it feels like when the things we experience make us feel like we have transcended this flesh altogether. The most intense love, intoxicating lust, and crushing loss are documented here in the most striking, seductive and sensational ways possible. And it is an absolute pleasure to behold it all.

Worship.

[album-a-day-project]

2/20/24

Yeat

2093

====

This is my first time listening to Yeat at length. I've come to the realization that I don't need 22 tracks from artists like this anymore. He seems to use the same exact flows as Travis Scott, without the same level of entertainment value, maintaining a monotone voice throughout every single track.

Upon reviewing the credits, I noticed numerous writers listed for each track, as well as various 'TikTok Producers', which initially surprised me. It appears that we're witnessing the full evolution of Soundcloud rap into TikTok rap, with the first successful artists garnering substantial industry hype and financial backing. This is likely how Yeat managed to feature Future on the track 'Stand On It', which falls flat.

There's undoubtedly a place for this type of music, and Yeat appears to be leading the charge in the zone of TikTok rap. However, the repetitive and uninspired lyrics fail to drive the overall industry forward. By the end of this album, I find myself thoroughly exhausted. Thankfully, it's finally over.

5/10

[queenofclogs]

the next album review is gonna be a bit different from the usual, since this is a new version of an album i already reviewed (Queen album review) instead of just rating the songs with stars (★), you'll find the notes i took while listening to each song on the record and an overall opinion on the record in general

the ratings and notes are about the difference between the old and new sounds, not the songs in general

hope you enjoy and let me know what you think of this new version of the album!

Queen I

Artist: Queen

Release date: October 25th, 2024

Length: 42 min 16 s

Tracklist rating:

Keep Yourself Alive ★ ★ ★ ★ ☆

• a little bit of a shocking change on the intro sound

• not a fan of the echoes on Freddie's vocal

• amazing drum solo sound, much clearer

• not bad, pretty good sound overall

Doing All Right ★ ★ ★ ★ ★

• very nice intro sound

• clean and hearable bass

• wonderful acoustic guitar sound

• drums on point

• the high vocals sound nice

• very pleasing outro

Great King Rat ★ ★ ★ ★ ★

• pretty good drum sound

• clear vocals

• clear and nice guitar solo

• great acoustic guitar

• not so different from the old version, nice to listen to

Mad The Swine ★ ★ ★ ★ ☆

• good vocals

• nice drums

• acoustic guitar on point

• nice electric guitar

My Fairy King ★ ★ ★ ☆ ☆

• good intro instrumentals

• Roger's screaming sounds way better in the old version

• Freddie's vocals sound pretty nice still

• great bass sound

• very cute piano

• pretty good electric guitar

• nice outro

Liar ★ ★ ★ ★ ☆

• not a big fan of this new intro sound, it's a bit plain

• electric guitar not so clear

• gorgeous acoustic guitar

• the "LIAR" sounds very good to be honest

• not sure if i like the note change in the "why don't you leave me alone"

• don't really like the vocal sound in the "i have sailed the seas" section

• the drums when the faster section starts are very pleasing to listen to

• guitar not as i clear as i'd liked

• not a fan of the "listen" sound

• very nice drums during "mama, i'm gonna be your slave"

• ok, but DEAKY'S VOICE???

• drums covering the guitar a little too much for me

• John's bass on fucking point

• i can barely hear the guitar at some points

• Freddie's vocals are nice overall

• amazing drums towards the end

The Night Comes Down ★ ★ ★ ☆ ☆

• amazing acoustic guitar sound

• not a at all a fan of drums in this one

• vocals still sound a little too different to the old version

• great bass

Modern Times Rock 'N' Roll ★ ★ ★ ★ ★

• THIS is an amazing mix

• drums on point

• i'd like a louder guitar

• vocals much much clearer

• probably the best of the new version

Son And Daughter ★ ★ ★ ★ ☆

• really nice intro

• nice drums

• guitar very similar to the old one, but a little low for my liking

• good vocals, i guess

• nice eco

Jesus ★ ★ ★ ★ ☆

• this guitar is the way more hearable than the rest of the mix

• good drums

• pretty intact vocals

• the guitar on the bridge sounds really gorgeous, but right after is less hearable

• the guitar at the end of the brigde sounds beautiful

• didn't really liked the end of the song, doesn't have the gorgeous eco of the old version

Seven Seas Of Rhye ★ ★ ★ ★ ★

• THIS, this is what i'm talking about

Total: 4.1 (46/55 stars)

General review:

to be honest, i think The Night Comes Down's new mix wasn't the best way to introduce us to the new mix of the album, cause it didn't gave the best first impression

i was expecting something worse, but still hoping and believing in Queen with all my will, so, when i first listened to the whole record i found myself thinking, it's not as bad as i was expecting

there's somethings i don't like, for example, you can barely hear the electric guitar in 90% of the record, and some small changes in the general sound a bit off for me

BUT, there's many things i did like, the bass sounds pretty clear now, the drums are pretty amazing in general, the piano sounds very nice, but i think my favorite thing about this new mix is the sweet and gorgeous sound of the acoustic guitars in it, it sounds truly beautiful

and obviously that you can hear John's "all day long" clearer (pls tell y'all did too and i'm not insane)

overall, it's not so bad, i don't think i will listen to this version more frequently than the old one, which i completely adore, but in general it's very nice

thanks for reading!