#and mind you the lyrics in all the two EPs are not as complex as the lyrics on unreal unearth

[carmen-berzattos]

everytime this man releases music, I'm amazed at the lyrical ability

like excuse me

SIR

I'm begging you

leave something for the rest of us

this is unfairrrrr

I'm gonna chew the chords of my headphones I can't handle this

[miashyperfixations]

THE GOOD WITCH - MAISIE PETERS ALBUM REVEIW

23.06.2023 • Pop/Alternative • 15 songs • 47 minutes • 2023 Gingerbread man records, Warner Music Group

★★★★☆

FAV SINGLE: Run 

TOP 3: Coming Of Age • Wendy • Watch

Maisie Peters is a British singer-songwriter, based in London & originally from West Sussex. Peters emerged into the music industry in 2017, signing to Atlantic Records shortly after, Under which, she released two EPs & other singles as well as writing the soundtrack to the Apple TV+ series ‘Trying’. In 2021, Maisie signed to Gingerbread Man Records, releasing her debut album that same year & now, releasing her sophomore album ‘The Good Witch’.

Something I love about this album is that she doesn’t shy away from production. A lot of emerging pop artists tend to go for an acoustic sound now, recording songs at home in their bedroom or closet with just a laptop & a mic and sending them off for mixing. Whilst Maisie has some of that sound in her songs, they still have complex elements of production & her upbeat pop songs reign above with the layering of all kinds of instruments: drums, synths, vocals, the list goes on. She perfectly combines the two sides of pop music into her discography whilst remaining a lyrical genius. She’s also broken the mould of female pop artists having to re-invent themselves with every album cycle & finding a new sound. In reality, there’s nothing wrong with continuing to produce music of a certain sound, especially if it works for the artist. In my mind, ‘The Good Witch’ is a more mature older sister to Maisie’s debut album ’You signed up for this’.

‘Wendy’ is without a doubt one of the most lyrically beautiful songs I’ve ever heard. The album’s 9th track, written around the concept of Peter & Wendy, is a song about knowing your own worth & choosing the right path (even if it’s not what the heart wants) to avoid becoming invisible & regretting life later on. It shows that wanting to see the best in others isn't always good because you become blind to the truth as it becomes an unreachable reality. Even if you know it’s right, things can still feel wrong in the moment & you have to make the sacrifices that are best for you. In a heartbreaking way, the song is an uplifting ballad about taking control of your own life & not waiting around on people who might not even  be there in the end.

The week after the album was released, on the 30th June 2023, ‘The Good Witch’ debuted at number 1 on the UK’s official album charts which gave Maisie her first ever number one album. Additionally, at 23, Maisie became the youngest British female solo artist to do so in almost 10 years, the record was previously held by Ella Henderson who achieved number 1 with her LP ‘Chapter One’ in 2014 at 18 years old. Maisie’s first album, ’You signed up for this’, peaked at number 2 on the official album chart when it was released in 2021.

Alone, Maisie has built up a large fanbase, having been dubbed one of Taylor Swift’s industry children & thus, attracting hordes of British swifties, but she has also done so through her relationship with Ed Sheeran. Sheeran signed Maisie to his record label 'Gingerbread Man Records’ in 2021 after she burst into the music industry & the two have a very close & public mentor/mentee relationship. A key part of building her fanbase has come from opening for Sheeran’s ‘Mathematics Tour’ for almost all of the UK/EU dates, all Oceania dates & a few of the American dates. As an incentive for ‘The Good Witch’ to reach number 1, Ed claimed over social media that he’d release a fan-favourite demo of hers if the album did so. And true to his word, Ed leaked ‘Girl’s House’ the evening the album charted via a link on his instagram story & fans went mental. 

Overall, I think that I personally prefer Maisie’s first album (as a body of work) but this is subject to change as time goes on of course. She is, without a doubt, one of the next big pop girls on the scene & her neverending talent just solidifies her position in the music industry.

[dancing-to-architecture]

43 - Genesis - Selling England By The Pound

Sing it with me now, you all know the words: "This is another album I've never heard, from a band I'm otherwise quite familiar with."

Oh good... 8 songs on a 53 minute long album. I'm getting a vision of a double record with 2 whole songs per album side.

•Dancing With The Moonlit Knight-

Oh wait, shit, I think I put on King Crimson again.. nope, no, my bad. This is Genesis, I guess.

Are you sure? Cause this REALLY feels like King Crimson. Or maybe Emerson, Lake, and Palmer?

Either way, I'm really digging it. I only knew Genesis as way more pop and way less prog.

Legitimately had no idea these guys had this kind of stuff in their catalog.

I mean, Peter Gabriel, sure, but Phil Collins? No way.

•I Know What I Like (In Your Wardrobe)-

This feels VERY Peter Gabriel solo album, instrumentation-wise. He's always using the percussion instrument that I can never identify that goes "poing" in a low tone.

Lyrics feel very Phil. I really hate the title of this song. At best, they're sharing clothing, which is cool and good. At worst, it's Depeche Mode's Blue Dress but far creepier.

•Firth of Fifth-

Is this going to be about the bridge? No that was the firth of *forth*. Ah, so it's a pun.

Crazy math rock piano intro.

If this is a King Crimson album, this song is Moonchild. Slow, overly long, with weird, obtuse purple prose lyrics and a soft flute section for no good goddamn reason.

I do like the guitar work around 6:30 to the 7:30-8 minute mark, but again it feels Crimson-esque. Maybe not IN or OF the Court of the Crimson King itself, exactly, but certainly of a nearby duchy.

•More Fool Me-

This is just a tone poem.

It's pretty enough, but damn if this 3 minute long song feels longer than the previous 9 minute long song.

•The Battle of Epping Forest-

Perfectly normal to have old-timey wild west saloon piano plunking right next to spacey-ass synths in your interminable prog epic about a gang war.

Phil, bby, what is you doing.

(A note: ELP did this whole idea better with Benny the Bouncer, in the same year, in a song that's *10 full minutes* shorter.)

•After the Ordeal-

A pretty instrumental, which is quite the relief after 12+ minutes of semi-obscure early 70s British references I don't have any frame of reference for.

•The Cinema Show-

Another slow, long intro. I'm already not feeling this one.

Let's bring up Romeo and Juliet and then go nowhere with that. That's what they call "good writing".

Okay, the end gets really cool and synthy and almost sinister, and I'm enjoying it. Just a shame it took us 8 ½ minutes to get there.

•Aisle of Plenty-

Well, it's a song built entirely around a "Tesco" pun. Woof. At least it's not very long.

Yeah, I can see why Genesis went pop.

If you want a good British progressive rock album from 1973, just listen to Emerson, Lake, and Palmer's album "Brain Salad Surgery".

Everything here is done better there, including: "random old timey piano", "Very British Subject Matter", and "more than two incredibly long songs on a <10 track album", except all of ELP's songs absolutely fuck, the music is complex but actually interesting to listen to, and the cover art is by H.R. Giger.

I'll say it: the first 3 minutes of Toccata is superior to any section of this entire album, change my mind.

In fact, hell with it. This one's over, I'm putting Brain Salad on right now.

Favorite Track: After the Ordeal.

Yeah yeah, take a shot, 'cause Craig likes the instrumental the best. Who'd have figured. No disrespect to Mr Collins, but the man desperately needed an editor on this album.

Least Favorite Track: The Cinema Slow. I mean Show. (No, I lied, I really mean slow.)

To use a cinematic reference, Tarkovsky's Stalker feels fast-paced in comparison.

In The Air Tonight, this ain't.

[sarangbe]

[  🌹  ]  𝖍𝖔𝖜 𝖒𝖚𝖈𝖍 𝖉𝖔 𝖞𝖔𝖚 𝖐𝖓𝖔𝖜 ?

𝖓𝖊𝖝𝖙 𝖌𝖊𝖓 𝖘𝖊𝖆𝖘𝖔𝖓 𝖔𝖓𝖊 /  MISSION ONE SOLO— 𝖙𝖑𝖉𝖗 /  SARANG PERFORMS ❝ 𝖒𝖞 𝖙𝖚𝖗𝖓 ❞ FOR THE DISTINGUISHED PANEL OF JUDGES FOR EP 2 ! 𝖗𝖊𝖋𝖊𝖗𝖊𝖓𝖈𝖊[𝖘] /  DANCE — THE FULL DURATION. 𝖜𝖔𝖗𝖉 𝖈𝖔𝖚𝖓𝖙 /  WRITTEN IN ROUGHLY 𝟕𝟑𝟓 WORDS.

as he takes his mark in the center of the floor, he feels the light rain down on him; his eyes closing for a moment so he can take one last deep breath; memories from past few weeks zooming through his mind in that instant. it’s been a long uphill battle, but now that he’s here, all he can do is hope that he worked hard enough to showcase an entertaining performance. going into this, he isn’t expecting perfection out of himself. if he did, he would end up sorely disappointed. he’s able to realize that, one, being perfect isn’t an option for literally anyone, and two, he’s nowhere near the level of the other contestants, so it’s wise not to compare himself to any of them.

it would be unfair of him to align himself with someone like jinyoung when it comes to dancing, or someone like joomi when vocals are involved, so he’s focused on remaining true to himself—showcasing the charms that he has to offer. after all, some people love an underdog story; they love watching a once-dull diamond become polished over a stretch of time; they love witnessing the sparkle happen with their own eyes. in this show, maybe yeom sarang can fill that role? maybe he can prove that, while he may not be considered immaculately skilled now, he has the potential to grow into a performer that can shine as bright as the most brilliant stars someday?

suddenly, the first beat of the song hums, and it’s mellifluous sound brings him to life; every thought evaporating from his head as his focus hones in on his expressions—the twinkle in his eyes evident from the start. it’s clear that his visual appeal is cutting edge, and that there’s a natural radiance from his soul that infuses itself into his presence. anyone can tell that there’s something there, and when it’s time for him to open his mouth and sing, he does so with confidence. is his voice revolutionary? no—what it is, though, is soft and high-pitched; the key of the song not an issue for him being that he can hit all of the notes—including the top ones—without exerting too much force, or straining. its lightness, however, makes his volume rather quiet; the art of projection not mastered yet. it’s apparent that his singing would work well in the recording booth, but not live stages. at least not yet. he can remedy that.

when it comes to the choreography, sarang still finds it complex, but thanks to his friends, he’s picked up some tricks to make remembering each eight-count easier, as well as the proper techniques to ensure each motion is done with ease. his dancing is passable, at best, but his style is what isn’t connecting with the song. the boys’ moves contain strength and power in many parts, but that’s always been difficult for him to convey. instead, his body harbors grace and fluidity; his angles clear, but the dynamics that balance striking impact, and smoothness, are missing. every action is delicate; making it appear like he lacks energy, but that isn’t exactly the case. he’s proud of the fan kick, though, even if he lost his footing for a millisecond after.

what he’s excelling in, though, isn’t surprising. throughout the whole set, his facial acting is superb; maybe even breathtaking, depending on who you ask. each expression has been carefully practiced in the mirror, yet somehow still feels spontaneous, and furthermore, they convey the lyrics written beautifully. each point he gets to strike a pose, it’s hit with precision, and he’s unveiling his genuine mastery of this aspect of the performance; or of performing, in general. as obnoxious as it may sound, he considers it a gift bestowed to him; an asset he was born with.

as the song progresses, he begins to lose his breath, so his vocals are even softer than before, but no matter how exhausted he is, his countenance remains vibrant; sweat accumulating on his brow from the effort he’s exerting. his dancing is getting mildly sloppy, but his final stance is magnetic; his aura beaming from him like he’s the sun itself. his chest rises and falls heavily, and when he feels it’s time to unfold from his position, he falls into a thankful ninety-degree bow; waving towards the judges overseeing him as he makes his exit—feeling better than he thought he would.

[ichayalovesyou]

~Act One: In Denial of Pon Farr~

Blood Moon~by Saint Sister, Madrid (Album)

“To return home, and take a wife… or die.”

Spock is feeling anxious and unusually lonely, more resentful of his complex heritage than usual. Feeling rejected, but not by Jim, he finds his thoughts wandering to T’Pring. Who he feels deep resentment toward, she hasn’t contacted once him in the two decades he’s been gone from Vulcan. He has yet to realize it is the beginnings of Pon Farr.

“I am sure, you craved me once before. When I think of all the fruit I’ve found, and how easily you left it on the ground.”

Evening On The Ground (Lilith’s Song)~by Iron & Wine, Woman King (album)

“I hoped that I would be spared this.”

Spock’s yearning and loneliness transforms into anger and frustration. He knows Pon Farr has begun, and he hates it. He has no desire to return to Vulcan, worse still, he loathes that he yearns for someone who he does not know. Worse still, she’s not the only one he’s longing for…

“We were born to fuck each other one way or another but I’ll, only lie, down by the water side at night”

I Want You (She’s So Heavy)~(Originally) by the Beatles, performed by the Cast of Across the Universe, Across the Universe (Album)

“How do Vulcans choose their mates… Haven’t you wondered?”

Spock cannot bear the tearing between Human & Vulcan halves that has come ferociously to light under the stress of Pon Farr. His duty is to that man on the bridge, but the call of Koonut Kalifee is only getting louder. He has no desire to burden Jim with horrible display of emotion. Yet desire is quickly becoming all that he can think about.

“I want you, I want you so bad, it’s driving me mad, it’s driving me mad.”

~Act Two: Blood Fever, The Nightmares of Plok’tow~

Howl~by Florence + The Machine, Lungs (Album)

“To have their logic ripped from them, as this time does to us.”

The first, foreboding rumblings of Plok’tow have begun. He dreams of a hunt, he’s chasing someone, he does not know who. Each time the blood of this faceless, slaughtered, ravaged victim is a different color, every time he turns around, green, red, green, red, green, red, green, red…

“Like some child possessed, the beast howls in my veins, I want to find you, tear out all your tenderness.”

The Horror of Our Love~by Ludo, You’re Awful, I Love You (Album)

“It strips away our veneer of civilization.”

The dreams are getting worse, more violent, detailed, intense. He knows his quarry-

Jim.

He tears his captain apart in a thousand visceral, grotesque ways, physically, mentally, no love, no hate, no want, just blinding hunger. And the most frightening part, he enjoys it. He begins withdrawing from Kirk, for fear of what may happen should dreams threaten to become reality.

“Carnivorous and lusting, I’ll track you down among the pines.”

Become the Beast~by Karliene, Become the Beast (Album)

“It is the Pon Farr, the time of mating.”

The last of his Blood Fever dreams occurs after Kirk confronts him about his behavior. This one is, much to Spock’s relief, not violent. The lyrics are spoken through the faces of fellow Vulcans- T’pring… childhood tormentors… Sybok… his cold and disapproving father… T’pau… Surak… himself.

The rage and hunger has cooled into ice rather than fire, for now.

“Do I terrify you? Do you feel alive? Do you feel the hunger? The desert howl inside?”

The Woods~by San Flemin, Jackrabbit (Album)

“You humans have no conception.”

When James Kirk grabbed the shiv from Spock’s hand in their confrontation, a shard of Spock’s Blood Fever came with it. Spock was spared a nightmare this final night, but not Jim. The dream even dared to be pleasant initially, alone together in the woods. Before the arena of Koonut Kalifee erupted violently around them, as did Spock. Yet, before Spock could deal the final killing blow, Kirk found himself sinking into the sparkling sands below. He startles from his slumber, feeling suffocated.

But he does not remember how, or why.

“The nights are lovely dark and deep, but I’ll appear when you’re asleep. You’ll wake up with a sudden hurt, your mouth and nose all full of dirt”

~Act Three: Kalifee, the Death of A Friend~

Take Me Down~by Brother, Pax Romana MMV (Album)

“I’ll get you to Vulcan somehow…”

All Jim knows is that Spock is getting worse, and that he needs him. Not knowing, and not daring ask whether the shiv was meant for himself or Spock haunts Kirk, as does the ghost of his forgotten dream. He does not know what will come of this wedding. Only that he will do whatever it takes to make certain Spock lives. No matter what, it’s a race against time.

“The powers that be, the powers that run you through, I’m taking a stand I know what it comes down to, God knows I do.”

Hunting Grounds (feat Joe Cotela of Ded)~by In This Moment, Mother (Album)

“He is deep in the Blood Fever, he will not speak with thee again.”

Kalifee has begun, Spock has completely lost himself to the Blood Fever, and Kirk must fight for his life. He finds himself outmatched by the environment, and by Spock’s rage. He knows two things, he has no desire to die, but he cannot, under any circumstances, kill Spock. (I imagine this duet could be as seen as Maria Brink=Kirk, Joe Cotela=Spock)

“Like a predator sink my teeth into your neck.”

Die Today~by The Txlips Band & Guitar Gabby, Queens of The New Age (Album)

“Kill Spock? That’s not what we came to Vulcan for is it?”

The Kalifee has been an intense drain, Kirk knows, deep down, that not even the “Triox Compound” could save him in this fight. He feels his life flash before his eyes, he bears no ill will toward Spock, he’s not in control of himself. He reflects on their relationship, and how much it has meant to him, and accepts, that for Spock to live, he has to die.

It was worth having known him, saving a friend isn’t the worst way to go out…

“If you die today, if we die today, at least I’d be in your arms.”

Pearl Diver~by Mitski, Lush (Album)

“You may find, that having, is not so pleasing a thing as wanting.”

Spock is absolutely distraught, he’s disgusted with himself, he loathes every single Vulcan he’s ever known, but most of all he is angry with Kirk. That he had to be the moth to his flame. How dare he want to get close to him! How dare James Kirk ever have the stupidity, the courage to love him?! The wanting had driven Jim to his death, and himself to murder. It was illogical, and he will never, forgive either of them for it. Curse having, curse wanting, and curse himself too.

“But hunter you were human don’t forget it and go safely. And I? I’ll live without you, though the struggle will be daily.”

Sweet Dreams~by JOSEPH, I’m Alone, No You’re Not (Album)

“I shall do neither, for I have killed my Captain, and my friend.”

Spock languishes in the agonizing hours between the Kalifee and confronting Bones about what must be done. He prays for a short and cruel life… and dares ponder the question, do Humans have Katras?

“I’ll return to my sleepless night, dreaming with my eyes open, watch the shadows play on the ceiling.”

[The final act is a little on the smutty side, here’s a read more just to be safe.]

~Act Four: The Need is Met~

To Be Alone~by Hozier, From Eden EP (Album)

“I shall offer no defense, their is no excuse for the crime of which I’m guilty.”

Though overjoyed and relieved that Kirk is alive, Spock continues to anguish over the reality that had Bones not intervened, he would have killed him. Jim knows better this time, he will not let Spock continue down this path. A tender and honest conversation puts salve to Spock’s fears. In any event, while the Kalifee burned away the Blood Fever, it becomes clear the needs of Pon Farr still remain. Kirk suggests, delicately, to put a new Bond in place of the old.

Spock accepts.

“You don’t know the hell you put me through, to have someone kiss the skin that crawls from you, to feel your weight in arms I’d never use.”

Mermaid’s Calling #2~by the Cast of The Lure, The Lure (Album)

“The ancient drives are too strong, eventually they catch up with us.”

The thrum of Bonding needs no words, it is not just a joining of minds, but of bodies as well. They complete one another, no thoughts, no voices are required. They soon find that the physiological differences between them can be more than a little… fascinating.

“…”

The Deep~by PHILDEL, Wave Your Flags (Album)

“One touches the other, in order to feel each other’s thoughts.”

The tangible, physical world of course has it’s pains and pleasures, to be joined physically is one thing, to be joined in soul and mind alongside those sensations is a different ordeal entirely. If this, completeness, is what it means to be Bonded, Kirk now understands why Vulcans go mad over it.

“Give me a sign ‘cause it runs through my mind like your heat, caught in the web you’re so easily lead to the deep.”

The Mermaid~by Kate Rusby, Life in A Paper Boat (Album)

“In this way, our minds are locked together...”

Unbeknownst to anyone else in the universe, James Kirk & S’chn T’gai Spock are now Bonded, and neither has ever felt less alone. For once, it does not matter to Spock that he is of two worlds, here, he is home. For once, Kirk does not feel as though he is forced to live the Enterprise’s life, this time, she helped him live his. A shining, blissful moment in the vast, expansive sea of stars that they have devoted their lives to exploring.

For them, the journey itself, is home.

“In peace now, the sea it comes, and peace now, in her arms where I’ll be love, sleeping in the sea.”

[lethal-liability]

Ari's ranking of Imagine Dragon's discography

Here's something literally no one asked for! Anyway rankings are out of 10 and I'll have album stats at the end. Also any songs in the EPs that would later appear on Night Visions are just going under the album. I know that'll screw with their averages but I don't really care.

Imagine Dragons (2009) average rating: 7.2

I Need A Minute: 6/10 A nice fun song I used to like dancing around my room to. The lyrics are completely incomprehensible but I guess that's the point, I like it. The vocals are just a little bit too low

Uptight: 7/10 Funky beat, I really like the synth. I didn't listen to this one much as a kid but I really missed out this song kinda fucks.

Cover Up: 7/10 Some more funky bass and synth, getting into some of the more poetic lyrics that I like from them. Pretty solid.

Curse: 9/10 This 👏 was 👏 my 👏 favorite 👏 song 👏 back 👏 in 👏 the 👏 day 👏 Here's where my bias comes in cause this one gets an extra point purely for that. The lyrics don't really make sense but I would lay up at night coming up with complex amvs in my head to go along with it :) Still holds up to 11 y/o Ari's love.

Drive: 7/10 Again, another one I never really listened to as a kid. It's a pretty good, relaxing song, really different from the rest of the upbeat songs on the EP.

Hell and Silence (2010) average rating: 6.75

All Eyes: 6/10 Another funky song, nothing really special but pretty solid

I Don't Mind: 4/10 Honestly not a fan of this one, the synth is kinda annoying and the lyrics are kinda irritating

Selene: 8/10 Idk what to say I just like this song :)

Emma: 9/10 Honestly pretty much the same as Selene but with a chiller vibe, I like the raspier vocals. Extra points for that nearly yelled bridge HELL AND SILENCE I CAN FIGHT IT

It's Time (2011) average rating: 4.2

Tokyo: 3/10 Look I'm a sucker for funky synth OKAY. I don't speak Japanese but I don't have to to tell you Dan's pronunciation is really cringy. Deducting points for the kinda fetishy lyrics too.

The River: 8/10 This is one of those songs I like to listen to when I'm sad to make myself sadder so I can cry my feelings out. It's got a pretty, soothing melody and nice lyrics.

Leave Me: 2/10 This song used to make the feminism leave my body as a kid but I just can't bring myself to really do that anymore lmao. Come on Dan, that's two kinda gross songs on one album :/

Pantomime: 2/10 I. Really did not like this song as a kid. Like I had a playlist on youtube of all their music except this song. I was right.

Look How Far We've Come: 6/10 Hearing this song for the first time in like nine years was an experience. Not a bad song but dome of the lines are a little clunky.

Night Visions (2012) average rating: 7.33

Radioactive: 9/10 Ya know this is the song that got them famous and for good reason. It's a good song and great amv fodder.

Tiptoe: 8/10 It's gonna be harder to write about these songs going forward because these are ones I listen to regularly so I know I like them but yeah. Good song.

It's Time: 10/10 Radioactive may have been what got them famous but this was their first real big single and it was my favorite. I'm a big sucker for a mandolin and I think this is where they started to lean more into the folky sound than the synthy sound.

Demons: 9/10 Another one of their songs I used to listen to to cry and I don't listen to it much anymore because of that but it's still a good, poetic song that hits me in the feels.

On Top Of The World: 6/10 My mom had this as her alarm when I was in middle school so I couldn't listen to it for a long time. The lyrics are a little heavy handed sometimes and a little incomprehensible at others but it's an alright little tune.

Hear Me: 8/10 This album is a little confusing because they include some of their older synth heavy songs alongside their newer folky songs, but I won't complain with this song. Frustrated 13 year old me loved this song because I, too, felt that no one ever heard me when I talked. Ya know, 13 y/o things.

Amsterdam: 7/10 I have no idea what this song is about but it's pretty good.

Every Night: 5/10 This was their first and last try at what I call a "first dance bait" song. Ya know like Perfect by Ed Sheeren or Marry Me by Train? It's alright, just really heavy handed.

Bleeding Out: 10/10 Oh emo eleven year old me ate this edgy shit up. Is it a grimdark? Yes. But that's a plus for this song. This song makes me wanna scream every time I listen to it I BARE MY SKIN AND I COUNT MY SINS AND I CLOSE MY EYES AND I TAKE IT IN

Underdog: 6/10 Another cute song, not much to say about this one, it's alright.

Nothing Left To Say: 9/10 ANOTHER another song I cry to, this one still hits home for me. It's pretty and soothing but the lyrics are still heart wrenching. The instrumental at the end is nice and I like to fall asleep to it.

Rocks: 8/10 A nice upbeat song that is a little repetative but it's only about a minute long so it doesn't over stay its welcome.

Working Man: 5/10 This song isn't on spotify so I don't get to hear it often and I actually hadn't heard it in a while when I listened to it to do this. It's kinda trying to be a 9 to 5 type song but it doesn't really do it for me.

Fallen: 8/10 Another song I hadn't heard in a while since it's not on spotify but I'm more of a fan of this one. Another amv bait song to me but one with more of a triumphant vibe to it. I really like the vocals in the chorus.

Cha-Ching ('Til We Grow Older): 8/10 The hook of this song, cha-ching x3, has a big potential to become really annoying like some of their later songs (cough cough, Thunder) but they actually somhow make it work. This song hits me a lot harder now than it did as a kid cause god. Yeah. They're so right. We are all living until we grow older.

Smoke + Mirrors (2015) average rating: 9.06

Shots: 9/10 Hell YES my favorite album finally let's get into this shit. Anyway songs that make me wanna lay in a field of wildflowers. Well the music, the lyrics are pretty depressing. But that's what makes a great song ya know.

Gold: 9/10 Songs about the rich losing their humanity? Hell yeah. I fucking love the percussion and the synth in this one too.

Smoke and Mirrors: 10/10 The under appreciated masterpiece of this album in my humble opinion. Everyone always talks about Dream as the best song on the album but I really think it's this one. That yelled OPEN UP MY EYES gets me all the time I just really really love this song.

I'm So Sorry: 9/10 Real sexy bassline on this one. I can't tell what the fuck this song is about but I don't care because it goes pretty hard.

I Bet My Life: 8/10 I like the gospel vibes, especially the backing vocals, some of them out-sing Dan a little bit. This one also hits a little harder now that I'm grown up a bit.

Polaroid: 8/10 Another one with cool percussion, some of the lyrics are lost on me but I get the overall vibe of it.

Friction: 10/10 I have no clue what that string is at the beginning of the song but man does it fuck hard. God actually everything in this song goes pretty hard, I'm especially a fan of the vocals.

It Comes Back To You: 8/10 Nice chill song, I feel like this is one that's gonna hit in a few years. Not much to say about it tbh besides I like it.

Dream: 10/10 This song really does live up to the hype even if I like other songs better. It's really poetic and well composed. You really just have to listen to it to get it tbh.

Trouble: 8/10 The piano at the beginning is a little grating but it gets better. Again not much to say about this one, it's solid, just not one of my favorites.

Summer: 8/10 Another sexy baseline, another set of incomprehensible lyrics. I like it.

Hopeless Opus: 10/10 This one's a little weird but it was my favorite for a while. I like weird. Idk if anyone would agree with me but this one was kind of a self fulfilling prophecy, this really was a hopeless opus since, in my opinion, they've yet to make album as good as this one. Also. Guitar solo.

The Fall: 10/10 I like to put this song on when we get the first cold snap of the year after summer :) It's just really chill and I like the vibes and the vocals

Thief: 10/10 AAAAHHHHHH SONGS THAT MAKE ME WANNA RUN THROUGH THE WOODS IN THE MIDDLE OF THE NIGHT

The Unknown: 9/10 Cool percussion, I like the intermediate piano, it's a nice touch.

Second Chances: 9/10 I like the strings and the vocals. Another nice chill song.

Release: 9/10 I like that this one is completely acoustic, it's a nice send off for a great album, if a little depressing.

Evolve (2017) average rating: 5.5

I Don't Know Why: 10/10 I have wanted to choreograph something to this song for the fucking longest time oh my god. I really love the vocals and the synth in this one.

Whatever It Takes: 5/10 This one's alright. It's not great but it's definitely not the worst. Perfectly average pop song.

Believer: 10/10 I am a little bit biased with this one because I use it for my OCs a lot but like. It's a really good song. And I don't watch TV so I haven't gotten it ruined for me by commercials.

Walking The Wire: 6/10 I hadn't listened to this song in a while and it's really not as bad as I remember. I guess you can really tell that he was having marital issues when they made this album and that didn't really connect with me back then. But I'm kinda into a little bit of it now.

Rise Up: 4/10 Another really average, inspirational pop song. I like the raspiness of Dan's voice in most songs but it sounds so over processed in this song I can't stand it.

I'll Make It Up To You: 3/10 Wow okay never mind the marital issues vibe is coming back real heavily in this one. Idk it's just such Straight People vibes, I don't like it :/

Yesterday: 1/10 I associate this song with someone I don't talk to anymore and really wanna forget so it's kinda running at a deficit already. But. Um. It's not a good song otherwise. It's another weird song but something about this one just doesn't work.

Mouth Of The River: 7/10 I think I liked this one when it came out, idk why I stopped listening to it. It's pretty good. Not great. But I like the river imagery. Well. I like river imagery in general.

Thunder: 2/10 hhhhhhhhhhhh why did they think this was a good idea. Probably their most notorious song, I know a lot of people cite it when they say Imagine Dragons makes shitty music. I just think it's tragic that this is one of the ones that got super popular for some reason. However as someone who teaches children's dance classes, however annoying you think this version is, you haven't heard anything until you have to listen to the KidzBop version twice a week for a year. Not a complete 0 because I do like some of the vocals that aren't. That Part.

Start Over: 6/10 Another one I hadn't heard in a while, but it's pretty groovy. Not as heavy handed as some of the other songs, and that flute in the chorus is pretty cool.

Dancing In The Dark: 8/10 I like this one a lot, the processing on the vocals is a little wonky but I like the vibes.

Next To Me: 4/10 Yeah this was the "please don't divorce me" song. It's. alright. Really heavy handed, they probably should've waited to release this one but you know.

Origins (2018) average rating: 4.8

Natural: 10/10 Another one I'm biased for because I associate it with a beloved OC. But It's still a good song. I like it.

Boomerang: 5/10 Another song that just has an awkward hook with awkward delivery.

Machine: 9/10 I like this song a lot more now that I know the band is really outspoken about their experiences with mormanism and escaping it. But the irony of a song with a nonconformist message from a pop band is not lost on me.

Cool Out: 5/10 Idk I don't have much to say about this one. It's alright.

Bad Liar: 4/10 Oh boy more divorced dad energy. Hhhhhh I'm getting burnt out on this. For the record I have no problem with people going through things like this, I'm just not into these vibes in my music, especially when they're super desperate like this.

West Coast: 3/10 East coast supremacy. Also why are you trying to be Mumford and Sons.

Zero: 4/10 You know, the Ralph Breaks the internet song? God. That sure was a movie. The song is better, but not by much. It is fun and bouncy but I don't like listening to it too often.

Bullet In A Gun: 5/10 I used to really like this song but now I just associate it with an embarrassing character I used to stan so :/ I do still like the lyrics even if I don't listen to it anymore.

Digital: 3/10 I can't tell if this song is pro or anti technology??? And the electronic melody is annoying.

Only: 4/10 Hhhhhh I'm so tired. I don't like this one.

Stuck: 2/10 idk man. bad.

Love: 3/10 Really trying hard to be the Beatles here. :/ That's really not a compliment.

Birds: 5/10 This one's kinda nice, a little more original but like. I'm so burned out on this theme. hhhhhhhh

Burn Out: 10/10 Speaking of burn out. lmao, no I actually really like this one. I just recently listened to it kinda intently for the first time and I just. Wow. The second verse really gets to me. I feel like this song has a lot of the poeticness I liked from Smoke + Mirrors.

Real Life: 0/10 Hhhhhhhhhhhhhhhh obligatory "PHONES BAD" song from the folk pop band. At least when Bastille does it they don't literally say "turn your phone off!" in the song. I'm so tired. I'm gonna take a nap before I listen to the next album.

Mercury - Act 1 (2021) average rating: 7.46

Okay I'm still tired but let's do this. Also I've only heard this album like three times so far so this ranking is most definitely gonna change as I listen to it more.

My Life: 9/10 Holy shit this song is fucking heart wrenching and I first listened to it at like just the perfect time for me to ball like a baby listening to it. Literally my only gripe is I wish the tempo would've picked up a little bit earlier.

Lonely: 9/10 This song is equally fucking depressing but it's upbeat and I eat that shit up. The vocals are a little weird sometimes but I really like the pre-chorus a lot.

Wrecked: 8/10 Okay so this album is just gonna be gut punch after gut punch huh? Look, I was really going through some shit when they dropped this album so I like really connected with a lot of it. But yeah I like this song.

Monday: 4/10 Alright. Not a fan of this one. The metaphor is kinda cute I guess, even if it implies that like literally everyone else things your sweetheart is fucking insufferable. Actually. Who tf thinks monday is the best day of the week? Like what kind of person? But, uh, musically, it's kinda annoying.

#1: 7/10 Self-care babie!!!!!!! Okay but this is a nice song. Yes we all need to learn self love it's a fucking journey babe.

Easy Come Easy Go: 9/10 I really like this one, it might be my favorite on the album. My only gripe is the bridge/3rd verse/whatever it's called is a little bit clunky

Giants: 8/10 god DAMN those vocals. This is another kinda weird song but I'm into this one like I am with Hopeless Opus.

It's Okay: 7/10 Honestly I'm kinda tired of hearing "it's okay to be not okay" Like yeah I've been depressed for most of my life now I think I got that at this point. But I am a fan of "I don't want this body, I don't want this voice, I don't wanna be here but I guess I have no choice." Like damn even my gender crisis? Y'all are really just hitting all my nails from the past year right on the head huh?

Dull Knives: 9/10 OKAY ROCK RIFF I HEAR YOU, I just wish it would've lasted through the song instead of going slow again during the second chorus. But yeah, songs that make me wanna scream in the woods in the middle of the night.

Follow You: 8/10 ME AND WHO???????

Cutthroat: 9/10 HELLO AMV BAIT I MISSED YOU I wish it was longer. Also, love Dan's screamo debut I wish he'd just fucking scream his throat raw more often.

No Time For Toxic People: 4/10 okay I think we've established that I'm not a fan of completely unsubtle songs so I don't think it should be a shock that I'm not a fan of this one. The music doesn't really save it either.

One Day: 6/10 M E A N D W H O ? ? ? Not as much of a fan of this one as Follow You though.

Additional Singles but only one's I've already heard because fuck you there are so many of these

Battle Cry: 6/10 I thought this one was from some soundtrack but idk. A transformers movie I think? I can't find anything on it. Anyway, okay song. I like the line stars are only visible in darkness. The rest of the song is kinda repetitive

Born To Be Yours: 8/10 I like this song a lot. I have no idea who Kygo is but I'm a fan of this beat. For the record, this is more something I would use for my first dance.

Destination: 6/10 Another song I haven't hear in a while. I enjoy the vocals from the other band members. But it is an itunes sessions song so it's a little messy, probably could have been better if they'd recorded it as a regular song.

I Was Me: 7/10 A nice sad acoustic song, not much to say, I like it

Levitate: 6/10 This one is from that Jennifer Lawrence Crisp Rat movie no one saw. It's okay. I like the sci-fi vibes.

Lost Cause: 4/10 This one is from the Frankenweenie soundtrack of all things. This is another grimdark edgy song, but it just doesn't have the staying power to me that Bleeding Out did.

Monster: 8/10 This song was my fucking jam as a kid and was the song that got me into Nightcore in middle school so you know it's important to me. Still a big fan of it.

Not Today: 7/10 I actually saw the movie this was from, Me Before You. I would say this is another first dance bait song but I think they were just trying to match the vibes of the movie. The song is better than the movie though. In case you were wondering.

Ready! Aim! Fire!: 7/10 continuing the trend of songs from soundtracks, apparently this song is from Iron Man 3? Seems kinda weird to put a song about rebellion and revolution in a movie about a billionaire 🤔🤔🤔. Anyway it has a more electronic, industrial sound than most of their stuff which i appreciate. Still have to deduct points for being from a marvel movie though oops.

Roots: 10/10 Aaaaaaaaaaaahhhhhh I love this song. Another another biased one because I associate it with one of my OCs but like. It's a good song.

Sucker For Pain: 5/10 Ya know that song from the Suicide Squad soundtrack? The masochist anthem? It's alright, I mean Dan's part is probably the best, the rap is okay I guess, I'm not a huge rap fan so I don't really know what constitutes a good rap. I guess the appeal of this song was all the big names but it just gets tiresome that there's a new voice every 30 seconds. Really gimmicky but Lil Wayne's part is kinda funny so I'll give it that.

Warriors: 8/10 More amv bait, another one I could've sworn this was from some soundtrack but I can't find anything on it. Pretty solid song.

Who We Are: 6/10 This sing is from one of the Hunger Games Movies, I can't remember which one though. Anyway it's fucking incomprehensible but I like it.

Conclusion

Okay so in order from Highest to Lowest ranked the albums and EPs are

Smoke + Mirrors: 9.06

Mercury - Act 1: 7.46

Night Visions: 7.33

Self Titled: 7.2

Hell and Silence: 6.75

Evolve: 5.5

Origins: 4.8

It's Time: 4.2

See and this is completly objective because if you had asked me to rank my favorite albums I would've put Night Visions above Mercury 😠 I did have a good time going back and listening to a lot of old songs I hadn't heard in forever

anyway I'm tired and this post no one asked for is over 3k words so I am going to bed good fucking night

[crowdvscritic]

round up // JULY 21

‘Tis the season to beat the heat at the always-cold theatres and next to fans set at turbo speed. While my movie watching slowed a bit with the launch of the Summer Olympics on July 23rd, I’ve still got plenty of popcorn-ready and artsy recommendations for you. A few themes in the new-to-me pop culture I’m recommending this month:

Casts oozing with embarrassing levels of talent (sometimes overqualified for the movies they’re in)

Pop culture that is responding or reinterpreting past pop culture

Stories that get weEeEeird

Keep on-a-scrollin’ to see which is which!

July Crowd-Pleasers

1. Double Feature – ‘90s Rom-Coms feat. Lots of Lies: Mystery Date (1991) + The Pallbearer (1996)

In Mystery Date (Crowd: 7.5/10 // Critic: 6/10), Ethan Hawke and Teri Polo get set up on a blind date that gets so bizarre and crime-y I’m not sure how this didn’t come out in the ‘80s. In The Pallbearer (Crowd: 8/10 // Critic: 7/10), David Schwimmer and Gwyneth Paltrow try to combine The Graduate with Four Weddings and a Funeral in a story about lost twentysomethings. If you don’t like rom-coms in which circumstances depend on lots of lies and misunderstandings, these won’t be your jam, but if you’re like me and don’t mind these somewhat-cliché devices, you’ll be hooked by likeable casts and plenty of rom and com.

2. The Tomorrow War (2021)

I thought of no fewer movies than this list while watching: Alien, Aliens, Angel Has Fallen, Cloverfield, Interstellar, Kong: Skull Island, Prometheus, A Quiet Place: Part II, Star Wars: The Empire Strikes Back, Star Wars: The Revenge of the Sith, The Silence of the Lambs, The Terminator, Terminator 2: Judgment Day, and World War Z. And you know what? I like all those movies! (Okay, maybe I just have a healthy respect/fear of The Silence of the Lambs.) The Tomorrow War may not be original, but it borrows some of the best tropes and beats from the sci-fi and action genres, so much so I wish I could’ve seen Chris Pratt and Co. fight those gross monsters on a big screen. Crowd: 9/10 // Critic: 6/10

3. Dream a Little Dream (1989)

My July pick for the Dumb Rom-Com I Nevertheless Enjoyed! I CANNOT explain the mechanics of this body switch comedy to you—nor can the back of the DVD case above—but, boy, what an ‘80s MOOD. I did not know I needed to see a choreographed dance routine starring Jason Robards and Corey Feldman, but I DID. All I know is some movies are made for me and that I’m now a card-carrying member of the Two Coreys fan club. Crowd: 8/10 // Critic: 6.5/10

4. Black Widow (2021)

The braids! The Pugh! Black Widow worked for me both as an exciting action adventure and as a respite from the Marvel adventures dependent on a long memory of the franchise. (Well, mostly—keep reading for a second MCU rec much more dependent on the gobs of previous releases.) Crowd: 9/10 // Critic: 7.5/10

5. Liar Liar (1997)

Guys, Jim Carrey is hilarious. That’s it—that’s the review. Crowd: 9/10 // Critic: 7/10

6. Sob Rock by John Mayer (2021)

It’s very possible I’ve already listened to this record more than all other John Mayer records. It doesn’t surpass the capital-G Greatness of Continuum, but it’s a little bit of old school Mayer, a little bit ‘80s soft rock/pop, and I’ve had it on repeat most of the two weeks since it’s been out. Featuring the boppiest bop that ever bopped, at least one lyrical gem in every track, and an ad campaign focused on Walkmans, this record skirts the line between Crowd faves and Critic-worthy musicianship.

7. Double Feature – ‘00s Ben Affleck Political Thrillers: The Sum of All Fears (2002) + State of Play (2009)

In The Sum of All Fears (Crowd: 8.5/10 // Critic: 7.5/10), Ben Affleck is Jack Ryan caught up in yet another international incident. In State of Play (Crowd: 8/10 // Critic: 7/10), he’s a hotshot Congressman caught up in a scandal. Both are full of plot twists and unexpected turns, and in both, Affleck is accompanied by actors you’re always happy to see, like Jason Bateman, James Cromwell, Russell Crowe, Jeff Daniels, Viola Davis, Morgan Freeman, Philip Baker Hall, David Harbour, Rachel McAdams, Helen Mirren, Liev Schreiber, and Robin Wright—yes, I swear all of those people are in just those two movies.

8. Loki (2021-)

Unlike Black Widow, you can’t go into Loki with no MCU experience. The show finds clever ways to nudge us with reminders (and did better at it than Falcon and the Winter Soldier), but be forewarned that at some point, you’re just going to have to let go and accept wherever this timeline-hopper is taking you. An ever-charismatic cast keeps us grounded (Owen Wilson, Jonathan Majors, and an alligator almost steal the show from Tom Hiddleston in some eps), but while Falcon lasted an episode or two too long, Loki could’ve used a few more to flesh out its complicated plot and develop its characters. Thankfully, the jokes matter almost as much as the sci-fi, so you can still have fun even if you have no idea what’s going on.

9. Double Feature – Bruce Willis: Die Hard With a Vengeance (1995) + The Whole Nine Yards (2000)

Before Bruce Willis began starring in many random direct-to-DVD movies I only ever hear about in my Redbox emails, he was a Movie Star smirking his way up the box office charts. In the third Die Hard (Crowd: 10/10 // Critic: 7.5/10), he teams up with Samuel L. Jackson to decipher the riddles of a terrorist madman (Jeremy Irons), and it’s a thrill ride. In The Whole Nine Yards (Crowd: 9/10 // Critic: 8/10), he’s hitman that screws up dentist Matthew Perry’s boring life in Canada, and—aside from one frustrating scene of let’s-objectify-women-style nudity—it’s hilarious.

10. This Is the End (2013)

On paper, this is not a movie for me. An irreverent stoner comedy about a bunch of bros partying it up before the end of the world? None of things are for Taylors. But with a little help of a TV edit to pare down the raunchy and crude bits, I laughed my way through and spent the next several days thinking through its exploration of what makes a good person. While little of the plot is accurate to Christian Gospel and theology, some of its big ideas are consistent enough with the themes of the book of Revelation I found myself thinking about it again in church this morning. (Would love to know if Seth Rogen ever expected that.) Plus, I love a good self-aware celebrity spoof—can’t tell you how many times I’ve just laughed remembering the line, “It’s me, Jonah Hill, from Moneyball”—and an homage to horror classics. Crowd: 8/10 // Critic: 7/10

July Critic Picks

1. Summer of Soul (…or, When the Television Could Not Be Televised) (2021)

Even director Questlove didn’t know about the Harlem Cultural Festival, but now he’s compiled the footage so we can all enjoy one of the coolest music fest lineups ever, including The 5th Dimension, B.B. King, Gladys Knight and the Pips, Nina Simone, Sly and the Family Stone, and Stevie Wonder, who made my friend’s baby dance more than once in the womb. See it on the big screen for top-notch audio. Crowd: 8/10 // Critic: 9/10

2. Good Morning, Vietnam (1987)

Robin Williams takes on the bureaucracy, disillusionment, and malaise of the Vietnam War with comedy. Williams was a one-of-a-kind talent, and here it’s on display at a level on par with Aladdin. Crowd: 8/10 // Critic: 9/10

3. Against the Rules Season 2 (2020-21)

Michael Lewis (author of Moneyball, adapted into a film starring Jonah Hill), is interested in how we talk about fairness. This season he looks at how coaches impact fairness in areas like college admissions, credit cards, and youth sports. 

4. Bugsy Malone (1976)

A gangster musical starring only children? It’s a little like someone just picked ideas out of a hat, but somehow it works. You can hear why in the Bugsy Malone episode Kyla and I released this month on SO IT’S A SHOW?, plus how this weird artifact of a film connects with Gilmore Girls.

5. The Queen (2006)

Before The Crown, Peter Morgan wrote The Queen, focusing on Queen Elizabeth II (Helen Mirren) in the days following the death of Princess Diana. It’s a complex and compassionate drama, both for the Queen and for Prime Minister Tony Blair (Michael Sheen, who has snuck up on me to become a favorite character actor). Maybe I’ve got a problem, but I’ll never tire of the analysis of this famous family. Crowd: 8.5/10 // Critic: 9.5/10

6. The Life and Times of Judge Roy Bean (1972)

This month at ZekeFilm, we took a closer look at Revisionist Westerns we’ve missed. I fell hard for Roy Bean, and I think you will, too, if for no other reason than you might like a story starring Jacqueline Bisset, Ava Gardner, John Huston, Paul Newman, and Anthony Perkins. Oh, and a bear! Crowd: 8.5/10 // Critic: 10/10

7. New Trailer Round Up

Naked Singularity (Aug. 6) – John Boyega in a crime thriller!

Queenpins (Aug. 10) – A crime comedy about extreme coupon-ing!

Dune (Oct. 1) – I’ve been cooler on the anticipation for this film, but this new look has me cautiously intrigued thanks to the Bardem + Bautista + Brolin + Chalamet + Ferguson + Isaac + Momoa + Zendaya of it all.

The Last Duel (Oct. 15) – Affleck! Damon! Driver!

Ghostbusters: Afterlife (Nov. 11) - I’m not sure why we need this, but I’m down for the Paul Rudd + Finn Wolfhard combo

King Richard (Nov. 19) - Will Smith as Venus and Serena’s father!

Encanto (Nov. 24) – Disney and Lin-Manuel Miranda making more magic together!

House of Gucci (Nov. 24) - Gaga! Pacino! Driver! 

Also in July…

Kyla and I took a look at the classic supernatural soap Dark Shadows and why Sookie might be obsessed with it on Gilmore Girls.

I revisited a so-bad-it’s-good masterpiece that’s a surrealist dream even Fellini couldn’t have cooked up. Yes, for ZekeFilm I wrote about the Vanilla Ice movie, Cool as Ice, which is now a part of my Blu-ray collection.

Photo credits: Against the Rules. All others IMDb.com.

[idio-cies]

Jatp- Perfect Harmony Dissection

Holy Moly this show has taken me by surprise in the best possible way.

I forgot how good Kenny Ortega is... and omg the dynamics in this show are just *chefs kiss* anyway that’s for another post

All of these songs left an impression with me, but Perfect Harmony just got the cogs working in my brain so I wanted to dissect it because I can’t stop thinking about it.

This will be long but I hope people will bear with me.

I found out that Madison and Charlie wrote this one together for the show, so that’s cool. So, even if this is Julie’s fantasy/daydream, it objectively also has “Luke’s” input as well, considering Madison and Charlie were writing with the characters in mind.

The lead up to this song is Julie realising she is falling for Luke, and has Luke on the brain, so she slips up with calling Nick, Luke yadayada significant to say her crush has changed as well blah blah blah.

I first thought it was strange that they are all in black? They weren’t performing for anyone other than for merit. However Black is of course associated with death, mystery etc, but in this context ,with them being “fancy” it deems them as more elegant than anything. I like using this site for colour reference. Please make of it what you will, but I’m sticking with classy and mysterious with this performance.

Then I noticed how Julie and Nick are the centre of attention, plus Nick and Julie seem to improvise? They aren’t doing as the others are. Whether they are meant to or not. I think this is meant to draw parallels, with Nick sliding on the floor and Luke tumbling, then also the lift, how here it’s short and sweet, yet with Julie and Luke there are two and the second is drawn out and more meaningful etc.

I think she must be dancing normally in reality throughout this, but I’ll come back to that later.

So let’s get into this song.

“Step into my world”- I find this interesting because Luke is the one stepping over into hers, but also this is like some “in-between” that they're in;  significant of the Limbo that the guys are currently stuck in and also the fact that Julie is the bridge. The world is probably metaphorical for music as Luke helps re-establish it in Julie and is also the guy where music is his whole world, as he lets all of his emotions out and connects with people. It’s a running theme being called up again. However, you cannot deny the possible connotation of Julie potentially stepping over with them. It’s also ironic as Luke “steps” into Julie’s world “I’m sorry we came into your life” - Luke, ep 1, and literally steps over here.

“Bittersweet love story about a girl”- undeniable. Their story is bittersweet. Impossible to be together; yet have a connection that runs so deep.

But now we see the scenery, and it’s all monochrome and the candles just scream romance, but also to me, of serenity.

I mean even the dancefloor reflects to make it look as if they are dancing on water or in an in between world. The reason why I point out monochrome gives the intention of “black and white” there is a lack of complexity, it is clear about how true their bond is, and to them it isn’t complex. Also I can’t help but think of yin and yang which can also be included here as they balance each other out. Julie yin, Luke yang. This is ironic considering Julie is always symbolised with light and Luke the contrast with a dark and being, you know, dead.

I also came across a gifset of the parallels to dirty dancing that Perfect Harmony dance had, and again, the colours are flipped with the pair which is just... interesting in this instance.

“Shook me to the core  “Voice like an angel, never heard before”- pretty simple, Luke has always been amazed with Julie’s talent, plus a metaphor commonly attached to Julie, being called an angel. He is also calling her unique. Passage of touch.

But then we get the touch. So I think this whole hand passage thing is reflected in the time they tried to hold hands, then the last time and they could then touch. In this instance though it’s like Julie is the one being resurrected. Again, this could be another metaphor of his hand in helping her find her music again, but you cannot overlook the other implications.

So here is where they dance. I am no dance expert, but dance does have it’s own language that I think everyone can interpret, but I will try my best to explain. I also think “harmony” can be a way to express dance partners as well.

“Here in front of me”- I do think this is in reference being able to touch them, but the drawing up to her hands is so interesting because of the eye contact and draw. It’s more intimate.

Then they go into something similar to what the routine is meant to be in reality, but instead they make it like a pulse on the line “they’re shining so much brighter”

I point out a pulse because it’s “living” and it just juxtaposes with who Julie is talking about; the guys.

A twirl and lift on “than I have ever seen”- This is Julie talking about the guys. Ray calls them angels and then at the end of season they literally freaking glow so... (also pronoun change to collective when Julie starts singing)

“Life can be so mean”- ep 8, after Luke told him their demise would be one of three ways, Julie was going to be hurt all over again. Julie and Flynn had an understanding that the world was being cruel when they were discussing it. Also I just feel their dance here is like they are interpreting a rough ride/rollercoaster. They swing arms then tuck and twist.

“But when he goes, I know he doesn’t leave”- Luke will be in her heart, like she found with her Mum. She did let them go, and she understands she will have to do that, but they will live on in her heart.

Also hand over heart, as she “falls” into him and he doesn’t let her fall. That’s just cute.

“The truth is finally breaking through”- either their feelings or just what will be revealed to us. Though they are parted and Luke does the spinning on the ground so I expect a pitfall somewhere along the way (probs Caleb)

But he rolls right back to her

“Two worlds collide when I’m with you”- Well, the fact that they are the living and the dead.. so. Plus in-between. Don’t know how to interpret the dance here, I just like the swishy steps

“A voice is rising so, so high”- how Julie comes out of her shell. Also can’t help but link to the angel motif. Plus, Julie is lifted up, she is the catalyst, she is rising up in fame really. Luke is one of the people who helps her soar as well.

“We come to life, when we’re in perfect harmony”- Julie always being told she looks “alive again” when she’s doing music again.  Music and playing with Julie is what makes Luke and the guys feel alive. I gotta say, Charlie and Madison do exhibit some good harmonising.

The lift that happened is like the improv that Nick and Julie do, but then Luke and Julie here make eye contact as she comes down again, but goes back to similar to the dance she is meant to be doing. Until she reaches up on the line “We say we’re friends”, he also helps lift them up.

“We play pretend”. I mean, they kinda do. Luke tries to pass off his feelings with the guys, but that boy is WHIPPED.

“You’re more to me”- right off the bat, I like it. Arms out and a hug. YES. Also just look at that bliss on her face, bless her.

“We create” well yes they create “the perfect harmony”

The cut off is abrupt as Julie snaps back to reality. Then she looks in the mirror and realises Luke isn’t there and that she must’ve gone insane. This is what gets me. I think this is the moment that she realises that her feelings for Luke are deeper than she realised and I think she truly thought that they may have been dancing together in the end.

Is this just an extremely vivid daydream, because she had one of these when she mentally performed “I got the Music” and she must’ve done something during that time as she took someone’s drumsticks during her little renaissance. So what happened in real life? Did she just dance around a little, humming a bop? I just... I imagine that this is just a very lucid daydream, which is fair enough, relatable, but it just interacts so much with real life rather than actually just being all in her head. I just find it interesting.

The full version has some lines that I also want to point out. In the second verse there are these lines:

”You set me free”- Luke sings this line which can mean that she will set his soul free- she is a part of his “unfinished business”

“You and me together is more than chemistry”- Julie sings this line. We know that chemistry was pointed out by Alex and Reggie to Luke, and I believe Flynn also says about them being an appealing pair when performing. But they are more than chemistry. I mean they do work well together and they care about each other deeply, but I also can’t help but think of the “signs” her mother was giving her, and believing that the guys were sent to her.

“Love me as I am, I’ll hold your music here inside of my hands”- This is sung by both of them. They already do this, but holding their music in each other’s hand is interesting. I guess this is saying about trust and that they will do it together. I also think this relates to being able to finally hold hands. It’s like the saying “Whatever’s mine is yours”. They share pain, they share lyrics, their passion for music etc.

Then in the bridge we have the lines “I feel your rhythm in my heart”- I have a feeling that they are in sync with each other, they can immediately click and tune in with a melody. It’s also ironic as Luke doesn’t have a heart.

“You are my brightest burning star”- Luke sings this line. It makes sense. As I have said previously, Julie is this beacon of light, Luke clearly is in awe of her and inspires him. He also straight up calls her a star in ep 9 as well

“I never knew a love so real”- oh man, the irony. Their connection is pure and true, it’s just so annoying that he’s a ghost

“We’re heaven on earth, melody and words”- again with the metaphor of the middle ground where I suppose Julie sits. I understand the idiom and the bliss that they feel, and the connection they have and share with people. It’s just interesting as at the moment earth is currently Luke and the guys’ afterlife.

Anyway, that has been my dissection of Perfect Harmony. Thanks for reading if you’ve gotten this far 😅

PS. the lack of visual aids is because Tumblr hates me, I apologise

[scullydubois]

Only the Light: Ch. 8

8/? | AU where Melissa moves in with Scully after Scully’s abduction | angst, msr slow-burn, some fluff | currently: s2, ep 12, Aubrey | T (for now?) | 2.3k | previous chapters | read on ao3 | tagging: @today-in-fic

Scully deals with the trauma of her nightmare when she and Mulder meet BJ in the park; a migraine leads Scully to breakdown to her sister.

[this is an especially angsty part...TW for mild implication of rape]

------------------

The rest of their breakfast passes without fanfare. After their conversation about love languages, neither feels like diving into particularly deep topics. Mulder spends their meal providing commentary on the songs other customers picked off the jukebox, turning Scully into a captive audience who occasionally nods, chuckles, or otherwise utters a phrase of approval. It’s not that they’re bored of each other, but that they feel they should preserve their energy for the taxing conversations sure to come along with the case. The electricity between them lingers in the air, waiting for a match to spark it. When the waitress asks if they want to split the bill, Mulder gallantly insists that he will take care of it, then pulls out the Bureau credit card with a wink his partner’s way. To Scully, his wink feels like a lighter flaring into flame. A brief moment of blaze, there and then gone again. One day, she swears to herself, one day she will let him ignite her heart. 

Back in the car, they buckle up and reacclimate themselves with 1994. The local country music station hums in the background, too low to make out any lyrics. It’s just a few stoplights to the park, not even long enough to get through an entire song.

They find BJ at a picnic table nestled among Aubrey’s fall colors. She notices them first, waves them over. “Good morning.”

“Morning,” Mulder says as he and Scully take a seat across from the detective.

Scully is struck by reality’s intrusion on the version of BJ she met in her nightmare. BJ is not heavily pregnant; she does not even show. She’s not covered in blood either, but looking polished in a pantsuit. Yet the sight of her conjures up vivid images from the dream, ones that Scully hoped would stay hidden in her psyche forever. The resolute darkness of Duane Barry’s eyes, like his soul had been sucked out of him. The way droplets of blood splattered when he pulled BJ by the collar. And the image of her own body, how it had been desecrated and she hadn’t felt a thing. She felt nothing.

“How are you, BJ?” she asks, her voice stiffer than intended.

BJ rests her hands on the wooden table. “I’m okay.” Then-- “I’ve made some decisions.”

Scully nods, not wanting to pry. The three of them sit with the silence. Sometimes this is all you can do. Her courage gathered, BJ looks to Mulder. 

“I don’t know if Agent Scully told you, but I’m pregnant. It’s Tilman’s. It’s made things...complicated.”

“I’m sure,” Mulder replies, not particularly moved by this announcement. 

“I don’t think it will impact the case in any way, but I wanted to be open with you. Staying quiet about it was only making the situation tougher.”

“Well, thanks for sharing.”

Scully shoots Mulder a look, as if to chastise his blase attitude toward BJ’s courage. He doesn’t see it, which makes her feel oddly guilty, like she had talked about him behind his back. 

Across the park, a little girl plays with her dog. They run through a pile of leaves together, and she takes a tumble. 

“Ow!” the girl exclaims loud enough to be heard throughout the park. BJ stands up, her gaze snapping toward the sound. Scully turns, fighting the urge to join BJ. The girl’s mother bends to check the girl for injury and seeing that she’s okay, sets her on her feet. BJ exhales, joins the agents back at the table.

“The mothering instinct,” BJ monologues. “I've been feeling it a lot lately. I used to hate it when my mother hovered over me. I swore I'd never be like her.”

Scully’s throat tightens. She felt the gravitational pull too. I mean, she’s always liked kids, but she’s not sure she would be a good mother and so she’s tried not to think much about it. Certainly her situation is unfavorable for motherhood. What kind of life would it be for a kid to have their mother gone all the time? She knows what it’s like to tuck herself into bed without a goodnight kiss and a bedtime story...to feel like an afterthought in a parent’s life. It made her push herself harder, trying to shed the inadequacy her father must have seen in her. And still she fell short. Is it all in her head, this fledgling maternal instinct? Or is it a sign of changing brain chemistry?

“I think we all feel that way at some point or another,” Mulder says. For a moment, Scully thinks he’s read her mind. She’s about to ask him whether there’s such thing as a paternal instinct when BJ continues on--

“My father was a cop. A good cop. That's all I ever wanted to be. He'd say what we're doing here is nonsense. That you can't solve a crime from a dream.”

Scully is somewhat relieved to know that she’s not alone in failing to measure up to a father’s expectations. This is not the point of the conversation, but this is what her mind latches on to. Her own father felt that the X-Files was a waste of time,, and she could never put into words why the work was so fulfilling to her. It’s not medicine; the results aren’t as obvious. Yet she can’t help but feel like she and Mulder are tuning into a rarely heard frequency, listening to its message, and passing it on. Little by little that will change the world, won’t it?

“Well, I've often felt that dreams are answers to questions we haven't yet figured out how to ask,” Mulder offers, rising to meet the gravity of the moment. Scully wonders what question her nightmare was answering. She shudders at the thought.

---------

Her skull feels like it’s being cut in half with a chainsaw, there is no other way to put it. She’s lying stretched out on her motel bed, a washcloth over her eyes, praying the pain away. Migraines aren’t a common occurrence for her, but she recalls all the times her mother would turn off the television, pull the curtains, and lay flush in her recliner in an attempt to ward off the pain. As little as she was, Scully would pull a step stool over to grab a glass from the cabinet, then fill it with water and bring it to her mother like a dog itching for a treat. She’d get a ‘thank you’ from her mom’s quiet, steady voice and sometimes a pat on the head, but nothing she could subsist on. She always wished for a little more to fill the deficit in herself. Now she understood. Pain chips away at your capacity for love.

What had started as a dull roar now felt more like the scream of a banshee. It came on suddenly around 4 while she and Mulder were reviewing the evidence of the 1942 murders. Their day had been pretty slow, one of paperwork and manila folders and bureaucracy. Not a lot of progress on the case. It’s as if her brain weren’t working hard enough, and so decided to punish her by making work impossible. She let on nothing of her plight until the way back to the motel when she leaned her head against the window and Mulder asked if she was okay. She responded nonchalantly, saying it was just a headache, and he in his savior complex offered to stop for Aspirin, but she insisted she had some in her suitcase. She did--a bottle with only two left--and she took them both. So far they’ve done nothing to combat the pain. 

It occurs to her that her ardent desire to avoid coming off as a damsel in distress doesn’t exactly mesh with Mulder’s tendency to be the hero. What is she to make of that? Nothing, not in her current state of mind.

She lies there, wonders if it’s reached a late enough hour to change into her pajamas. She can’t deal with the monotony of the shower tonight, not even if Mulder’s on the other side. She turns, glances at the digital alarm clock. 8:09pm. Certainly that’s appropriate pajama time, right? She can never be sure that Mulder won’t come knocking on her door with a new interpretation of the evidence for her to shoot down or a theory somehow more outlandish than his original. She likes that they keep each other on their toes, but tonight that’s not where she wants to be.

Her head berates her for sitting up. She figures that if that’s wishful thinking, changing clothes will be too, so she lays right back down. She has gotten very used to ending up back where she started.

Seeing as modern medicine is failing her, she decides to try meditation. Missy swears by it, but Scully doesn’t see the benefit of willingly turning off your brain. She can hear her sister now: “It’s not about turning off your brain, it’s about transcending your thoughts and being present with the world.” Since when am I not present with the world, she always wants to reply. She can’t afford not to be present with the world.

But the older sister always has some semblance of sway over the younger one, so Scully closes her eyes and listens to the nothingness of the room around her. Well, it’s not exactly nothing, but nearly so. The mini-fridge, which she doesn’t dare touch even if the bill isn’t her responsibility, hums like it has something to prove. The remaining leaves on the trees in the parking lot rustle with the wind. In the adjacent room, Mulder’s TV is on. She can hear the droning chitter-chatter of sports commentators. Baseball, probably. That’s played in the fall, right?

She slips out of active listening and into mindless musing on her lack of sports expertise. Her father was never a sports junkie himself, but her brothers were. She was often made the referee of their wrestling matches or t-ball games, having been deemed more impartial than Melissa. And yet her understanding of plays and pitches and batting averages never progressed from there. She could name all 206 bones in the body in alphabetical order, but she couldn’t tell you what 3rd down meant. Usually she doesn’t care, but at the moment, this is making her indescribably sad.

Overcome by her isolation, she grabs the phone off hook, dials her own number. Melissa picks up right before it stops ringing.

“Hello?”

“Missy…” she doesn’t know it’s going to happen until she opens her mouth and tears fling themselves down her face.

“Dana, what’s wrong? Did something happen? Are you safe?” Missy’s voice is concerned but controlled, like a 911 operator. 

“I-I’m okay,” Scully manages, in probably the least convincing delivery ever.

“Where are you?”

“I’m in the motel. Mulder and I are safe, we’re okay,” she stammers. 

“Tell me what’s wrong,” Melissa says with utter calm. 

“My head is pounding, Missy, and I know mom used to get migraines, but I’ve never felt anything like this before--” Her voice catches, a sob slips out. “And I’m scared, Missy. Something’s wrong with me.”

“It sounds like you need medical attention, honey.” Melissa always knows when to slip in a term of endearment. “Can Mulder take you to the hospital?”

“No, no, it’s not like that.” She squeezes her eyes shut, sees stars. She hopes Mulder can’t hear her crying. The embarrassment of hurting is almost worse than the hurt itself. She pulls the bed sheet over her head like some over-dramatic teenager. She wouldn’t be able to look Mulder in the eye if he heard this next part. 

She sniffles. “I’m six days late, and I’m never late, and I can’t be pregnant unless…” She wonders what would happen if she just stopped the sentence there and never spoke of it again. Could she do that? Would Melissa mind? 

She lets the bottom drop out from under her. “...unless they did something to me.” The words are barely audible, she hates to have them on her tongue. Worse still, she’s not even the subject in her own sentence. She’s the object, of course. 

She hears Missy take what she’s deemed “a cleansing breath.” Then--”Can you come home? Tonight, tomorrow morning?”

“I...What would I tell Mulder?” Her tears have stopped flowing, but her brokenness still lives in her voice. 

“Anything. That I locked myself out of the apartment, that it’s mom’s birthday, maybe the truth. That man will listen to whatever you say. He’s not gonna stop you.”

“Well, I have to tell the FBI something.” 

“Say you have a family emergency. Or that you’re experiencing trauma from work-related events. You don’t owe them anything, Dana.”

Scully knows this, but could never operate as if she actually believed it. The FBI is her job, her duty, her choice. How can she be up in arms about something she wished upon herself? 

She takes as deep a breath as the pain in her head will allow. “I’ll fly out tomorrow morning.”

“Call me with the deets before you take off. I’ll pick you up.”

“Okay.” Scully feels a rush of safety, of being held & supported. “Thank you,” she breathes. Missy has saved her from herself.

“You’re welcome. And Dana…?”

“Yes?”

“We’re gonna figure this out. Whatever it is, we’re gonna figure it out.”

Scully flutters her eyelids shut, feels the temptation of tears at the back of them. “I know...Thank you. I love you.”

“I love you too,” Missy echoes. “Get some rest, and try not to worry. I’ll see you in the morning.” 

Scully wonders what gene her sister has that gives her such a distinct ability to say the right thing every time. She wishes she hadn't missed that boat. How much easier would life be? 

She notices that Missy has refused to hang up first. “Goodnight, Missy,” she says into the phone.

“Goodnight, Dana. Sleep well.” Her words are a balm to the soul. 

Scully puts the phone back on the hook, feeling like Missy just put hope back in her vocabulary. Hope or belief? Which is stronger?

[passionate-reply]

On this episode of Great Albums, we explore a fabulous mini-LP by one of the most underrated stars of New Wave: Bill Nelson! (Not to be confused with the former senator of Florida.) Full transcript under the break.

Welcome to Passionate Reply, and welcome to Great Albums! Today’s album of choice is a bit less than an album, but more than an EP--a mini-LP, if you will. It’s Bill Nelson’s Chimera, released in 1983. Chimera features six tracks, and plays at 33 ⅓ RPM, so I’m going to go ahead and count it as an album. Whatever it is, it’s certainly something great. To quote the Bard of Avon, “though she is but little, she is fierce!”

If you aren’t familiar with Bill Nelson, I, and many other enthusiasts of his work, would be quick to recommend Chimera as an ideal introduction. Its brevity and tight aesthetic focus certainly make it an accessible listen, for one thing. And for another, Chimera captured Nelson at the arguable peak of his career, while he enjoyed the unfettered creative freedom that came with releasing music on his own private record label, Cocteau Records. Nelson’s early 80s releases were all over the map: he experimented with ambient electronic music, scores for stage and screen, and the continuation of his previous work in the 70s: New Wave art rock with a substantial synthesiser component.

Music: “Flaming Desire”

Nelson’s preceding LP, 1982’s The Love That Whirls, is a mix of poppier cuts like “Flaming Desire” as well as pieces that show his more progressive, psychedelic side, like “The Crystal Escalator In the Palace of God Department Store.” Chimera leans towards the former, but it isn’t without touches of the latter, either. Its opening track, “The Real Adventure,” is dense and complex, but its soaring refrain makes it rather easy to love from the get-go.

Music: “The Real Adventure”

Side one of Chimera is dominated by these more forceful, driving pieces. All three of them were composed around drum tracks sent to Nelson by Yukihiro Takahashi, of Yellow Magic Orchestra. Nelson is one of those artists who’s consistently resisted settling down and getting too comfortable with any particular band, and the contributions of his many guest musicians add substantial character to his releases. The second track on side one, “Acceleration,” features one of Nelson’s more consistent collaborators: his younger brother, Ian Nelson, who plays the saxophone here. I think that sax lends the song a lot of its free-wheeling, liberated sense of excitement.

Music: “Acceleration”

While there were no proper singles released from Chimera, “Acceleration” did receive a dedicated 12” in 1984, and its hooky appeal certainly justifies that. On its flip side, Chimera is much more dreamy and playful, though it maintains a strong pop core. “Glow World,” the second track on side two, features the bass guitar work of Mick Karn, formerly of Japan. I like to think “Glow World” approaches the same sort of misty, beguiling exoticism that Japan had been aiming for on their final LP, 1981’s Tin Drum.

Music: “Glow World”

The bittersweet final track of Chimera, “Another Day, Another Ray of Hope,” is both a favourite of Nelson himself as well as many of his fans. As the title suggests, the lyrics encourage listeners to look ahead with optimism, but the song’s downer melody seems more grounded in a tumultuous present than a promising future. On this track, Nelson makes remarkable use of “E-Bow guitar”--that is, using a device that allows players of electric guitar to produce sounds akin to those achieved by playing an acoustic guitar with a bow. Nelson was a pioneer of this technique, and a virtuoso guitarist in general. He may be something of a guitarist’s guitarist, but his intricate solos have always been stirring to my lay ears as well.

Music: “Another Day, Another Ray of Hope”

Chimera’s cover features stills from the music video for “Flaming Desire.” Stark and mysterious, they quite clearly channel Nelson’s interest in the experimental films of the Surrealists, like Cocteau Records’ namesake, Jean Cocteau. I suppose they’re a somewhat misleading inclusion, as “Flaming Desire” doesn’t appear on the album, but they do create an atmosphere of intrigue and mystique. Its rich fuschia background is quite striking and eye-catching, and when combined with the golden text makes for an overall pleasing colour scheme.

Chimera was originally going to be titled “Sextet,” in a clear nod to its six track length, but Nelson changed it in response to the release of Quartet, the sixth LP from Ultravox, his arguable rivals in the arena of synth-rock. I actually like “Chimera” much better as a title. If nothing else, simply being more abstract and open to interpretation makes it more interesting. Chimeric beasts composed of opposing parts, such as satyrs and minotaurs, were a common theme of the Surrealists Nelson admired, and they were often used as symbols of people torn between Freudian ego and the desires of the subconscious mind. The name fits not only the way the album’s two sides pursue different themes, but also the composite nature of the individual tracks, which were mostly stitched together in the studio. On “Tender Is the Night,” for example, Nelson himself is credited with playing every single instrument we hear, from synthesisers to marimbas.

Music: “Tender Is the Night”

After Chimera, Nelson spent several years focused almost exclusively on ambient music. But he never fully lost interest in making vocal-oriented pop, and in 1986 he aimed to release another album in that vein through a major label--in this case, CBS Records. But, as is often the case, his artistic vision for the LP ended up getting sacrificed in certain markets. Its sleeve design was replaced, due to controversy over the conflation of occult symbols and Christian imagery, and its title changed from Getting the Holy Ghost Across to On a Blue Wing. Not to mention a confusing reworking of its tracklisting!

Music: “Rise Like a Fountain”

After this release, Nelson seems to have retreated back into the world of small-time publishing for good, and it’s hard to blame him. Given the choice between kowtowing to higher-ups and sticking to his own aesthetic guns, Nelson maintained that he wanted to do the latter, and it’s hard not to respect him for that. These days, you’ll find most of his latest releases on a new private label of his, “Sonoluxe.”

My favourite track on Chimera is the last one featured on side one, “Every Day Feels Like Another New Drug.” While it starts out sounding similar enough to the first two tracks, its outro blossoms into something surprisingly experimental--a cacophony of samples, showing Nelson’s remarkable willingness to lean into advancements in electronic music technology. It’s something that sets him apart from other art rockers of his day, whose electronic dabblings were often much lighter, and something that I simply enjoy the sound of a lot. That’s all for today--thanks for listening!

Music: “Every Day Feels Like Another New Drug”

[newmusickarl]

Album & EP Recommendations

As there is a HUGE amount to cover this week, I’m trying something a bit different with some slightly snappier reviews and a genre inclusion so you can head straight for the recommendation that matches your musical preference. There’s at least one album from all the key genres this week too, so hopefully a little something for everyone. Without any further ado then, here’s what’s good:

Album of the Week: Comfort To Me by Amyl & The Sniffers (Punk/Rock)

My personal preference from this week is the rip-roaring sophomore album from Australia’s own Amyl & The Sniffers. Although I was already vaguely familiar with the band’s previous work, I was still not prepared for the full throttle, smashmouth, rifftastic contents of this utterly brilliant record. As a result, this one hit me like a lightning bolt, thanks to the furious energy of frontwoman Amy Taylor and the mind-melting guitar work throughout.

From the off, absolutely nothing is held back here, as Taylor’s punk vocals and razor-sharp lyrics hit you in the ear like haymakers. What’s most surprising though is how the shredding guitar riffs that are littered across this record manage to sound so astonishing and impressive, yet at the same time as if the band are not even trying at all. It’s completely hypnotising yet everything is made to sound so easy and natural thanks to the sheer rawness of the music.

This one also already plays out like a greatest hits record too, with Guided By Angels, Security, Hertz, Maggot and Capital five of the best pure punk rock tracks to emerge in the last five years. Concise, in-your-face and no moment spared, this is a rock record the kind of which rarely gets made anymore. Without a doubt, one of the best of the year for its genre.

Listen here

Hey What by Low (Experimental/Alternative)

They may be 13 albums and nearly 30 years into their career at this point, but American experimental rockers Low show no sign of slowing down at this point. Still relatively fresh off the back of their hugely acclaimed album Double Negative, which was widely seen as the Album of the Year in 2018, Low are back yet again with another sonic trip into the weird and wonderful.

Now I must admit although a lot of people adored Double Negative, I personally was always a bit indifferent towards it. I appreciated the sonic textures and the heartfelt moments, but it never completely resonated with me like I know it did for others – one that fell into the “easy to admire, hard to love” category. That is not the case with this new album however, as with Hey What they seem to have further refined what they started on that record, creating an album that’s just as impressive but possibly more accessible than its predecessor.

Opener White Horses picks up pretty much where they left off under a tidal wave of soaring vocals and stunning yet unsettling distortion. From there you’ll once again be checking your audio equipment hasn’t broken, as Low playfully mess around with musical conventions and gargantuan glitchy soundscapes to great effect. This also allows the slightly sparser tracks like All Night, Don’t Walk Away and particularly Days Like These, to emerge out of this masterfully produced cacophony as some of the most haunting and stirring moments.

They may not have won me over with the last one, but they certainly have now – an outstanding album that leaves a lasting impression.

Listen here

Star-crossed by Kacey Musgraves (Country/Pop)

Golden Hour was another hit with the critics in 2018 that, much like the Low album, didn’t quite capture me. But again, just like Low, I prefer this latest work from country-turned-pop singer, Kacey Musgraves. With Star-crossed, Musgraves aims to craft her own Shakespearean tragedy, with all the theatre and the drama that goes with it.

The title track opener perfectly sets the stage as the gentle plucking of the acoustic guitar is suddenly surrounded by soaring, multi-layered instrumentation. It is all hugely cinematic and from there on in, Musgraves weaves her tale of heartbreak with plenty of catchy hooks, polished production and solid, heartfelt songwriting. However, the best moments are arguably when Musgraves keeps it raw, such as on camera roll where she takes something as simple as finding old photos of a lost lover on a phone and relaying back to the listener the pain that moment can bring.

In a year that’s already seen some brilliant pop albums, Musgraves stakes her claim with a well-crafted record built on a tried and tested concept. It’s a successful outing with more than enough great tunes and interesting instrumentation (see the jazz flute on there is a light in particular) to keep you interested from beginning to end.

Listen here

Enjoy The View by We Were Promised Jetpacks (Alternative)

Scottish indie rockers We Were Promised Jetpacks also released their stunning fifth album this week. This one pulls at the heartstrings from the get-go as the gentle waltz of reflective opener that’s Not Me Anymore immediately locks you into the record and refuses to loosen its grip until the very last note. There’s plenty of spine-tingling moments throughout too, such as the melancholic riffs of All That Glittered, the haunting sparseness of What I Know Now and the uplifting melody of I Wish You Well.

Listen here

Back In Love City by The Vaccines (Indie)

A band well adept at writing killer hooks at this point, indie rockers The Vaccines have also returned with their fun fifth album this week. Not too much to say about this one other than if you are a fan of their previous efforts the chances are you’ll adore this one too, as their music continues to deliver big riffs and anthemic choruses aplenty, but with more refinement and polished craftmanship at this veteran stage in their career. Highlights include the ultra-catchy title-track and the galloping, Western-stylings of Paranormal Romance, which comes across a bit like their own version of Muse’s Knights of Cydonia.

Listen here

Mother by Cleo Sol (R&B/Soul)

Fresh off her high-profile collaborations with Little Simz and Sault, singer-songwriter Cleo Sol has once again stepped out on her own, this time exploring themes of motherhood. Gracious, compassionate and quite moving, it’s a stirring soul record where Cleo’s soft yet powerful vocals take centre stage against a backdrop of minimal instrumentation. If you need something peaceful and easy listening, you won’t go wrong with this one as Don’t Let Me Fall, Promises and We Need You offer up the most beautiful moments here.

Listen here

The Melodic Blue by Baby Keem (Hip Hop/Rap)

There is a lot of pressure that comes with being Kendrick Lamar’s cousin, however you wouldn’t know it listening to Baby Keem’s assured debut album. Although it is admittedly quite hit and miss (first two tracks trademark usa and pink panties ironically leave a lot to be desired), there are enough high points here to make this record worth your time. The collaborations with Kendrick (range brothers and family ties) both strike a chord while the Don Toliver (cocoa) and Travis Scott (durag activity) featuring tracks also dazzle. That said Keem is arguably at his best when he’s riding solo, such as on the heartfelt issues and the Kanye West Love Lockdown sampling, scars.

Listen here

I’ve Been Trying To Tell You by Saint Etienne (Ambient/Electronic)

Crafted over lockdown, this tenth studio album from the London trio is a gloriously understated dive into modern British history, 1997-2001 to be precise. By using evocative imagery and samples from the turn of the millennium, where R&B and bubblegum pop dominated the musical landscape, they have forged quite a dreamy ambient record. Wonderfully creative and a fairly chill listen, it’s a fascinating reflection on a time when the world seemed a lot less complex than it does today.

Listen here

The Blacklist by Metallica (Metal/Various)

And lastly on the albums front this week, I have been promoting the various Metallica covers released as part of the The Blacklist project for several weeks now, but now finally the full album has been revealed along with all the covers yet to be shared as individual releases.

At 53 songs long, the tribute to Metallica’s classic Black Album is certainly not one to run through in a single sitting, however there is plenty of fun covers here to dip into and explore. In case you haven’t seen, amongst those offering their own versions of these classic tracks are: Miley Cyrus & Elton John, Phoebe Bridgers, Dermot Kennedy, Weezer, Biffy Clyro, St. Vincent, Rina Sawayama, Sam Fender, Flatbush Zombies, Portugal The Man, IDLES, Cherry Glazerr and many, many more.

Listen here

Tracks of the Week

Beautiful James by Placebo

I’m also over the moon to say Placebo finally released their new single this week, their first since 2016’s Jesus’ Son. Beautiful James shows that Brian Molko and Stefan Olsdal haven’t missed a step in their five-year hiatus, with this one centred on a typically instant chorus and some neon-soaked synths. A big welcome back to one of my all-time favourites!

Listen here

I Don’t Live Here Anymore by The War On Drugs

Although the first single from their forthcoming new album may have been more understated than normal, on this title track Adam Granduciel & Co. return to the soaring stadium-sized rock for which they are known. Undoubtedly one of their finest tracks to date, you’ll want to stick this one on repeat just so you can keep getting lost in those wonderfully atmospheric guitar riffs.

Listen here

Arcadia by Lana Del Rey

And finally, Lana continues the build towards her second album of 2021, Blue Banisters, with this latest single seeing her on typically vintage form as the song sounds as if it was pulled from another time. With distant horns and a gentle piano, it’s as stunning as any of her best recent work.

Listen here

[sinceileftyoublog]

Pitchfork Music Festival 2021 Preview: 15 Can’t-miss Acts

black midi; Photo by YIS KID

BY JORDAN MAINZER

While yours truly won’t be attending Pitchfork Music Festival this year, SILY contributor Daniel Palella will be covering the actual fest. If I was attending, though, these would be the acts I’d make sure to see. 5 from each day, no overlaps, so you could conceivably see everyone listed.

FRIDAY

Armand Hammer, 1:00 PM, Green Stage

Earlier this year, New York hip hop duo Armand Hammer released their 5th album Haram (BackwoodzStudioz) in collaboration with on-fire producer The Alchemist. It was the duo’s (ELUCID and Billy Woods) first time working with a singular producer on a record (though Earl Sweatshirt produced a track), and likewise, The Alchemist actually tailored his beats towards the two MCs. Haram is the exact kind of hip hop that succeeds early in the day at a festival, verbose and complex rhymes over languid, cloudy, sample-heavy beats, when attendees are more likely to want to sit and listen than dance. And you’re going to want to listen to Armand Hammer, whose MCs’ experiential words frame the eerie hues of the production. “Dreams is dangerous, linger like angel dust,” Woods raps on opener “Sir Benni Miles”, never looking back as he and Elucid’s stream-of-consciousness rhymes cover everything from colonization to Black bodily autonomy and the dangers of satisfaction disguised as optimism. (“We let BLM be the new FUBU,” raps Quelle Chris on “Chicharrones”; “Iridescent blackness / Is this performative or praxis?” ponders Woods on “Black Sunlight”.)  There are moments of levity on Haram, like KAYANA’s vocal turn on “Black Sunlight” and the “what the hell sound is this?” type sampling that dominates warped, looped tracks like “Peppertree” and “Indian Summer”, built around sounds of horns and twirling flute lines. For the most part, Haram is an album of empathetic realism. “Hurt people hurt people,” raps Elucid on “Falling Out of the Sky”, a stunning encapsulation of Armand Hammer’s world where humanism exists side-by-side with traumatic death and feelings of revenge.

You can also catch Armand Hammer doing a live set on the Vans Channel 66 livestream at 12 PM on Saturday.

Dogleg, 1:45 PM, Red Stage

It feels like we’ve been waiting years to see this set, and actually, we have! The four-piece punk band from Michigan was supposed to play last year’s cancelled fest in support of their searing debut Melee (Triple Crown), and a year-plus of pent up energy is sure to make songs like “Bueno”, “Fox”, and “Kawasaki Backflip” all the more raging. Remember: This is a band whose reputation was solidified live before they were signed to Triple Crown and released their breakout album. Seeing them is the closest thing to a no-brainer that this year’s lineup offers.

Revisit our interview with Dogleg from last year, and catch them at an aftershow on Saturday at Subterranean with fellow Pitchfork performer Oso Oso and Retirement Party.

Hop Along, 3:20 PM, Red Stage

Though lead singer Frances Quinlan released a very good solo album last year, it’s been three years since their incredible band Hop Along dropped an album and two years since they’ve toured. 2018′s Bark Your Head Off, Dog (Saddle Creek), one of our favorite albums of that year, should comprise the majority of their setlist, but maybe they have some new songs?

Catch them at an aftershow on Saturday at Metro with Varsity and Slow Mass.

black midi, 4:15 PM, Green Stage

The band who had the finest debut of 2019 and gave the best set of that year at Pitchfork is back. Cavalcade (Rough Trade) is black midi’s sophomore album, methodical in its approach in contrast with the improvisational absurdism of Schlagenheim. Stop-start, violin-laden lead single and album opener “John L”, a song about a cult leader whose members turn on him, is as good a summary as ever of the dark, funky eclecticism of black midi, who on Cavalcade saw band members leave and new ones enter, their ever shapeshifting sound the only consistent thing about them. A song like the jazzy “Diamond Stuff” is likely impossible to replicate live--its credits list everything from 19th century instruments to household kitchen items used for percussion--but is key to experiencing their instrumental adventurousness. On two-and-a-half-minute barn burner “Hogwash and Balderdash,” they for the first time fully lean into their fried Primus influences, telling a tale of two escaped prisoners, “two chickens from the pen.” At the same time, this band is still black midi, with moments that call back to Schlagenheim, the churning, metallic power chords via jittery, slapping funk of “Chondromalacia Patella” representative of their quintessential tempo changes. And as on songs like Schlagenheim’s “Western”, black midi find room for beauty here, too, empathizing with the pains of Marlene Dietrich on a bossa nova tune named after her, Geordie Greep’s unmistakable warble cooing sorrowful lines like, “Fills the hall tight / And pulls at our hearts / And puts in her place / The girl she once was.” Expect to hear plenty from Cavalcade but also some new songs; after all, this is a band that road tests and experiments with material before recording it.

Catch them doing a 2 PM DJ set on Vans Channel 66 on Saturday and at an aftershow on Monday at Sleeping Village.

Yaeji, 7:45 PM, Blue Stage

What We Drew (XL), the debut mixtape from Brooklyn-based DJ Yaeji, was one of many dance records that came out after lockdown that we all wished we could experience in a crowd as opposed to at home alone. Now's our chance to bask in all of its glory under a setting sun. Maybe she’ll spin her masterful remix of Dua Lipa’s “Don’t Start Now” from the Club Future Nostalgia remix album, or her 2021 single “PAC-TIVE”, her and DiAN’s collaboration with Pac-Man company Namco.

Angel Olsen; Photo by Dana Trippe

SATURDAY

Bartees Strange, 1:45 PM, Red Stage

One of our favorite albums of last year was Live Forever (Memory Music), the debut from singer-songwriter and The National fanatic Bartees Strange, one that contributor Lauren Lederman called “a declaration of an artist’s arrival.” He’s certainly past arrived when you take into account his busy 2021, releasing a new song with Lorenzo Wolff and offering his remix services to a number of artists, including illuminati hotties and fellow Pitchfork performer (and tour mate) Phoebe Bridgers. Expect to hear lots of Live Forever during his Pitchfork set, one of many sets at the fest featuring exciting young guitar-based (!) bands.

Catch him at a free (!!) aftershow on Monday at Empty Bottle with Ganser.

Faye Webster, 4:00 PM, Blue Stage

Since we previewed Faye Webster’s Noonchorus livestream in October, she’s released the long-awaited follow-up to Atlanta Millionaires Club, the cheekily titled I Know I’m Funny haha (Secretly Canadian). At that time, she had dropped “Better Distractions”, “In A Good Way”, and “Both All The Time”, and the rest of the album more than follows the promise of these three dreamy country, folk rock, and R&B-inspired tunes. Webster continues to be a master of tone and mood, lovelorn on “Sometimes”, sarcastic on the title track, and head-in-the-clouds on “A Dream with a Baseball Player”. All the while, she and her backing band provide stellar, languorous instrumentation, keys and slide guitar on the bossa nova “Kind Of”, her overdriven guitar sludge on “Cheers”, cinematic strings on the melancholic “A Stranger”, stark acoustic guitar on heartbreaking closer “Half of Me”. And the ultimate irony of Webster’s whip-smart lyricism is that a line like, “And today I get upset over this song that I heard / And I guess was just upset because why didn't I think of it first,” is that I can guarantee a million songwriters feel the same way about her music, timely in context and timeless in sound and feeling.

Catch her at an aftershow on Saturday at Sleeping Village with Danger Incorporated.

Georgia Anne Muldrow, 5:15 PM, Blue Stage

The queen of beats takes the stage during the hottest part of the day, perfect for some sweaty dancing. VWETO III (FORESEEN + Epistrophik Peach Sound), the third album in Muldrow’s beats record series, was put together with “calls to action” in mind, each single leading up to the album’s release to be paired with crowdsourced submissions via Instagram from singers, visual artists, dancers, and turntablists. Moreover, many of the album’s tracks are inspired by very specific eras of Black music, from Boom Bap and G-funk to free jazz, and through it all, Muldrow provides a platform for musical education just as much as funky earworms.

Revisit our interview with Muldrow from earlier this year.

Angel Olsen, 7:25 PM, Red Stage

It’s been a busy past two years for Angel Olsen. She revealed Whole New Mess (Jagjaguwar) in August 2020, stripped down arrangements of many of the songs on 2019′s amazing All Mirrors. In May, she came out with a box set called Song of the Lark and Other Far Memories (Jagjaguwar), which contained both All Mirrors and Whole New Mess and a bonus LP of remixes, covers, alternate takes, and bonus tracks. She shortly and out of nowhere dropped a song of the year candidate in old school country rock high and lonesome Sharon Van Etten duet “Like I Used To”. And just last month, she released Aisles, an 80′s covers EP out on her Jagjaguwar imprint somethingscosmic. She turns Laura Branigan’s disco jam “Gloria” and Men Without Hats’ “Safety Dance” into woozy, echoing, slowed-down beds of synth haze and echoing drum machine. On Orchestral Manoeuvres in the Dark’s “If You Leave”, her voice occupies different registers between the soft high notes of the bridge and autotuned solemnity of the chorus. Sure, other covers are more recognizable in their tempo and arrangement, like Billy Idol’s Rebel Yell ballad “Eyes Without a Face” and Alphaville’s “Forever Young”, but Aisles is exemplary of Olsen’s ability to not just reinvent herself but classics.

At Pitchfork, I’d bet on a set heavy on All Mirrors and Whole New Mess, but as with the unexpectedness of Aisles, you never know!

St. Vincent, 8:30 PM, Green Stage

Annie Clark again consciously shifts personas and eras with her new St. Vincent album Daddy’s Home (Loma Vista), inspired by 70′s funk rock and guitar-driven psychedelia. While much of the album’s rollout centered around its backstory--Clark’s father’s time in prison for white collar crimes--the album is a thoughtful treatise on honesty and identity, the first St. Vincent album to really stare Clark’s life in the face. 

Many of its songs saw their live debut during a Moment House stream, which we previewed last month.

The Weather Station; Photo by Jeff Bierk

SUNDAY

Tomberlin, 1:00 PM, Green Stage

While the LA-via-Louisville singer-songwriter hasn’t yet offered a proper follow-up LP to her 2018 debut At Weddings, she did last year release an EP called Projections (Saddle Creek), which expands upon At Weddings’ shadowy palate. Songs like “Hours” and “Wasted” are comparatively clattering and up-tempo. Yet, all four of the original tracks are increasingly self-reflexive, Tomberlin exploring and redefining herself on her terms, whether singing about love or queerness, all while maintaining her sense of humor. (“When you go you take the sun and all my flowers die / So I wait by the window and write some shit / And hope that you'll reply,” she shrugs over acoustic strums and wincing electric guitars.) The album ends with a stark grey cover of Casiotone for the Painfully Alone’s “Natural Light”; Tomberlin finds a kindred spirit in the maudlin musings of Owen Ashworth.

Get there early on Sunday to hear select tracks from At Weddings and Projections but also likely some new songs.

oso oso, 2:45 PM, Blue Stage

Basking in the Glow (Triple Crown), the third album from Long Beach singer-songwriter Jade Lilitri as Oso Oso, was one of our favorite records of 2019, and we’d relish the opportunity to see them performed to a crowd in the sun. Expect to hear lots of it; hopefully we’re treated to new oso oso material some time soon.

Catch them at an aftershow on Saturday at Subterranean with fellow Pitchfork performer Dogleg and Retirement Party.

The Weather Station, 4:00 PM, Blue Stage

The Toronto band led by singer-songwriter Tamara Lindeman released one of the best albums of the year back in February with Ignorance (Fat Possum), songs inspired by climate change-addled anxiety. While the record is filled with affecting, reflective lines about loss and trying to find happiness in the face of dread, in a live setting, I imagine the instrumentation will be a highlight, from the fluttering tension of “Robber” to the glistening disco of “Parking Lot”.

Revisit our preview of their Pitchfork Instagram performance from earlier this year. Catch them at an aftershow on Friday at Schubas with Ulna.

Danny Brown, 6:15 PM, Green Stage

The Detroit rapper’s last full-length record was the Q-Tip executive produced uknowhatimsayin¿ (Warp), though he’s popped up a few times since then, on remixes, a Brockhampton album, and TV62, a Bruiser Brigade Records compilation from earlier this year. (He’s also claimed in Twitch streams that his new album Quaranta is almost done.) His sets--especially Pitchfork sets--are always high-energy, as he’s got so many classic albums and tracks under his belt at this point, so expect to hear a mix of those.

Erykah Badu, 8:30 PM, Green Stage

What more can I say? This is the headliner Pitchfork has been trying to get for years, responsible for some of the greatest neo soul albums of all time. There’s not much else to say about Erykah Badu other than she’s the number one must-see at the festival.

[jurisffiction]

hii if it’s not a bother is there anything u can share abt your amv making process? or what can i google to learn how to do it because i’m struggling to find tutorials. i know how to edit videos once i’m in finalcut but it’s the process of getting the clips and planning it out in a spreadsheet that i’d really appreciate some tips on!! tysm

oh i could talk about it for hours but i guess i. the two things here are 1) my process is An Accidental Mess and also Mine, so idk how much i could actually...teach...or how much that would be useful to anyone else, and 2) do you want to know more about like, literally technically how to do it or more creatively?

if anyone knows real tutorials Please link ‘em in the replies, i guess

like none of this is NECESSARY. normal people can probably do this without any of my level of obsession or planning but like. you asked

in a v vague sense, my Process is like .

toy with an idea

construct an obsessive visual fixation

crack a spreadsheet with columns: lyrics - episode - description, and try filling it out. this is usually a few days of messing about w it, putting pieces into place, seeing if i want to cut verses etc

check to see if I have the eps I need, torrent ones I don’t (there’s like. FAR better ways to organise clips in libraries, or download scenepacks, or whatever. but i just have a big jumbled folder titled “amv shit”. i-aint-exactly-a-role-model.mp3). use a vpn

blast open adobe premiere pro

attack the most ‘concrete’ parts in my mind (which the spreadsheet helps with).

jump about until everything else is filled in. lots of trial and error on eg switching clips, doing things at half time or double time, etc. I usually dont jump back to the spreadsheet once im editing the clips, but sometimes if it’s v complex or I get stuck I’ll go back and try to re-plan it.

?? profit, whatever

is this even helpful. idk

like the helpfulness of the spreadsheet for me is, beyond placating my desperate desire for more spreadsheets, about:

‘proving’ I have enough possible sequences in mind to make it worth attempting and not just an flimsy concept (i am, at all times, meant to be writing my phd thesis, and not making videos, so i have to at least have some . threshold to pass to bother)

being able to collate the episodes I need in advance (my internet is. terrible. so being able to download stuff overnight ahead of time is necessary)

being able to note down specifically if i want to do meaningful stuff that requires a bit of memory/headspace, like only using early-seasons clips for a verse and later-seasons clips later on, or whatever. 

obviously, Obviously, the most important thing is practice. while it’s extremely technical (to watch me do it is like, watching me do rapid precision cuts via hotkeys then getting angry about file types) it’s also very flow state, and vibing out exactly what movement in clips match other clips, when you need close shots or long shots, whatever. practice (sigh. and planning) gets you that

but also like. for the gold rush video step 1 was “listen to gold rush for literally 3 days straight” step 2 was “get very drunk for free at a work party for a workplace I am not employed at” and step 3 was “edit for 7 hours straight through sobering up at 2am” so. sometimes it’s different

the spreadsheet thing changes constantly, like the one for my untouched vid literally is just this

like. is that helpful or specific? not in the slightest. i think it’s bc it had to be SO quick, and i sort of...felt it out, more off movement than meaning. I knew the video was so clear in my mind, I didnt need to note it out first, I knew I could just dive in. 

gold rush was a little more specific

and the MOST detailed one i prob ever did was for all the wasted time, where i for some reason wanted to be EXTREMELY consistent w lining up dean’s pov clips against cas’s pov clips a verse later, and had sequences of halves (one clip, split up) and doubles (two separate matching clips) listed......why did I do this? who knows

who knows

[onestowatch]

Aidan Gallagher Has No Limits [Q&A]

Photo By Allan Zaki

There are many facets to Aidan Gallagher. On the surface, his scene stealing prowess as the co-star of The Umbrella Academy has catapulted him to an immense level of popularity on a piece of prime real estate amongst Hollywood’s brightest young A-List celebrities. But beneath the surface of this 17-year-old actor lies a multi-instrumentalist. An independent singer-songwriter who doesn’t seem to care about the mainstream attention that his music may garner in the future, only the substance for which it can bare.  Musically, his original compositions like “I LOVE YOU” and “4TH of July” draw early comparisons to acoustic-pop artists like Jack Johnson and Passenger. While lyrically some of his introspective words jump off the paper as if they were indie pop-ballads written by singers like Jason Mraz or Aqualung back in 2003.

For Aidan Gallagher the musician, the year 2020 began with a sold-out show at the Troubadour in his hometown of Los Angeles, California. This live performance on January 6th was supposed to be his introduction to the tour life. In fact, a couple weeks later, he even announced that he would be playing a live set at SXSW in March.  But…just as quickly as the Neon Lights Tour began, it came to an abrupt end due to the Covid-19 pandemic.  Although his first ever headlining tour has been temporarily delayed, it hasn’t stopped Aidan Gallagher from publishing fresh content for his listeners along with a series of new music videos.

There are many facets to the year 2020. On the surface the pandemic this year alone has derailed the plans of some of the world’s most talented independent recording artists. But when you’re an intuitive songwriter like Aidan Gallagher, times like these can provide the backdrop for some of the most emotional compositions that you may create.

We caught up with Aidan Gallagher to talk about his emotional subject matter, his dream collaborations and his future plans to balance his music endeavors with a budding acting career.

Ones to Watch: With all of the success that you've enjoyed over the course of the past two years, you've become one of the most recognized actors in young Hollywood. But now you're starting to get a lot more attention as a recording artist. In fact, you currently have four music videos that have garnered over 1 million views on YouTube. Those are very impressive feats to have accomplished without the support of a major record label. What was your personal goal when you first started releasing music? And are you happy with the reception that your music videos have received so far?

Aidan Gallagher: There was always less of a defined personal goal in terms of a release schedule other than just to make great music and put it out there and if people enjoy it, that’s really gratifying. I’ve always made music as a means of working out emotions and because it’s one of the most rewarding hobbies one can have.

Two singles that you've released this year are "I LOVE YOU" and "Blue Neon." Lyrically, they're both heartbreaking tracks that teenagers can relate to. But you also reference some introspective experiences that many adults in their 20s or 30s can relate to. What inspired the lyrics to these songs?

I've often found that the melodic structure and the micro-tonal characteristics of a riff are what inspire the emotional landscape of a song. When I hear music, I see colors and shapes and textures that I couldn't necessarily describe to another person. I let that imagery inform my emotional state and the subject matter of the song. The lyrics always coincide with this. Sometimes the lyrics relate more to the music than myself and other times they are stripped word for word from my own personal experience. Either way the lyrics always come from an honest place. I don't see how you could create anything of value without that.

“4th of July" is a Folk song that pulls on the heart strings of your listeners. The date is very specifically addressed in your lyrics, so why did you choose to release the music video on August 1st instead of the actual day of July 4th?

Thank you! I’m really proud of that song. It brought together a lot of what I’ve been learning about music production and engineering. It gave me a chance to show what I can do. A lot of people have asked about the timing of videos and our team has found through the advice of some very wise music industry people and just trial and error that it’s best to release a listening only video first. I like the idea that people will listen to the work before they start dissecting the visuals. I want them to have their own interpretation and not necessarily the visual scenery I put on it.

Of all the musicians and bands that have released music videos in 2020, which ones have inspired your imagination the most, when it comes to creating your own videos?

I often find myself influenced by a variety of artists across musical genres. To give an example or two, I really love what Jacob Collier and Finneas are doing with their videos. But at the same time, some of my favorite videos are the ones that are stripped down, and the artist is just performing their song in a studio or on a stage. I think it puts a beautiful focus on the music and the emotional texture of the song.

The 2020 Blue Neon Tour was going to be your first heading tour, but it was cancelled back in January due to the Covid-19 pandemic. Can you tell us a little bit about what you had in store for this tour?

Well, I was lucky that I got a chance to kick it off at the Troubadour here in Los Angeles.  Just that alone was pretty cool. I had a full tour planned to go around the country and then travel to international cities and do meet-and-greets with my fans and really connect. I was really looking forward to my first SXSW performance, so that was a really hard pill to swallow when they cancelled the festival. But all things considered, I’ve been incredibly lucky in my life and my little plans pale in comparison when you look at the state of the world right now.

How many songs have you recorded since the pandemic shutdowns began? And will you be releasing an EP or debut album anytime soon?

“I Love You” and “4th of July” were released this year but everything else I’m doing is currently in a state of flux. I’ve definitely got the songs but it’s a balance of finding the time to put into recording them. I have a large catalog that I’m really proud of that will be coming out one at a time as I can get to it. With (Covid-19) it’s really slowed down my ability to record because I have to engineer everything myself. With “4th of July” I had 3 different engineers on rotation come to my house to work so it kept me working on a strong schedule and we knocked it out fast. When (Covid-19) put everyone in quarantine I lost that team and schedule. We’ll get it back though.

Who would your dream collaborators be for a full-length studio album and why?

Wow, I mean, if I was ever lucky enough to work with any of my idols, I’d be over the moon. If I got to collaborate with another artist for an entire album it would probably be on a production or writing level. I���d love to work with John Mayer, Finneas, Charlie Puth or Ed Sheeran.

If you could pick any film director to direct the first music video from your debut album who would it be and why?

Honestly, I don’t think in terms of music videos. I only think about music. Once a song is produced then I have the luxury to get into the ideas for a video. I do have some raw visual impressions in my mind of what the song means to me but it’s hard to say until the song is done. Though there are many film directors that I’d love to work with as an actor such as Wes Anderson, Quentin Tarantino, Damien Chazelle and the list goes on and on and on.

We heard that you're a United Nations Goodwill Ambassador. Tell us about your work with the UN. What made you want to get involved with their efforts to stop Illegal wildlife trade? And why has it been so important for you to shed more light on the animal agricultural industry?

I can’t begin to tell you what a privilege it has been to be able to magnify my concerns about saving our planet through their channels. The environmental crisis is the largest and the most complex problem we face in the world. I have always wanted to use the platform I lucked into as an actor to showcase that. It all started with not being able to go surfing after a rain and that led to many realizations about carbon emissions and the role of the animal agriculture industry in those emissions. I don’t want to seem preachy to people or judge anyone’s choices, but I do want to spread awareness as I learn from the world’s top scientists. The truth is that if we don’t take aggressive action in the next few years, my generation isn’t going to have a viable future in a collapsed environment. The UN is calling the next ten years the "Decade of Action.” As individuals, there are a lot of small steps people can take that make a huge difference collectively such as “Meatless Mondays”, cutting down on single use plastic and cash voting for the environment with your daily spending.

You launched a five-part Q&A series on your YouTube channel back in September. Most of the questions from your fans were centered around your role as Number Five on The Umbrella Academy. Are you planning on creating any new content for your channel that primarily focuses on your musicianship and artistry as a songwriter?

I have a lot of plans for all kinds of content and ways to stay engaged with fans and it all makes me really happy. I’ve been doing music performances for my Patreon members every week, and music performing has always given me happiness. I bet a lot of performers are experiencing depression once they lost the ability to tour. Patreon brought back that happiness to me. Not every person who follows me is into my music, so it’s just for those who are and who would come to a show if I were touring in their city. I try to balance my time between the various things I’m passionate about; however, the past few months have really been about promoting the vote.

You play the guitar and piano. In addition to singing, producing and engineering. Take us back to the early stages of your timeline as a musician. Were you a self-taught musician or did you have instructors and mentors help you develop your skills?

Well, when you're first starting out you generally work on covers to develop your skills with your instrument while also making it fun. Once you can play the chords and you have an understanding of how your instrument works, you can learn things at your leisure. I started off taking lessons but eventually I stopped due to production and had to let my ear guide my learning. That's also when I started writing songs. I never took lessons for songwriting, I just watched YouTube. In particular I remember John Mayer’s seminar at Berklee College of Music to be a defining influence on my methodology for songwriting. As for producing and engineering, I'm completely self-taught and rely only on YouTube research and my own musical instinct to create.

Most of your songs could be categorized as Pop-Rock. What other genres of music would you like to incorporate into your sound?

I like all kinds of music, so I’m not necessarily trying to find a genre to incorporate but I guess you get influenced by whatever you are listening to. Genres are so blended these days, and I really think music operates on more of a spectrum than it does on individual categorizations of itself.

Who are your top five Pop-Rock artists/bands of all-time? And why?

There’s way more than five!  But since 5 is my lucky number I’ll try to narrow it down but it’s not in any order. Also know that this list is characterized by how I define Pop-rock. My Chemical Romance, The White Stripes, David Bowie, Queen and Foo Fighters.

We noticed that you filmed season two of The Umbrella Academy in Toronto. How do you think the experience of living in that city helped shape you as a songwriter and artist?

I think in order to write about life you have to live life. At this point in my life, I don't at all consider myself worldly as I simply haven't lived long enough and because of that I find that a lot of my music is introspective, and my songs often feel like the places I've written them. By putting yourself in new environments, I think it pulls new ideas out of you. Travel broadens the mind.

Hypothetically speaking, if you had to choose between winning a Grammy Award as a solo artist or a winning Academy Award with the entire cast of The Umbrella Academy, which option would you pick?

Awards aren’t why I make music or act. I don’t think about them. I just love music and acting. Any part I can play in those fields brings me happiness and I'd love to experiment with the different aspects of those art forms. Initially I got into acting because I wanted to be a director. I also loved listening to music, but I had no idea I would be a musician until I started taking piano lessons.

What’s the plan for your music career moving forward? Do you plan to continue to release material independently or would you prefer to be signed to a major record label?

It was a hard decision, but right now it’s best for me to remain an independent artist as I’m growing my music and balancing an acting career. I had really exciting offers from major labels, but they all want me to drop acting and tour full time. I also really enjoy having creative control over my songs. For the past couple of years, I’ve mostly been writing and because of that, I’ve built up a huge catalog of music to produce when I get the time. After that I’m really looking forward to being able to perform more and on tour.  For the time being, I’m really excited about catching up with what I’ve written so that I’ll finally be in a place where I can write a song and begin recording it the next day.

[dinglemingle]

💕Robron Tag Game💕

I was tagged by @softlass27 thank you! This was made by the brill @black-rose-also-blooms

1.) Indicate your preference (feel free to explain)

2) There are two free questions for you to ask people you are tagging (you can ignore - no pressure). The idea would be that everyone could contribute too, and make it more interesting! Let’s see if it will work haha.

3) Tag as many people as you want!

Affair era or husband's era? You don't need to spend more than five minutes on my blog to know that affair era is my favourite, husbands era is very dear to my heart though

Floral shirt or Brown leather jacket? Ooh both solid contenders but brown leather jacket! I actually used to have a similar one, parting with it was heartbreaking

Purple hoodie or Overalls? Overalls! The hoodie deserves to burn

Wedding 1.0 or Wedding 2.0? Aaah okay okay so as a whole? Wedding 1.0. I had a bit of a blip in late 2017-2020 which meant though I still watched and loved,I wasn't as invested in them so watching wedding 2.0 wasn't as exciting. The first Wedding has such a nostalgic feel for me . Wedding 1.0 just feels more them!? It's much more intimate and emotional, Aaron's literally about to go to prison. I can physically feel the love from wedding 1.0 when I watch it. For me wedding 2.0 is nice but quite simple. I loved the speeches,I loved that Seb was there and they were finally happy,but I just don't get as warm and fuzzy when watching.

Liv or Vic? Vic. I hate Liv. That's that :/

The Sugdens or The Dingles? THE SUGDENS! THE BEST! Genuinely tho,I adore their dynamic so much. Also they feel like one of the most realistic families on the show. I just think they have such a complex history and dynamic. Robert and Andy's relationship is one of my favourites. I can count on one hand the Dingles I like,if that

The lodge or Christmas 2017? The lodge. It adds about 10 years to my life,such pivotal moment in their relationship. Christmas 2017 is brill but it's too White heavy and I prefer mental breakdown Rob over sad Rob! Also,nothing beats “Falling in love with you ruined everything” top tier angst, one of my all time favourite eps!

Chrissie White or Rebecca White? Chrissie 100% She was an actual character,sure she wasn’t the best,but the things she did were understandable. Her relationship with Lachlan was quite interesting too. They killed off the wrong sister and I’ll forever be bitter about it. Rebecca was nothing more than a plot device.

Reunion 1.0 or Reunion 2.0? Reunion 2.0! A full rom-com style special how iconic! Aaron's speech, tattoo it on me please!

Alex or Mike? Honestly? Alex. At the time I hated him of course,he was just an irritating obstacle,but now I just find him hilarious. On my rewatches I just enjoy watching him be ignored by Aaron (boyfriend of the year honestly) the whole situation is just funny to me. Plus he gave us "It's you and me ,it always has been,it always will be" one of my absolute favourite robron quotes.

The Love We Stole or Make You Feel My Love? Both. I love them equally (I see you all with your Adele slander) I'd say the love we stole is more their song,the lyrics fit them To a T, and I associate that song with them only. Whereas with Make you feel my love,I love it as a song anyway but It's extra special because of them. The love we stole is my happy comforting robron song, Make you feel my love is my sad balling my eyes out robron song when I miss them.

Lay-by or Barn? Lay-by!! Where it all began (although technically the barn counts too) I wish they'd done more with the barn, like it was used twice,I like to think of it as the main meeting place during the affair but it would've been nice to see it more on screen.

Proposal 1.0 or Proposal 2.0? Proposal 1.0 no contest. I count proposal 1.0 as their whole ssw EPs and I'm a slut for a soap disaster,so as you can imagine it was a dream come true! "I'm not leaving you,no" ICONIC.

2016 or 2018? The worst years :/ 2016 had the abuse storyline which was brilliant but it was far too to liv centric and boyfriends era was kind of overshadowed by that. I have the same problem with 2018 but with she who shall not be named. She was just bloody everywhere!!! Inescapable, I hated it. However we did get lots of soft domestic moments, wedding 2.0,the reunion and Seb of course. I do love husbands era so I'd have to say 2018

Chas or Diane? Diane! My love. Chas is somewhat irredeemable now,it would take a hell of a lot of work and Paddy taking a long walk off a short cliff for me to like her again. I've always had a soft spot for Di and I miss her at the pub

Boyfriend era or affair era? Affair era of course. My all time favourite. It's just so good omgg peak angst, drama, romance! The full package, Romeo and Juliet vibes truly. Boyfriends era simply does not compare,it was messy and they weren't even given the chance to be proper boyfriends :'(

This was great fun,I would've added my own questions but my mind went blank!

I'm pretty sure most people have done this by now,so I won't tag anyone (I'm rubbish at it anyway) but if you haven't and you want to please do,and tag me! I've loved reading these so far

[radramblog]

Album Discussion- The Fall of Troy

Last week I discussed an album that, more or less, was defined by looseness and empty spaces. This might as well be the polar opposite of that.

(man no-one seems to have uploaded this album art in high res)

Released in 2003, The Fall of Troy is a self-titled mathcore/post-hardcore/screamo debut album made by 3 17 year olds- and in some ways that shows, but it’s not like they were fresh, they’d had two EPs under a different name by that point. The Fall of Troy is probably best known by their song F.C.P.R.E.M.I.X., having been featured as a bonus track in Guitar Hero III, which is notably, not on this album. Rather, their second album, Doppelganger, had a few tracks that were basically retakes of songs from this first album. But we’re not talking about Doppelganger (and I still can’t find a bloody CD of it), we’re talking about The Fall of Troy, by The Fall of Troy, so let’s bloody well dive in.

The first song on here, Rockstar Nailbomb!, is as much a statement of intent as anything I’ve ever seen. It’s starts with hoarsely screamed, incomprehensible vocals over a frenetic set of guitar riffs, that cuts back into a more traditional song structure, you know, after a bit. Like any good opener, it’s introducing what you’re going to be getting from the album- songs that, while extremely energetic, tend to cut between sung vocals and screamed ones at a moment’s notice, complex and overlapping guitar riffs, and a very deliberately unpolished sound. The technical skill on display is incredible considering the age of the band, as well. For such a short song, Rockstar Nailbomb! goes in some real places, closing with a line that would be appropriate to finish off the album as a whole- but of course, we’re just getting started.

The next song is called Spartacus, and it shows off the talent of the drummer in a way that the previous didn’t. Unfortunately, I almost feel like this song was kind of a half-formed idea, considering it’s a minute and a quarter long, and the…squeal…? Near the end is kind of offputting. A mid one.

Oh boy it wouldn’t be a nerd band without ridiculous track names- next up is The Circus That Has Brought Us Back to These Nights (Yo Chocola), and no I don’t fucking know what that means. This one ironically feels the most like a song than the others before it, a slightly more traditional structure, the screaming and singing vocals forming something of a call-and-response that would probably make more sense if I could understand the lyrics half the time. Despite this, it’s no less speedy, frantic, and intricate, mixes between melody and dissonance that are basically the band’s signature.

The fourth track is named Mouths Like Sidewinder Missiles, and it’s one of my favourite tracks on the album. I can’t really describe why, though, so I’m going to take a minute to talk about something else. See, this is one of the tracks that was redone for Doppelganger, and on Spotify, for whatever reason, has the title misspelled “Misssiles”. I let them know about this years ago and they never fixed it, so I guess this is my callout post. For what it’s worth, I think the Doppelganger version is a bit looser, adding in some elements in the empty space (there’s a reverb after the initial riff I really love), but both have their own merits.

Okay, mild rant over, back to regular old rambling. The next track is The Last March of the Ents, Lord of the Rings reference very much intended. This is one of those tracks I always forgets exists to be honest, like the intro started and I was like…what was this one again? And then the bit at like 50 seconds came in and I remembered everything. That section is honestly really strong, though unfortunately the rest of the track kinda feels just like Mouths like Sidewinder Missiles, but like, slightly worse? Which is especially awkward considering it immediately proceeds that song. I will say the part of the song where it slows alllll the way down is really enjoyable, it’s very gradual and smooth, gives the bass a bit of time to shine, before blowing back up again because these guys just can’t bear to play slow for half a minute.

The next track is F.C.P.S.I.T.S.G.E.P.G.E.P.G.E.P. This is the song that their most popular track, F.C.P.R.E.M.I.X. is a version of, and they’ve never actually stated what the acronym is for. A common (and I believe discredited) suggestion is, and I quote, “Fuck condoms, premarital sex is the shit, get ‘er pregnant get ‘er pregnant get ‘er pregnant”, which is A Take. It also has nothing to do with the lyrics of the song itself. This track is actually by far the loosest and slowest on the album completely, appropriate considering it’s first words are “slow down”. There’s really not a lot of screaming on it, left only to the chorus, and they’re actually understandable which is nice (or maybe it’s just because I know it’s “come running home”). This is undoubtedly an emo track, based on the lyrics, but it’s also just kind of excellent, similarly complex lyrics slowed down to a comprehensible tempo and a bridge that builds in a supremely satisfying manner. The comparison to R.E.M.I.X. is of course, inevitable, and I will say the tightening up did help in some places- the very slow section at the latter part of the song probably doesn’t need to go that long, and that’s easily the part that gets sped up most in the redo. Still, the song stands out very naturally, feeling more thoughtful and controlled than its peers.

The next song is titled “Whacko Jacko Steals The Elephant Man’s Bones”, apparently a reference to…a music video where Michael Jackson danced next to a recreation of the skeleton of a famously deformed man. Yeah, ok, sure. I don’t actually have much to say about this one, it’s very scream-led, but doesn’t really stand out to me apart from the naming. It’s play rating supports this, being the second least listened track here, but it’s by no means bad. It’s just kinda long and as generic as something like this can be, I suppose. Honestly I kinda forgot all the directions this goes, some of these sections are really quite excellent, but the song is probably like 2 minutes longer than it needed to be. I’m just saying. Like I kept waiting for this song to try and change my mind and it kinda just didn’t.

Reassurance Rests in the Sea is up next, and god that little riff it’s building around, that just noodles around but at triple speed, is just so sick. It’s a song that spends a lot more time cutting itself down- like F.C.P.etc. it’s looser and slower, but substantially more disjointed than that one is. This song, uh, completely breaks off like two minutes in and just stops. And becomes a different song. Like, I don’t think this is a bonus track or anything, it’s just a part of the same song. And that second half is a really sort of chill (for this album) instrumental, lead by a bassline that slowly gets more riffs over the top of it. And then that bit stops itself, and the main song returns again for like the final half a minute or so. And honestly I was just like, wait, no, go back…….

The actual least listened to track on the album is number 9, The Adventures of Allan Gordon (it’s apparently about a book). Honestly, I’d kinda love to hear this live, because the first minute or so of it is the kind of thing you’d play as an interstitial to keep the audience going while you get your shit ready for the next song. Eventually (and I mean eventually, song’s a third through at this point) the lyrics and such come in, and yeah ok I see why this one isn’t as popular. It’s like, fine? Like, that cut back section is pretty overall mediocre, but when we get back to the screaming and the riffs and the noise its as solid as ever. It’s a little frustrating, because they can do the more lyrical stuff, F.C.P. is right there, but this one doesn’t quite make the mark for me. A shame.

Track 10 is I Just Got This Symphony Goin’, which does not have an actual symphony, but it does present and absolutely killer opening riff, so it’s not all bad. This is one of the songs I most associate with the album, even if it’s one of the ones also on Doppelganger. Its speeding up and slowing down and screaming and singing and lots of interweaving and yeah. I like it. Iunno.

The final song, What Sound Does a Mastodon Make? (I dunno, ask a paleontolgist?), is a full seven minutes, 2 minutes longer than the next longest track. It’s kind of interesting, since the second half of the album going by tracks is much much longer than the first half. It does this really fun bit where the lead guitar and rhythm guitar do their own little call and response thing, immediately followed by one of the weirdest vocal noises I’ve ever heard, and I don’t have a word to describe it, so you’re gonna have to either trust me or listen to it yourself. This song is just really, really long, man, and it goes in a lot of places but none of them are exceptional enough to really justify slogging through a total 7 minutes of it. I’m going to be honest, I’m probably not going to listen to it unless I’m going through the whole album. The extended build near the end is pretty sick, I guess? And the way the last minute just decides to, like, drop everything, and just end with a very quiet, indie-esque instrumental. Like the very “we did it, now we can relax” sort of moment. Lets both you and the band know its over, and you can move on past your energy high to something a bit more chill.

I think the best phrase I can use to describe The Fall of Troy is “ADHD music”. Both in that it feels almost a little distractable sometimes, multidirectional and often not fully resolving its lines, and also in that said lines are great if you’re someone like myself who’s brain needs something to be chewing over while the more conscious parts are trying to do something else. To be clear, I consider this a compliment. Like most music I discuss, this certainly isn’t for everyone, as you’re going to need a tolerance for adrenaline and screaming to enjoy this album, but I do think it’s worth the attempt. Now, I haven’t listened to Doppelganger (or any of the other albums for that manner) in full, so I can’t comment on how the style of The Fall of Troy would evolve over time. But at the very least, this is a very solid starting point for what would become a surprisingly long-lasting act.