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seaofreverie · 3 months ago

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I listened to a new Sparks album and it was all I could think about for two weeks straight afterwards, a.k.a. My Hello Young Lovers Review

Okay, so here's my fabled review (I mentioned having written it once about three months ago, so I guess there's a chance that someone still remembers that). It's hecking long (seriously, it's long.) and consists mostly of me pointing out specific sections of the songs and raving about which specific elements of the songs I particularly like. And also attempting to make some sort of general statement on the style / atmosphere / themes etc. of the whole thing. I wrote this back in november, after 5 full listens of the album, over the course of about a week, and I didn't update it with any new opinions that I have formed since, to keep it true to that original form, besides some side notes where I thought they'd be useful to add. I hope you enjoy my yapping, however unprofessional and all over the place this whole thing probably is.

How to start album reviews? Well, I could sum up the general vibe / thing / feel / theme with the album but that seems much more fitting for the conclusion of the whole thing.

So let's kick this off with the first thing we see instead!! The album cover, the sleeve! (note: I got this album on vinyl for that first listening experience, the 2022? reissue) Ohh so pretty and cute, isn't it? Even inside, so much pink, even over-the-toply-so (for real though, I didn't even really think about what to expect from the inner cover, besides some photos that I knew would be there, but it was certainly not THIS. level of pink and cute), it looks so pleasant and sweet, doesn't it? And the band photos too, fun times all around!

Oh wow, ok, let's get back to reality here, I knew what I was in for (knowing just one track and excerpts of other two + reading misc comments on the album before already, as it is inevitable, you know. And frankly, that was actually the exact right amount of info from that commentary for a peak enjoyment here. Not going in totally blind but still encountering many surprises). This is a prime and, imo, very well executed example of mood dissonance. In a way where, idk, maybe it comes from me still having this even small amount of info beforehand, but it's the kind of situation that you can actually tell that something is off.

So yeah, the visual aspect of the album does fit it and I'd even say it does so VERY well, but as to how and why, maybe I should start exploring the atmosphere and themes and elements of individual songs first so we can make more general conclusions from that! So yes, I think it's time to dive in!

1) Dick Around ▪︎

Shortly put, amazing, showstopping and life changing song. And one of the earliest ones for me too! As a part of the extremely important and memorable playlist (note: my first time hearing a bunch of random popular sparks songs), it appeared somewhere in the latter half on the mix and oooh boy, was hearing this song for the first time, on the road in the dark evening too, an experience. I certainly found it intriguing to say the least, maybe I wasn't yet completely SOLD you know, and let's not forget that the second time I heard it (july) it actually kind of freaked me out in a way, but still, it certainly made an impression immediately. There's a reason this is one of the more well known / popular / important songs of theirs overall. This song is truly a journey and it messes with you in so many ways, oooohhh so many ways. I was super looking forward to hearing it again properly after being teased with some parts of it in the more recent weeks, so ok, maybe this is where I get to the individual parts I want to talk about.

Actually wait, first let's maybe say something about the placement. Of course it's the first song as I was pretty much certain it would be (and maybe already had kind of possibly spoiled..?), and it does work incredibly well as a mood-setter for the rest of the album, so it truly couldn't work any other way in my view. So yes, speaking of parts, there are so many different ones! Hearing this again was extra fun also because I would remember the main "point" / mantra of the song ("all I do now... is dick around") but not much else, then be reminded of another notable but very different part, then listen after this whole time properly on pretty much repeat now and be aware of those other little touches and bits that bring it all together...

So, let's start with the pleasant vocals & piano break near the beginning, it's, well... I just really like it (I hope I'll be able to say more specific things about other elements in these songs that I think need to be mentioned as I go on LOL), and right after that we have some very nice strings, then, suspenseful strings!! Idk why but I really really like it when those come in, they really set the unnerving classical tone that follows and returns throughout the album, then the same "calm" / bouncy vocal melody and a more "all over the place" piano returns (at least from what I remember, the notes are sort of more expansive in range in this part I think...). And soon enough... we reach the real moment of the song when it gets, well, real. And very intense. And this is almost jumpscare-like, ohhhh it's so good, even when you know you can expect it it still hits the spot amazingly.

So this is the rocking part that's honestly pure distilled joy and amazement to hear for me each time, the repeated echoey "hey hey"s for a second there are just the icing on the cake, so so so good. And, in fact, it doesn't get more rocking than this for the rest of the album. Dissappointing? Maybe it WOULD be, if there weren't other things still going on later, which were also in their own ways showstopping, so I think that yeah, those can make up for all that follows not really coming close to this level of unhinged. And this is the right word here I think, unhinged!! Damn, this freaking song. Like for a second there I remembered that in one of my early-ish hearings I just found it almost uhhh, unbearably raw? Idk if it's the right word but yeah, it gets... ugly for a second (I need to stop cringing at every more unusual / to the point word I use or I won't be able to write any genuine reviews in my life). Before going back to the main mantra of course! And then it goes on in a circle a bit more again, with more changes and some progression of the story and all that. And end on the mantra again. I don't know if I'm leaving out any super important bits here, I might be... Well, it comes back to full on rocking near the end too, with some variation too, so that's awesome! And very suspenseful and unnerving strings too for a moment!

So, should I talk about the lyrics / the story just a bit now? Ok, I won't go super deep into these or any of the following ones, I'll try to focus more on specific bits and the feelings that come with them and a general "theme" if anything. So, I think this song and its story is very engaging and I like it a lot and it certainly provokes further thoughts and ponderings, those 6 and a half minutes fly by super fast (guess that's just the power with sparks and their long songs, it's kind of incredible how maybe this goes ESPECIALLY for songs that rely a LOT on repetition, because those might work this trend the best), lots of variation, while still keeping some prominently repetitive / reoccurring parts balances it very well. You're really just thrown from one part to the next with this song. Ok, I wrote a lot about just one song and I feel like there's still more I could say if I thought about it hard, but let's move on now, we don't have all day (night)...

2) Perfume ▪︎

This is a favourite. An instant favourite. Right away this song grabbed me with its subdued, brooding and honestly pretty dark tone and sound. Low vocals, kind of ragged but driving guitar sound, and the DRUMS. They do SO much for this track, something about this specific drum pattern / style is very pleasant to me, very atmospheric. It's like a specific pattern that works to deliver some kind of effect (ok, I think through that, in a way, I just described the whole thing with repetition in sparks' music, especially in this era, nice, I guess that's how I view it and why it works so well) there's still a lot of interesting stuff going on there, plus it just sounds nice, idk. Once again, maybe "driving" is a good word for it. But now I need to mention that there is this one odd-one-out part that sounds much more cheerful, or maybe hopeful (and it returns again near the end). Because it has this specific thing, the different intonation of the SAME lyrics than the rest of the song ("and that's why...") feels strangely emotional. It certainly hit ME in the feels once I noticed it, so, yeah!!

So I think this is one of the darkest songs in mood and sound, while it also has something extremely COOL about its sound that I can't really categorize, I think I'm gonna feel like repeating this for every other song on the album but it just feels so CLASSIC, it's that typical song that always existed type of feel, yeah. But here it's less so due the melody necessarily, and more due to the whole picture. With some others it's also the song as a whole of course but they don't necessarily feel as much as a representation of a whole THING / genre / type of song / feeling in music of sorts (I'm really bad at articulating my exact views on these, am I not...) rather than those specific special moments that just bring it all to the next level. But OHHH I can't believe I almost forgot this, but the piano lines (I mean the post-chorus ones specifically) in this song, oh my goddddd!!!!!!! They're truly THE thing that sold me on this song completely, they're just so... something. So I guess this song also has that special "it" moment after all, doesn't it? Well, still possibly not quite as prominently as the next one, because...

3) The Very Next Fight ▪︎

Well, this is the kind of song that's completely made up of those specific parts making a very special whole. Starting with, of course, that melody line during the chorus "it's always the same. It's always the same". But maybe, just to be fair, I should actually start with where the song actually starts so, well, hmmm, the beginning. The very solemn piano and overall kind of heavy atmopshere here kind of slows down the momentum after the first two songs, and it delivers something quite different instead. So yeah, well, that chorus melody!! Oh wow!!! Isn't it so simple though? But it works so well!! It's simply beautiful honestly. It absolutely is! And later the electric guitar comes in for more effect and oh wow, it feels so incredible, yeah. And then some more solemnity with the... I think harpsichord?

This track feels very empty (as in the atmosphere, I'm not actually calling it empty as a bad thing or something like that, no no no!!) in some parts, then it has those emotionally charged bits, and let's not forget that it has some more really amazing guitarwork near the end. That kind of guitar "wailing" sounds beautiful in its own right too, it also kind of reminds me of some other rock-adjacent genre(s), I can't tell what exactly though...

4) (Baby, Baby) Can I Invade Your Country ▪︎

In all honesty, after my first listen I decided that this was probably the song I was the least impressed by? Kinda strange, yeah, because I no longer think that, and yeah, it was another one that I was only slightly familiar with already. Very slightly. It's a very interesting song once again, I think it's really unique after some thought actually (as are most all of the songs on this record tbh, obviously). It's unique, but it once again has this special classic quality to it that just feels like it represents a very specific type of sound.

I wanna say that the chord progression in the chorus might be some variation of one of the "usual" progressions although OF COURSE I might be very wrong here, it's just the feeling I get because maybe it's worth mentioning that 1) a while ago I started noticing this one type of progression in songs that made them sound very similar to Kiss Me, Son of God (They Might Be Giants song), so I figured it must mean that KMSOG is just in some kind of typical progression that is used a lot, especially in country-sounding songs from my experience 2) there was also an element of some classic rock / rock&roll (?) / punk (??) songs that also made them sound very alike after a while when I started listening to this one internet radio station recently, idk if it's the same progression or its variation or if all those songs use different variations mostly but are still based on a very similar thing at the end of the day, but yeah. I might still not understand chords or be able to catch them while listening, but there's now at least a little part of that whole section of music theory that I might be able to recognise in music just by myself, so that's some major music literacy development on my part I think... Anyway, maybe the progression in this song didn't even remind me of that usual pattern specifically, but it just made me think of that thing nevertheless, maybe it's similar, maybe it's not... So this was kind of an irrelevant tangent on my part, oops.

So ok, let's get to the jist of this... What exactly I like about this song and such, or just what I wanna mention. Well, I wanna mention that this is probably one of the more repetitive songs, also one of the longest I think, maybe the third longest, I wouldn't be surprised by that (the opener and closer are both pretty tough competition in the length department) but it doesn't feel monotonous, it flies by super fast, once again.

I think it's also possibly the brightest sounding song on the record, the word that immediately sprung to mind here is "triumphant". Certainly fitting with all those awesome horns!! They're truly what really sets this song apart. I'm especially a fan of the horns in the bridge part, I think it's the bridge. Sooo so cool sounding, kind of "descending". I also really like the layering of the different vocals and their melodies and such, the acoustic guitar also brings it all soooo nicely together, it's so pleasant sounding, especially in the quieter "baby, let's invade" part.

Idk what else to say, very awesome song though and I definitely don't mind listening to it twice (with the repeat as a bonus track, which I'll also get to briefly at the end) at all, in fact this might be the least "intrusive" song in a sense, so that makes the best choice for a repeat, if I had to choose, I could see myself going with this one, it's just very pleasant all around.

5) Rock, Rock, Rock ▪︎

So things get real once again, huh. This is one of the songs that I count in the category of kind of sick and twisted but in a way where I only respect them more for making it, so that puts it right next to, hmmmm, sherlock holmes for sure, maybe some others I can't think of right now. Big part of that factor is surely played by the repetition which just works, well, very well. Specifically the choruses.

One part of this song I was pleasantly reminded of on my first few listens were the short strings interludes, they really give it some of that pleasant classical feel (a separate thing from what i describe as classic feel here!) that I could say kind of contrast with the song and its atmosphere in general. Or maybe spruce it up, idk, we do have very dramatic strings during the verses too... The very deep drum sound is also pretty prominent in this track I think, pretty great.

As to some more notable parts in the vocals department... Let's just say that the way Russell says some words is very, uhhhhhh, effective (i think this sounds more cursed than it should, but i mean exactly that, the delivery just really hits you... and other times it's kind of silly instead). And also, with that repetition and it creating something great in mind, there's the repeated "and since you put-" part near the end that's also really great. The repeated "I"s in the bridge I think also need a mention. It's like they know exactly what word / phrase to repeat, what amount of times, and in which part of the song for it to work the best, like the perfect placement and number.

I think this song also has a bit of a fake ending, so that's also something of note, especially when it's supposed to sound as dramatic as possible (at least that's the idea I get from it). And actually, oh, so does the previous song! I forgot that part even though it's even more noticeable / memorable in that song than it is here imo.

6) Metaphor •

Second half of the album starts off with something that's very elegant and all the while very pleasant and melodic, all of which makes it a very nice track, even in a more usual pop song sense. Some very cool piano to start things off, and the electric guitar accompaniment, which also enters pretty early on. And then we have that slightly more strange part, kind of like an early bridge, that honestly has a bit of a comical effect imo (with no disrespect intended!!)? As in, I find it kind of funny and silly personally. Yeah, the "who's up for a metaphor" part, especially when we get the repeated "don't don't"s and "we we"s, and, well, what follows is what's definitely the greatest part(s) of the song, when Russell enters his falsetto mode and we get the "aaaaa-ªªªªª..." etc. backup vocals in choruses. Those are the moments of the song that are just, well, ONCE again that classic factor that makes the melody & everything else super special. But more specifically, I think those parts are just kind of beautiful. Yeah, I'd say this song is the prettiest in sound that this album gets overall. Truly wonderful and gets you excited for the remaining songs.

Meanwhile, the spellings of dig as d-i-g might feel kind of random I guess? But it works. Adds variety or whatever (note: it's also a very good moment of a rhythm change I believe, I think now that's what makes it sound as cool and satisfying as it does). So yeah, kind of a heavenly song I think, in a sense, also one of my top faves just for that factor (note: this song is now probably my favourite on HYL, and also among my top fav Sparks songs overall. It wasn't instant, but it grew on me quickly and oh man, I truly love this song so much now)

7) Waterproof •

I think this is kind of an odd-one-out actually? And why? I think it's probably the closest on the album to being sort of a fully, or at least MOSTLY, "normal" song. It doesn't have so many parts that are just downright weird and unexpected I'd say, it's just kind of friendly instead compared to the other ones (note: it took me perhaps too long to realize that this song just doesn't have quite as much repetition, which most other songs here rely on heavily, so that's definitely what makes it stand out the most). Not that it's an entirely bad thing! Sometimes you gotta slow down and relax a bit I guess...

I do appreciate the kind of sudden switch with the "the sky is starting to cloud up" part, and the little orchestral bit right after the first time the aforementioned switch happens (the second? or generally some later time it happens again there are also some very awesome horns! Really starts feeling like a quaint rainy street in some french town or something...) when, well, I was going to say that the vocals and the strings do the same melody, but they actually don't, at least not fully, still though, I did have that illusion before I made sure it wasn't the case with another relisten, either way, when it DOES happen, and Sparks do that a whole lot I feel like, it's always quite awesome, I mean, syncing the vocal melody with some other prominent intrument's melody...

The I think harpsichord also makes a return, yay! And then there's the guitar part, that does have some real surprise factor when it comes in, but this time for sort of the opposite reason - it sounds bright and nice this time around, and also it reminds me of Sparks' later style tbh, specifically in their following more rock-centric songs of course. And I think that's very nice, we see the always progressing evolution of their sound here I think. That guitar bit also has some album closer vibes, that kind of fake closer (or nearly-closer) situation kind of reminds me of a similar thing I experienced with Bon Voyage on Propaganda for example (note: I have since learned that Bon Voyage IS the closer on Propaganda, and the following two songs on streaming are just b-sides. So it makes sense that it would sound like an album closer because it IS one).

Annnddd the last thing that I just can't forget about here is Russell's another epic falsetto moment (waterwatereverywherebutnotadroponme!~) that part actually makes me smile. Yeah. Legit. I paid attention and I did smile on that part during my relisten today. ... Ok, let's go on.

8) Here Kitty •

When this song came on the first time during my vinyl listening I of course instantly knew exactly which song it was (bcs I've heard the title before, and a few words on it too) and had this little amused "oh no" moment. And, well, turns out this song is actually very awesome and veeeery interesting! It adds something really unique to the album. I saw someone call it quite impressive in the vocals / vocal lines layering department recently (in the last week, so already after hearing it myself I'm pretty sure) and I absolutely agree.

First off, let's settle that - this is a very strange song. But that's exactly what makes it so good of course. The strangeness keeps you so distracted from this fact, that when we reach the bridge of the song you suddenly realize that beneath all the "tatata"s, meows and unsettling rising piano notes we have the very much usual song structure with verses and choruses. Yeah, I think I actually sort of figured it out, what might be the verse, and what might be the chorus... Speaking of which, the parts that I identified as choruses have this, well, it's the same thing all over again (but each time the specialness comes from a different place and is totally different of course), but that very classic feel, indicative of maybe even some specific genre but idk what exactly...

Besides that, well, maybe let's go back to my oh no moment for a minute, and let me say that I either am very illiterate in that sense (and yeah I am tbh) or the lyrics aren't as overtly, let's say, innuendo-filled? as I expected. They actually have a semblance of a story you know... I mean, NO, not even a semblance, it IS a story! Let me also say that this is a very interesting song to have stuck in your head a lot over the course of pretty much an entire week. Yes, it got to the point where it could be annoying. One last bit of the song I really like is at the very end, when one vocal line starts to sound kind of echoey / distant, nice touch.

9) There's No Such Thing as Aliens •

The song that first cemented itself as being by far the shortest song on the album, sort of an interlude before the incoming epicness of the last one (that was quite literally my very first impression before I even heard either, looking at the vinyl this one was visibly much shorter than the last, and of course I expected the last one to be fittingly grand, and so it was obviously, but we'll get to that in a minute). The funny thing is, it's not even that short, as I figured even before eventually making sure how long it was in fact, and that's almost 3 minutes, which, well, of course that's still something around well over two times shorter than the last song.

But enough about its length, this song actually does kind of work as an interlude thematically too, which it is? it sort of even feels like it doesn't quite fit with the themes of the other ones, I mean, maybe not that it doesn't fit but just that it's defintely the furthest removed from the much more similar topics of the other ones (more about that also later!). Plus it's pretty sparse lyrically, once again, there's less you can fit in under 3 minutes anyway. Which supports the interlude argument also I believe.

Anyway, the music. First of all, waltz time!! Always a treat in sparksland to have that rare spooky 3/4 time track. The feeling I get from this track is: grand, very orchestral, anddd, hmmmm, elegant. But is it more elegant than the rest of the album... Idk, I wanted to use 3 different descriptors. I honestly don't think there's much more to say about this one, it's great, the melody is really great, the grandiosity of the choruses, the even more notable waltz time during verses. I think that yeah, I could pick this track as the most orchestral / classical inspired of the album. One cool moment I'll mention though would be the very ending, with the repeated "no"s going for longer than you'd expect them to maybe, and the deep drum accompanying all that. Very grand ending.

10) As I Sit Down to Play the Organ at the Notre Dame Cathedral •

Well, how do I even start on this one. I think I can say that with literally each single listen I become more and more in awe of this song. Could I even call it even more of a journey than the opener? In a sense, yeah. There's so much going on here. So much that I almost feel like breaking it down into individual parts and giving all of them their due because they all work for the amazingness of the whole. In fact, I might even already have this track roughly memorized (all... 7 minutes of this track) so it could be done. But ok, I'll just go with each part as I remember it, we'll see if I in fact do go over nearly all or all of them.

So. Echoey synth (?) intro, then the first melody part, with the individual words repeated, kind of "urgent" vocals part, very nice rhythm and something I just find very cool. As it progresses we get another part of just the synth / electric guitar-like synth / guitar or whatever this thing is, then a mix of both + this clicky instrument and / OR is it the harpsichord again? Giving it all more urgency and a nice constant rhythm. I also really like when the "byebyebye" vocal gets looped before the synth reenters. Overall, this part of the song has a very electronic, drony feel that I greatly enjoy and find very atmospheric and immersive already.

But, well, it doesn't end here. Because later, everything else stops and we hear a church organ. Even the melody it enters with is very much like something you'd hear in a cathedral, indeed! Good environmental storytelling, isn't it? But then... the organ transitions into this very very cool frantic melody (and by very very cool I mean that it's probably the #1 thing that stood out to me about this song right from the start) which returns consistently throughout the song and is just oh so very awesome.

So we enter the next part, what could probably be called the central part "as I sit down to play the organ...", tension is rising, the organ is doing its thing in the back, then some "hallelujah"s and BOOM! The chorus? The "I've got faith" part of course. And with it some epic strings, and I don't think I can really say what exactly it is about this part that makes it SO FREAKING GOOD & ABSOLUTELY SHOWSTOPPING but it's easily in my top 3 moments on the album at least. Then it's followed by the slightly considerably calmer "she's here..." section and we go mostly full circle for now, more variations on the same parts. Some grandiose "lalala"s & epic drum action too. And then, the "I believe" sections which I cannot let myself neglect, mostly just on the basis of them being kind of sickening to me. You know, in the "why did they do this (said respectfully)" way.

Ok, did I really just talk about all of the individual parts, I guess so. But before I move on I have to mention the moment when the very first major part, the "bye-bye-bye my baby" part, makes a sudden comeback. It's honestly just so good and satisfying, when completely different sections switch and make unexpected (or maybe you actually DO expect them on some subconscious level, and that's what makes them work so well??) returns like this, if a song has that it's very likely it will become a top top favourite or at least have a very big effect on me. Or even HUGE effect, like here.

So yeah, the song does eventually end (I mean technically unbelievable somewhat, since it's so long, but have I actually mentioned yet that this track goes by about just as fast as the first one, because it sure does, you do not notice the time passing WHATSOEVER) on some more "hallelujah"s. And the album's over. Wooo boy.

Bonus tracks

Well, it's not really over yet if it's not the vinyl but the streaming version. We still have just two more bonus tracks, technically just one? So I'll go over both quickly now for completion's sake.

First we have "We Are the Clash" which is a pleasant song for sure, can work as kind of a denouement after the crazy journey of the previous track, so you're left on a little less of a mood unresolution and can become a little less unsettled after all of this going down... Idk.

But yeah, I actually have this impression veering on pretty strong conviction that this song is a cover actually. It could even be a cover of the band whose name is mentioned in the song, which would put this version in a extremely funny area of how far stylistically it might be from the hypothetical original, if it exists (what's up with all these bands and their "we are the [band name]" songs, there's so many). Of course I could also be very wrong about this so all I just wrote could turn out to be absolutely hilariously off target, still, a fun little attempt at guessing things and connecting ideas on my part, whatever the truth turns out to be (I will learn the truth... in due time. My experience tells me that when I'm still fully in initial unwell mode over an album it's difficult for me to read and retain any outside information / commentary on it. So no need to rush it, heh) (note: yeah I was right for once. I meannnn I guess it was obvious anyway but still, let me have this, I've been fooled by assuming that a cover was someone's original song way too many times so I'm happy to not be fooled for once).

So ok, the last last track. Baby baby can i invade your country is baaaaaack, not much to say but it's pretty much the same other than the lyrics, since well, it is the "alternate lyrics" version, not "alternate" version. I do think that it might be slightly longer than the final version though but it's also likely I'm misremembering.

Anyway, lyrics, all I can or feel the need to say is that they seem to be definitely way more to the point on what this song's actual topic is (not... invading... countries . I don't need to explain it here do I) so subtlety win for the final one I guess. Just so it is known, I have not read these two songs' lyrics unlike all the main album tracks'. But I think I caught enough to get the main idea from both, you know. I do think also that the final version's lyrics just kind of sound better, idk if it's the rhythm of the words or what but they do just have a nicer flow. So, improvement, probably, still very nice to know this version anyway of course. (note: yeah i have learned since that most of the final lyrics are the US national anthem. Makes sense that if any song were to have alternate lyrics it would be this one)

To round it all up...

I think there's still a lot that can be said about this album as a whole but how do I go about that. Well, I did mention earlier that I'd come back to a) the overall feel / atmosphere here b) the themes / stories and how they connect. So those shall work as a guide to my conclusions part of this whole review.

First off, I could even say a bit about the main vibe / sound here in reference to Lil' Beethoven! Since it really does work as a sequel, at least in sound, by all means. I described LB with stuff like... cold, distant, cathedral-like, what else was there.... Ok, I have more, lifted directly from my LB write-up. (note: finally listening to LB a month prior to this was enough of a big deal for me that I wrote down my live reactions to hearing the songs) Impersonal / detached. Alien. Spacious.

Do those apply here too? I think so, yeah! Pretty much all of these words also feel like pretty good descriptors here. But honestly, the more I think about it.... Maybe it's just that the distance / the detachedness and alienated feeling is a bit lower here? Or at least in some songs more than the others. It's hard to explain honestly.... That similar atmosphere continues here but it's just..... not as pronounced maybe. Idk, maybe it will become clearer with this next point I wanna make which is that LB actually is less, uhhh friendly in sound. Less accessible! Yeah, I do think that this album could be seen as: LB started the experiment, HYL perfected it by taking it in a slightly more accessible direction. Or is perfected a wrong word here, who can say which was, or should be considered the better outcome here.... I think I actually have a problem putting concepts into the right words today. But maybe at least some of my feelings about this can still come across here...

So yeah, I don't think it's possible to tell if HYL is better or LB, it also depends on how you look at it! As it kind of always does when judging stuff per good / better. One thing that I can say sort of for sure though is that LB certainly started ideas / techniques that HYL expanded on and toyed with further, so in that sense, it could be considered an improvement. And so it is clear, I don't think I can say 100% that I like one more than the other. It's not that simple. I guess you could however say that HYL was more of an instant hitter and LB really just grows and grows more in power overtime....

So yeah, they kind of did take the LB concept and all of the avant-garde, experimentation factors that come with it, and made it more accessible, which is a form of art and an achievement and a testament of skill in itself. I think the somewhat friendlier, more palatable approach of this album also lifts off the coldness aspect a bit, but it's still there, especially on tracks 1, 3, 5, 10, off the top of my head.....

But maybe I should talk more about the album and its sound as it stands on its own before I move on though. Maybe we could jump from the words I already used: classic, orchestral, brooding, dramatic, dark, aggressive (yes, I somehow see it as friendlier than its predecessor despite also being much more aggresive in all senses. Raw even. How does that work? I can't tell you today. And idk if I'll ever figure it out. And also personal, YES, that's the word, this album feels soooo very personal and emotive. Not in the sense that I'm trying to say that it must be personal to them, more like it just shows some very personal feelings and struggles), triumphant (but that goes only for that one song really), driving, ELEGANT. I think the word elegant is the key here. In all of its subtler or less subtle tone shifts it keeps that very elegant, kind of graceful feel, all throughout. Even when it seems to be touching subjects that wouldn't necessarily bring that kind of atmosphere to mind, it kind of elevates them and gives them, idk, a new meaning?

So is this a good segue into the topic of themes? I guess the album name sits well with what I think is going on here, because my main impression of the whole thing was something like.... stories of fucked-up guys with self-image problems / feelings of inadequacy, which they try to go around fully convinced that they're right (and their messy love-lives too ofc). Or are they just, normal, regular guys actually. Who can tell. It certainly gives you an idea / a whole concept to work with and ponder here and to connect and visualize kinda.

I think that yeah, out of what I've heard so far this has to be the most thematically-consistent sparks album there is. It comes to a point where all the songs give this little impression of a whole universe where all of this takes place, and while I've had these kind of impressions from albums that are way more all-over-the-place conceptually with their lyrics (I mean like.... pretty much every They Might Be Giants album. You can create this sort of illusion with more than words, the music and its atmosphere and often also its stylistic consistency might be even more important actually), this comes, in my mind, almost close to concept album levels in that regard.

The definition of a concept album probably calls for something more specific than all the tracks being in sort of a similar theme but you know.... I don't think it really happens most of the time in music in general, that the whole album has this sort of a familiar idea / spirit throughout that makes a unique whole. (note: apparently wikipedia calls this album a concept album. Another win for me in that case, lol). You could probably try to connect different songs' themes and work with that in some way.... Which is something I already did in all honesty, but actually it's a between albums thing here, because I do believe that the dick around guy could be the same guy that the narrator from ugly guys with beautiful girls talks about. Similar ideas you can connect! That's what I'm talking about. I love it when songs tell overarching stories.... Make me think about characters from songs or little universes and vibes created by even the vaguest of lyrics and the ideas those create and the imaginings they bring, any day.

Ok, what else can I say. I think I mostly covered everything I could actually. Should I say something more about the cover with the added context now. I already said that it gives off a "something's wrong" feeling, but I think it's also compelling in how it conveys that elegant, non-threatening and polished image, sterile kinda. Well, I think only one of those four words I just chose doesn't really apply to most of this album's songs. I mean non-threatening ofc. Hmmm, maybe sterile doesn't really work here either, besides those prominent examples of the coldness of sound on this album, it would actually go more with LB, which also has a fittingly minimalist, all-white cover. Collected and orderly to a distressing degree. Just like here, it also gives off some.... distressing vibe. As I already said with the "this isn't right" feel.

What else can I say. In reviews you usually give your opinions, which I very much did throughout this thing here, everything like this is always somewhat subjective I think, but even then, a final verdict could also be said here. I think it's pretty damn clear by now what my opinion on this album is. I wouldn't spend several days writing a review and analysing every little detail if I didn't have a very strong (positive) opinion on this album (I guess I technically can imagine writing a very throughout review of something that just annoys you so much that you simply have to go through everything wrong with it and have some relief and closure through that. I can't see myself doing that kinda thing however, I'm not that kind of hater (or really a hater at all lol, i hope), I'd rather devote my time to things that I find actually cool and awesome and stand-outs in a positive sense, and worthy of attention and that dedication).

So this comment I fittingly found on tumblr over the last few days feels pretty relevant towards my opinion of writing "reviews" of stuff (this was more of a, very detailed analysis I know, but review just kind of fits, especially with how people call their recaps / commentary / writeups of concerts "reviews" a lot of the time):

(note: yeah I think I should come clean here that despite my very recent start of actual social media participation I've already been a serial lurker in various places for years now, lol, I mean, that's probably a normal thing to do though, I hope. I mean, probably lots of people do or did that at some point, but still. And I don't know whose post this is anymore sadly. But I thought I'd keep it here because it's a good summary)

And also, just for the record, this is my opinion on HYL pretty much. Yaaaayyy i loved it i had so much fun!! For real. i'm glad they're creating something!!!! Absolutely. One of a kind album that I will cherish as yet another great and unforgettable entry on the list of albums that changed me (TM) and brought me lots of fun and great memories / associations, even in such a short time. And the actual FIRST on the new list of albums that I'm happy to have brough the utmost attention to and dissected like that. It's out of love.

Thank you for reading this far! Here's a little bunny as a prize!

Whoa whoops this gif was supposed to be small! Have a huge bunny in that case, you deserve it! 🐇

#i recommend sitting down somewhere nice and comfortable #or even getting some snacks and a cup of tea to go with this. for the best reading experience #this is almost 40 000 characters and 10 pages long.... it really didn't feel THAT long when I wrote it in my notes app originally. OMG #also i wanted to add more fun gifs but tumblr did NOT want me to do that and kept deleting the post #okay. no joy and whimsy allowed i suppose #also! drinking game idea: take a shot each time i say 'so yeah' in this review #(no. don't actually do this)#another thing is that i knew i had to divide this into more paragraphs #so that these huge walls of text can be a little less intimidating and easier to read #but the way i did it might not make much sense at times. i just had to get rid of these super long passages wherever possible #and i don't have the energy today to read through this whole thing carefully again so i may just edit it later if there's need #not that it's really that big of a deal anyway. so i'll stop tormenting you all with even more words and move on #goose monologues #sparks

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hadesknockedupintheunderworld · 1 year ago

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Sonine Prime ... Part 5

Hi, everyone and welcome back to Sonine Prime! The part of the show when I come out and talk about Sonine (and a bit of Sontails) in Sonic Prime!

Last time we just barely started Episode 4, so we'll be starting right back up where we left off and seeing how much of the season we can get through before Part 6.

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<< Part 4 | Part 6 >>

(Essay/thoughts/analysis under the cut)

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I lied!

A bit.

We'll pick up right where we left up in Episode 4 still, I promise. I just still wasn't over the ending of episode 3. So, I've decided to use my allotted video per tumblr post this time around to shove it in your faces because I need people to witness this ending. That I am still not over.

Do you get it do you get it do you get it?

Okay, back to the show.

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It's a tiny thing that makes me laugh more than it's relevant, but the scene where Sonic meets Mangey is funny specifically because Sonic is so desperate to find Tails/a version of Tails to help him in each shatterspace up to this point. In a way, it proves to us just how lost Sonic feels without Tails specifically, and just how much the idea of losing him freaks him out.

Sonic is so incredibly freaked out when he catches Mangey (similar to how he was when he thought Mr. Dr. Eggman was going to kill Rebel, Renegade, and Rusty Rose).

"Tails...? TAILS!"

And yet, there's something a bit different about these scenes.

Let's put something into perspective for a moment.

Imagine being Sonic the Hedgehog. Raw talent, natural speed, badnik busting practice. You're aware that no matter what, everything always turns out fine, so you can afford to be cocky. And when things get too confusing for you and "winging it" won't cut it, you've always got your trusty fox best friend. Perhaps even you're a bit scared (whether you admit it or not), you feel lost, like nothing makes sense. But that's okay, because Tails is here. Tails is smart. You can trust him to comprehend what you cannot, to try to explain it to you. Whether you understand or not, at least Tails knows what's going on. And that's enough, because that means he can come up with a plan, and if he can come up with a plan, you just have to execute it. Simple. Easy. And even if he can't understand, can't come up with a plan, at least you have each other, right?

But Sonic woke up in New Yolk alone, has been struggling thus far to understand what's going on around him (one hedgehog with a spotty memory and not even 5% of the context the audience has). So he went to look for Tails first. Because everything is messed up and wrong and Eggman took over, and Sonic doesn’t know how. He doesn't know what happened. But if he can just find Tails, everything will be all okay. Tails can explain it, work out a plan, and Sonic can execute it. They can fix everything together.

But then "Tails" doesn't remember him, neither do his "other friends". He's lost and trying to understand what's happening because no one else can explain it to him.

Or in short, Sonic in Sonic Prime is just trying to seek out the familiar in the unfamiliar, find the one thing (or person, rather) that will make everything make sense, but he can't. Tails isn't around. He's not here (not in New Yolk, Boscage Maze, or No Place). But each time he seeks him out.

And after being ripped away from Nine, and remembering how he'd lost his all his friends before that, it just... Before he knows who Mangey is, when he sees Mangey falling, he moves without thinking, desperate to have Tails back. Desperate to make sure he (and his friends) never die.

"Am I glad to see you. The world is all blgdyblublu. You gotta figure out what's going–"

Even by this point, when he's realized that there are multiple alternate versions of Green Hill, he still tries to seek out Tails/a version of him, hoping someone can make sense of things for him.

But that's the thing. He never finds Tails. Nine and some of the other residents of the shatterverse are helpful, but Sonic has to spend much of the episodes working things out on his own while just wishing things made sense (or he could find Tails, so Tails could make things make sense)

You feel?

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Did anyone ask for more Sonic & versions of Tails and Sonic & versions of Amy parallels? Cool.

So I don't remember if I said this in a previous part, but here's my personal interpretation of Sonic Prime. In Season 1, Tails/Nine/Other Tails variants are paralleled to Amy/Amy variants in regards to Sonic, while in Season 2, Nine is paralleled to Shadow. Whatever your belief is on the relationships Sonic has to certain characters or how they feel about him (and vice versa) canonically, especially in Sonic prime, it remains that S0namy and Sonadow are two of the most popular Sonic the Hedgehog ships. And this is why these Amy/Tails parallels I've been mentioning since the first part matter to me (in terms of what they mean for each of the characters, AND what they mean for Sonic, as well as what the similarities and differences mean).

So. Let's take a look at Sonic's first meeting with Thorn vs his first meeting with Nine.

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Now, the very first difference. How the first meeting went about.

It's important to note that Sonic was purposely looking for Tails back in New Yolk. So when he saw Nine, thinking he was Tails, he followed him to his lab, excited to have found "Tails" and glad one thing (the code to "Tails'" lab) was the same as before. He'd turned Nine's "chair" as he'd done to Tails in the flashback, expecting, well, anything other than for who he thought to be Tails to be attacking him. The idea that "Tails" would attack him instantly throws him off, leaving him confused and sad. But for Thorn? Sonic went into this fight expecting to fight a "monster". For the first minute of the direct fight, he doesn't see more of Thorn aside from possibly her hammer. You can tell how afraid he his by how the camera switches from the hammer to Sonic's face, and shows him desperately trying to crawl away and break free of the thorns keeping him from running. So in opposition to Sonic seeing glimpses of Nine before he meets him proper (and then starts a fight with him), approaching this initially with peace in mind, Sonic doesn’t see Thorn at all until after being hit around a couple times, until after going into all this initially expecting a fight with a "monster".

"Yes! There's my two-tailed genius friend. Surprise~!"

"Amy? You're the monster? Oh. Oh, those guys up above have really got it– Ughk. —wrong."

And then, after each of these, Nine and Thorn attack Sonic.

"Tails? It's me. Your best–"

"Tails, stop! We're buds—amigos! Best friends!"

"Amy, stop! We're friends! You liked me!...to some extent."

Nine and Thorn continue to attack Sonic. Nine and Sonic have a continuous attack on the underground train in the scareport (where Sonic continues to reason with him, tries to remind him of all they've been through together). Thorn sends Sonic up past the trees with her hammer, intending to end the battle altogether.

Now, a couple things to note here. Except when defending himself, Sonic never intends to actually fight Nine back in episode one. In fact, he spends much of the fight dodging and trying to reason with him. And it's clear that Sonic also never expected "Tails" to fight him. The fact that Nine does fight him, treat him like a stranger, throws Sonic off. But with Thorn? Sure, he never intended to fight her in the first place, at least not knowingly. But now that he does know who the "monster" is, he speeds down the nearest tree with clear intent to hit Thorn back. It's only because he flashes back to Amy and this suddenly makes him feel like he'd be fighting a friend does he decide against dealing that heavy blow. And while it throws him off for "Amy" to be so antagonistic, it's clear to me from the "You liked me!...to some extent", and that his first reaction was to hit Thorn back (rather than try to reason with her like with Nine), that the idea of Amy attacking him in general doesn't throw Sonic off. I'd wager that Prime Sonic has likely been at the mercy of Amy's hammer before, in the same way he'd likely never been attacked by Tails.

Now, after deciding he can't just "smash" (as Sonic puts it) Thorn with a clear conscience, he begins to try to reason with her as he had with Nine.

"Quick recap. I'm not from around here. Violence never solves anything. And where I'm from, you and I are buds. So how about we put down your big hammer and just talk, Amy?"

"My name is Thorn Rose, and you are finished!"

"What did you just call me"

"U-Uh...Tails?"

"The name's...NINE!"

...

"Snap out of it, we go way back! All of my best memories of Green Hill have you in 'em, and you're not punching me! Don't you wanna go home? Blue skies, sunny beaches...palm trees?"

"I don't know what kind of mind games you're playing, but it won't work!"

And here's what's interesting about Sonic's demeanor. While he's hurt, confused, and panicked during the fight with Nine (and this shows when he tries to reason with him), he's much calmer when reasoning with Thorn. You know, it's as if to him "Amy" just got angry/lost herself and it's up to him to de-escalate the situation.

With Nine, it's reminding him what Sonic means to him (means to Tails really), of home, of their adventures. With Thorn, it's reminding her of what Sonic means to her (means to Amy really), and, when that fails, trying to calm her down (as Amy herself might) to get her to just talk instead.

Now here's another interesting tidbit for these two fights. When Sonic and Nine enter the scareport, the two of them are on equal footing for the fight. Neither of them really gains the upper hand as Nine fights and Sonic dodges. However, the fight between Sonic and Thorn mostly consists of Thorn hitting Sonic around. Even when Sonic switches from fight mode to dodge and reason with mode, it's a pretty onesided fight, and it's one that Thorn pretty objectively wins. They're not at all on equal footing here.

Luckily for Sonic, though, he's able to successfully appeal to both Nine and Thorn in the end. He saves Nine from being hit by one of the underground trains, and he saves a flicky from drowning in mud. Nine's first impression of Sonic was of a stranger, a bully, intending to harm him and take from him. Thorn's first impression of Sonic is of a greedy scavenger, one of those who would intend to hurt the forest and drain it of its resources.

The tie in? It's that between both moments (saving Nine and saving the flicky), Sonic convinces Nine and Thorn that he's...an outlier of a person.

After Sonic saves Nine, surprising him, Nine finds who he believes to be the only person who would save someone (him) when there doesn't seem to be any immediately identifiable gain for doing so, the only person who may have protected and helped him back when he was young.

While Thorn isn't fully convinced that Sonic isn't one of the scavengers, those who destroyed the forest originally, it's clear that Sonic’s action of going out of his way to help the flickies surprises her. After all, she finally begrudgingly agrees to help Sonic find his way home.

Although, it is also worth noting that while Nine begins to treat Sonic more like a friend than he's ever treated anyone like a friend (when he fixes Sonic's little problem and goes out with him to get the paradox prism), Sonic is treated more like Thorn's captive in episode 4 (one that she'll release out of the forest when his business is finished).

Finally (I apologize for the length of this section of parallels) we get to the bit where Sonic and Thorn find the green shard. So, final things to note. Yes, Sonic spent more time with Nine over 3 episodes than the small portion of 1 episode with Thorn, but I feel it's also pertinent to recognize that neither were actually particularly long stretches of time in universe. Regardless though, for the sake of the parallel, I'm only noting here that Nine has become at least a bit attached to Sonic in a way Thorn has not. Sonic and Nine marvel over the prism together. In fact, it was Nine who'd asked Sonic to "grab the shard already" so they could escape the coucil's fortress together. However, after Sonic digs up the green shard in Boscage Maze, Thorn doesn't marvel over the green shard for too long before hitting Sonic in the face with her hammer, claiming the shard as hers.

But I suppose this also comes back to one big difference between Thorn and Nine.

Nine cares pretty much only about self preservation and staying away from the general public back in episode 1. Thorn, on the other hand, cares about the forest. Thorn was quick to push aside Sonic for the shard, similar to how Nine decided for leaving Rebel, Renegade, and Rusty behind so he'd have a higher chance of escaping with the shard. Only their goals matter. It's just that Nine very quicky integrated Sonic into his plans, while Thorn had not.

Interesting, no?

Okay okay I'll say the thing. Parallels between a Tails and Amy variant both meeting Sonic for the first time and pursing a shard with him: IIII

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So, Sonic goes for the green shard with a spin dash, yelling that he needs it, Thorn goes "as if I'd give the heart of my jungle to a stranger like you. You're a scavenger like the rest" and moves to attack, and so ends episode 4.

Putting the Sonine interactions from episodes 1-3 in comparison to all this with Thorn...really makes me embarassed on Nine's behalf for how telling his actions are😂

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And now for a moment you've (me) all been waiting for (because I didn't find anything in episode 5 I wanted to talk about)...

Sonic Prime Season 1 Episode 6: Situation: Grim!

I've been excited to touch on this episode since I started this little series about Sonine. Why? Because it's one of the season 1 episodes that gives me a lot of second hand embarrassment about Sonine (in a good way!), and it's just so fun to break down.

So, without further ado, let's return to New Yolk.

So, Sonic drops in, gets roped into the ensuing battle with the rebels versus the Eggforcers, and comments that New Yolk City isn't quite how he remembers it. Then, as he goes about explaining that he met "another you" (refering to Renegade), in another place, fighting another battle and the existence of other shards, he asks Renegade where Nine is.

"Anyway. Super stoked to be back to help with...whatever the heck's going on here. Where's Nine? I gotta pick his brain about this other shard I found."

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Later, after Renegade brings Sonic to Rebel and the resistance's base, Renegade "informs" Sonic that Nine left them (Renegade, Rebel, and Rusty) "high and dry" after getting the shard. Of course, similar to the scene in which Nine attacked him in their first meeting (while Sonic thought him to be Tails, this revelation seems to make Sonic...sad (a bit of an understatement, I know). Like he just can't believe Nine would do such a thing.

"I didn't steal the shard!"

"But your fox friend did, right before he left us high and dry."

"He...did?"

Rebel goes on to explain how she and everyone else had trusted them (Sonic and Nine) as a shortened version of the end of episode 3, as well as a continuation of the scene, play out. The audience watches Nine grab the shard, stop and consider saving Rebel, Renegade, and Rusty, before deciding to escape alone with the shard rather than risk losing it over trying to save the three (but it's important to note that Sonic doesn’t see this scene. All he knows is that Nine took the shard and left). Then, Rebel explains that after the event, the resistance grew "without you or that traitorous fox".

Now, how Sonic acts and what he says next tells us a lot about how he sees Nine (or rather how he wants to).

"If they get that energy crystal back, we're done for."

"Nine won't let that happen!"

After having his life threatened by Renegade and some of the resistance (which I may mention that Sonic never gives up anything he knows about Nine to save his own hide, such as the location of his base, even if it is true that he doesn’t know where Nine is currently), Rebel shows Sonic the palm tree. As of the Boscage Maze section, the palm tree has become a symbol to Sonic of what can be, and what he's lost. It's a symbol of the bonds he has with his friends, the memories he made with them, what he hadn't cherished properly before it was gone, and of hope for fhe future. Rebel showing it to him provides adequate motivation to help the rebels, showing him just what's at stake if they fall.

"I'm sorry I wasn't there when you needed me...but I'm not a traitor and neither is Nine."

"Let me prove it to you. Let me fight by your side."

Sonic how does– how does you fighting with them also prove Nine isn’t a traitor Mr. "I don't want to believe Nine would leave someone to die"

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In any case, the battle between the Rebels, Sonic, and the Chaos Council begin, and Nine shows up just like Sonic always hoped he would.

"Sonic! Hang on!"

*In Unision* "Nine?!"

"You got a plane!...kinda."

In hindsight, we know Nine came to New Yolk to find Sonic and bring him back to The Grim with him. We know this is likely his intention, given how he yells Sonic's name immediately upon appearing in New Yolk, and then says "hang on!" when he sees him in danger.

Bit of a side note here, I actually almost wonder if Nine has the ability to track Sonic (perhaps through his regulators?). I say this because there is no proof, even by season 2, that Nine had gone looking for Sonic in any other shatterspaces and seen them before (in fact there's more proof he went to Boscage Maze and No Place for the very first time while he and Sonic were trying to make off with the shards towards the end of S2). If he was looking for Sonic specifically and just so happened to know not only what shatterspace he was in but also where he was, it makes sense that Nine would be able to portal to about exactly where Sonic was and to come out of the portal yelling his name.

As for Sonic, while Rebel and Renegade are (understandably) none too happy to see him, Sonic is just...so happy, man.

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Now, for the next bit where Nine participates in battling the Chaos Council, I think the intentions here are so interesting. Because Nine? He came here just to find Sonic and bring him back. He's battling the Council to free up Sonic and give him an opening to join him. We know this because Nine practically portals out New Yolk the moment Sonic is safe in the cockpit. Basically, Nine only "helped" so he could return to the Grim with Sonic.

But Sonic? He's just got done asserting that Nine would never betray anyone. He wants to believe that Nine cares for people and fighting for good like he does (and like he believes Tails does, but how Sonic sees Tails and how Tails actually is is an essay for another time). So when Nine shows up and starts blasting the council, Sonic believes not that Nine showed up just for him, but that Nine came to help. To Sonic, Nine showing up in their hour of need proves that he's not a traitor, proves that Nine cares about spreading good and peace to New Yolk like Sonic wants to believe.

Understanding their differing points of view and stances on everything is integral to understanding the miscommunications to come in this very episode, and in the future. And, so does understanding how each of them badly want to believe in a version of the other that wants everything that they want and is the way they think they should be.

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...And that will be it for part 5 of Sonine Prime, everybody! This was a long one, and it would have been longer if not for the tumblr photo limit, but no matter. Next time we'll be continuing Episode 6, and I'll probably mention a hundred more times how embarrassing Sonic and Nine are about each other (Mr. "I smile as soon as I see you again after time apart and wanted to see you again so bad" and Mr. "We barely knew each other for a day but I want to spend my life alone with you in a world of our own making").

See you in the next one!

#sonic the hedgehog #sonic prime #sonine prime #sonine #nine sonic prime #miles nine prower #nine the fox #thorn rose #thorn rose the hedgehog #thorn sonic prime #sontails #essay time #Random thing but sorry about having just. A long deal of text about episode 4 before returning with picture after picture for episode 6😂#Honestly if I don't restrain myself picture wise #episode 6 could take more than a few parts to tackle. I'll do my best though. If I have to I'll make it up with a video #And also sorry this post took so long to make😂😅#I had more to say than I thought I would about episode 6‚ and it took a minute to work myself up to watch ye old comfort show knowing I'd #spend energy and braincells picking it apart to write about instead of just watching for funsies #But yeah anyways. If you've already stuck with me this far I hope you enjoyed. And I hope you enjoy the next part as much as I will enjoy #watching the episode

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