#both songwriting and production wise

[dlstmxkakwldrlarchive]

shinee songs wouldn't be the same without jk cause why is it always his part that's hitting different. he never stood out to me either (until i started watching more shinee content) just his voice, jjong is more talented technique wise imo but jinkis voice really does stand out so badly to the point you can't help but notice him.

waaaa i wanted to rec watching this mini documentary 'kpop generation' but honestly, shinee gets mentioned for less than one minute, so it's not really worth it, but! i found it interesting that while discussing their debut and some behind stuff chris lee said that replay was chosen entirely because of jjong & jk's vocals and then mh added that since replay wasn't the typical kpop song they were allowed to yk walk a different path compared to the other bgs who debuted around that time. what im trying to say is since their debut jongyu defined shinee's music trademark, and you can even notice how their music got progressively more mature following their improvement not stopping at only their vocal techinque improvement but also in music behind stuff, jjong's involvement in production and songwriting protected shinee's music from being stagnant and also showcased kmt vocals better and showed everyone that the whole group is more than capable to sing beyond their part (in view u can hear how mh is always leading the chorus for example just like in prism u can hear him harmonizing more) and idk if it was something intentional but if you listen to your name and beautiful life (both written by jk) you hear a vocally complete shinee like jjong did say your name took nearly five hour to record bcs of everyone's harmonizations lol

honestly you can't really escape the main vocalist/lead vocalist stuff so you can't say jk is superior to jjong if we're talking about vocal technique and i don't see it as a negative thing to say or something to use to pit them against eo, i think they're two different singers and they kinda contrast eo when they sing and when they do it together they show off each other strengths imo. (we need a please don't go renaissance!!!!!) jinki's voice needs to be there to make it sound like it's a shinee song like it's shinee's music groundwork, and i think his ability to not overpower others when he's duetting with them and his ability to sing whatever music genre is one of the strengths they have as a group like there are groups that stick to one genre all of their careers and that have vocalists that could showcase more but can't because other members lack & they're stuck at yk /cleaning after them/ while in shinee is the opposite everyone can fully express themselves vocally because of jinki's vocal groundwork even him like listen to don't stop, rescue, orgel and so on he doesn't have more lines and he isn't belting notes but his vocals linger the whole time and he always takes advantage of the song's instruments like the guitar in rain on me sounds dry so he used a tone that sounded dry but not boring. there's also his word pronunciation when beat drum 'rap' teaser came out on instiz everyone was commenting about how every word was clear and went straight into their ears and how his tone is unique even if he's a genre chameleon like there are layers and layers to this because he also keeps improving for example his falsetto in gradation vs his falsetto in insomnia

[ayeeedomino]

Ateez 9th member

Roux’s dynamics with each member:

Roujoong: Hongjoong and Roux bonded over their shared love for music production and songwriting. They often spend late nights in the studio collaborating on new tracks, drawing inspiration from their diverse backgrounds to create music that resonates with fans worldwide. Also Hongjoong is constantly giving her tips on everything, if Seoghwa and Roux have a brother-sister relationship, what Hongjoong have with Roux is a literal dad-daughter relationship. He is quite protective of her.

Rohwa: Seonghwa is like a protective mother to Roux, always looking out for her and offering guidance. They share a love for traditional Korean culture and often explore the streets of Seoul together, trying out new foods and visiting historical landmarks. As a mom would do to her child, Seonghwa is constantly talking about life and the dangers, always making sure she is safe, and god forbids Roux get sick, he will be the one that will cook for her, bring her medication, make her company and all that.

Yunroux: Yunho and Roux have a golden retriever black cat dynamic, constantly teasing each other and engaging in friendly competition. They push each other to strive for greatness, whether it's during intense dance rehearsals or impromptu rap battles backstage. They also share a great friendship full of big hugs, tips about life, and funny moments.

Yeoroux: Yeosang and Roux share a quiet bond, often finding solace in each other's company during hectic schedules. They enjoy deep conversations about life, love, and the pursuit of their dreams, supporting each other through the ups and downs of idol life.

Sanoux: San and Roux share a fiery passion for performance, electrifying the stage with their dynamic energy and powerful stage presence. They often collaborate on choreography, pushing the boundaries of creativity and innovation with their electrifying dance routines. They are also very close since both of them are close to Wooyoung, often spending time together, or should I say, Roux third-wheeling 24/7.

Rouxi: Mingi and Roux are the same, just different genders. They both bond for their love for hip-hop and street dance. They often freestyle together, exchanging verses and moves as they express themselves through the art of music and dance. They are also very similar style wise. They are often wearing outfits from each other, overall a twin relationship really.

Youngroux: Wooyoung and Roux are the chaotic duo, always finding ways to make each other laugh and lighten the mood during stressful times. They enjoy exploring Seoul's nightlife together, dancing the night away and creating unforgettable memories. They share the same rumor, fans also love to say that Wooyoung is babygirl coded and Roux is daddy. They often play around each other and act together like they are 16, always making Hongjoong question why he made the decision to be a leader.

Roung: Jongho and Roux have a strong bond rooted in their shared dedication to their craft. They often support each other during vocal training sessions, offering constructive feedback and encouragement as they strive for vocal perfection. They are also the maknaes of the group.

[synergysilhouette]

Plotting out "Night and Day" (2008)

Check out my post about the summaries of the post-renaissance era here. Note: I may change them to better fit my fleshed-out posts later.

Background: Wanting to do adapt another Hans Christian Anderson tale, Disney eventually settles on "The Nightingale," though that it may not be interesting enough makes them shelve it. Eventually, someone mentions an interesting take on the story: to set it in Korea. Deciding that letting the story take place in China would bring about comparisons to "Mulan," Disney greenlights the project, bringing Gary Trousdale and Kirk Wise on as directors due to the variety they bring having directed Disney movies with a variety of flavors, and thus believe they can bring something unique to this story. They ask James Newton Howard to conduct the score, and while originally planning to hire Stephen Schwartz to do the music, the Korean-American community speaks out on Disney involving East Asians in the production team, so they opt for a Korean American songwriter instead. While Linda Woolverton is the primary screenwriter, several people of Korean heritage contribute to the script as well. Additional research is also done into the history and culture of Korea, with Park chan-Wook's work having significant influence. A notable source of contention is what time period to set the story in. Despite being fictional, it's soon decided that it would be wise to be close as possible to cultural accuracy, and while some argued that the film should depict the Joseon era (a popular era for Korean films and dramas), the Silla dynasty is soon decided upon due to it's reputation as a golden age of Korea and an "Ancient" feel that could make it comparable to "Mulan." They also made a somewhat controversial change of making the bird a magpie (in reference to a Korean fairy tale involving a sky bridge made of magpies) instead of a nightingale. And possibly the most divisive change was to remove hyphens from certain character's names and pronounce/spell them as one name. Sci-fi elements of the story were originally pitched, but when they felt it was straying too far from the initial story and the fantasy vibe, breaking the world in a sense, Disney cut it.

(Note: several visual aids used are from media post-2008 and are serve to give the audience the idea of how the characters would look/act, rather than the influences Disney would use in the early 2000s.)

Plots

In the Kingdom of Seora, all is not well. Emperor Taejo, the overseer of a golden age, is stricken with a seemingly incurable disease. While the country prematurely mourns the beloved monarch, his second son takes matters into his own hands by vowing to find a bird of legend said to cure disease and even resurrect the dead. However, the bird herself is not quite as magical as one thought, but she does have Death's ear. She takes the prince on a journey to visit the one who all will see in time, but the prince finds that both in his home and on his journey, dark forces plot against him.

Characters

Sujin (Su-Jin)--Cursed to take on the form of a bird by her cruel stepmother, she is a mature and patient woman (at one point, anyway) with a glorious singing voice. Her curse has given her longevity, and her voice became one of legend, and it is said that even Death himself cannot resist when she calls for a favor. When the Prince of Seora finds her to ask for Death's favor, she guides him to find Death itself. However, she realizes that her relationship with Death does always deliver on her favors; in fact, she worries that it may need to be a trade. And as she continues to fall for the prince, she's terrified that he will accept it.

Prince Jiyu (Ji-Yu)--The middle son of the Emperor and called the rabbit prince for his wit, he is one of the few people at court not so depressed by grieving that he is able to realize what he needs to do. Having heard of a magpie with a song so lovely that it can heal the sick and revive the dead, he ventures to find her. However, he soon discovers the myth was embellished, but that she does hold Death's favor. So he asks her to take him to find "Grandfather Death" to ask for his father's safe health. While he comes off as a slacker with no self-motivation, Jiyu is quite crafty and a slippery thing, a rabbit not so easily caught. But Sujin may have done so without even trying.

(Note: the picture of Park Jihoon in 'Flower Crew: Joseon Marriage Agency, as the title states, is set in the Joseon era, but I included the picture to demonstrate the vibrancy of the colors and patterns he wears as something Jiyu would wear. In fact, I'd probably put him in pinks and purples to contrast with Sujin's more mature magpie colors. And I know Lau is Chinese, but I was imagining him as influencing Jiyu's personality)

Yunseo (Yun-Seo)--Prince Jiyu's uncle, who stands to inherit the throne if Jiyu dies on his journey, as Jiyu's older brother was imprisoned for staging a coup and his younger brother and sister are too young to rule, allowing him to rule as regent. While he has a family affinity, those closest to him stoke his ego until he allows himself to believe that the kingdom would be better off without him and with Yunseo as Emperor, and considers either discrediting his young niece and nephew, or removing them from the line of succession in a more...substantive way.

(It's noted that Daniel Dae Kim was a visual inspiration. Perhaps he even played Yunseo.)

Songs

The Sun Never Sets--A ballad of the glory of the Kingdom of Seora, how it was brought into a golden age by the emperor. But in the past year, a great illness has set into his body and mind

Rabbit Eyes--The mischievous second son of the emperor is set to inherit the kingdom if his father dies, but while plans are made for him, he refuses to give up, deciding to venture to find the mythical magpie.

Songbird--Jiyun attempts to persuade Sujin to heal his father, but she cannot, and he eventually convinces her to guide him to Death in order to ask them personally for a favor.

Abandoned--While regent, Yunseo contemplates the idea of being permanent ruler. Having been young when his brother's children were born, he never truly considered becoming Emperor, but he eventually comes around to the idea that him as emperor would be beneficial for everyone.

Connection--Sujin, having grown closer to Jiyun during their journey, tells him about how she became a magpie, and Jiyun reveals how he wants to heal his father out of duty rather than familial ties; his mother died when he was small and his older brother staged a failed coup and was imprisoned. All this made his father emotionally distant, and thus Jiyun feels more like his subject than his son.

Death's Favor--Upon finally meeting Death, they are not as moved by Sujin's pleas as usual, as the emperor is already at Death's door. Jiyun is willing to trade his life for his father's, but Death says that to bring his father to full health, the cost is much steeper: if he wants the emperor healed, he must fade from the minds of everyone, forgetting who he is and all forgetting him. He must lose his very identity in order to restore the golden age of his kingdom.

Hope you enjoyed the original films from my take on Disney's post-renaissance era! Lemme know if you have any questions.

[zot3-flopped]

Not the Liam Payneful stans celebrating 4 years of LP like it won 10 Grammys 🤣🤣🤣

An apt moment to remind ourselves of what Pitchfork said about it!

Score: 4.3

By Rawiya Kamei

REVIEWED:

December 16, 2019

The former One Direction member’s solo debut is just another pop star flailing to find his identity amid trend-hopping production and half-baked lyrics.

One Direction was famously assembled because Simon Cowell and his fellow X-Factor judges didn’t have much faith in the boys’ potential as solo artists. If Liam Payne’s debut, released more than a decade after the band’s televised genesis, is any indication, Cowell was right. Payne is, at best, competent.

His voice is pleasant but not especially charismatic. His choices are safe but uninspired. A couple of years after launching his career, his musical identity remains wholly unremarkable. (Cowell has since criticized Payne in the press for signing with Capitol, and not his own pop-pipeline label.) 

LP1’s 17 songs, including a 2018 Rita Ora collab from the 50 Shades Freed soundtrack and a Christmas number tacked on at the end, have the ambiance and trend-scraping of a Zara fitting room.

The journey from boy band to solo act has broken many aspiring pop stars. But what it requires most—gesturing at a distinct, compelling identity—is Payne’s biggest question mark. Despite being a UK tabloid fixture, he’s been unable to convey a discernible personality—or any personality at all.

Even with a built-in global audience of millions, it’s unclear who this collection of middling songs could possibly resonate with. Former Directioners clamoring for a solo Liam album? New fans seeking nondescript, paint-by-numbers pop? And yet, improbably, Payne has been among the band’s most successful solo members, metrics-wise.

“Strip That Down,” a 2017 love song premised on his freedom from One Direction and featuring a bloodless verse from Quavo, has amassed billions of plays. Other singles, like “Familiar” with J Balvin and “Get Low” with Zedd, despite being completely unmemorable, have proved adequate enough to satisfy the low bar of a generic pop playlist.

Throwing spaghetti at a Spotify algorithm and seeing what sticks appears to be Payne’s strategy with the rest of LP1. The single “Stack It Up,” featuring A Boogie Wit Da Hoodie, further betrays his ambition of an Ed Sheeran-style metabolism of the current pop sounds. There are layered R&B harmonies, vaguely Latin rhythms, and compressed synths as melody, but even with two songs written by Sheeran himself, Payne only gasps at his radio-ready effectiveness.

In recent press, Payne has hinted at the complexity of his life post-One Direction, including fatherhood, brushes with substance abuse, and frustration with accepting his role as the band’s most-boring member. But he draws little inspiration from that wealth of real-life experience. Instead, he relies on inane songwriting concepts, rote misogyny, and feelingless flexing.

The lyrics are puerile and half-baked. It’s hardly worth laying them all out on the page, but the worst offender must be from (the nerve!) “Hips Don’t Lie”: “Don’t be giving me the eye/Unless you got what I need/I hope your hips don’t lie/Unless they’re lying with me,” he sings.

One song, “Both Ways,” takes the trope of hetero objectification of bisexual women to gross new lows: “No, no, I don’t discriminate/Bring it back to my place/Yeah, she like it both ways.”

In addition to being offensive, it’s not even convincing as an expression of desire. If you can’t effectively use a pop song to communicate horniness, the most basic of human emotions, then what do you have?

Listening to LP1, you almost feel sorry for Payne. It’s maybe more pathetic to have failed not for risking too much, but after seeming to have tried so little.

[7ndipity]

Heyy, idk if you're still doing the ship game so if you are not feel free to ignore this!

I am obsessed with music and anything creativity related, I've been making my own world inside my head since forever. I songwrite and hope to start music production soon

I like to learn languages and history/geography about different places. I am currently learning Chinese

I am 100% a dog person lmao. My friends describe me as a really big dog

They also say that I am like a sun disguised as a moon and I think that's kinda soft ngl

I have eight pets (6 dogs, a rabbit and a bird that it's not actually mine, just lives nearby and we see each other all the time)

I am enfp and the mother of my group of friends

Appearance wise I am 170, hair with a lot of volume, indigenous eyes, gengival smile, big thighs and thousands of different scars all over my body (most of them are from falling lmao)

I also really like to move my body throughout dance or sports (especially volleyball). I am obsessed with drinking tea and I love to draw

Hope I did it right lmao

I would ship you with Yoongi and Hobi!

Yoongi’s said before he wanted a partner who was a creative type like himself, and since he’s more of a moon personality, I could see you two balancing each other out well.

Hobi, on the flip side, is a fellow ball of sunshine and would love that your energy matches his. I’ve also said it before, but I think they both would kinda be into the ‘mom friend’ personalty.

Hope this was okay💜

[plastic-summer]

my thoughts on taylor's grammy nominations

i still think midnights is criminally underrated in the fandom, so it would be amazing to see her getting the awards she deserves! absolutely taylor's most cohesive album to date and you can just see how proud she is of it. the lyrics, the production, the visuals, the narratives, everything, just pure pop perfection. i'd expect nothing less from the legend that is miss taylor swift.

1. record of the year - anti hero.

anti hero is a fantastic song, i will never understand why people hate it all the time. it showcases something i think taylor is super good at and that stands her out from other artists - pumping endorphins into the most heart wrenching lyrics. this award is mostly for sound and production however - i'll come back to lyrics later. i think anti hero separates itself production-wise from the rest of midnights (which has a dreamier vibe to it) which i love because it's more raw and personal and honest than the other songs, which are more narrative or experience based. i wouldn't suggest it's the best song on the album, but it's absolutely a deserving single and winner of this award.

it has some super tough competition for this award - it's been an amazing year for music - especially sza's "kill bill" and victoria monét's "on my mama" (both of which i'd be equally happy with as winners). i would say myself that anti hero shines far more in its lyrics than its production, which might hurt it in competition, so if she loses out on any awards, it may well be this one.

2. album of the year - midnights.

in my eyes, midnights won album of the year as soon as it was released. it's just stunning in every possible way. again, there's lots of tough competition from all different genres, but midnights is in a league of its own. the production is gorgeous and (unpopular opinion probably) very different from what she's released in the past, with this amazing dreamy and nostalgic quality to it that brings to life the album concept without it being ostentatious. it follows a clear but not garish or derivative narrative path, again subtly and tastefully presenting its concept. the lyrics are consistently reflective but present differing emotions, which again is indispensable in this particular concept. it's absolutely a 10/10 album in my books, and clearly one of her best, if not her best overall.

3. song of the year - anti hero.

okay, this one is for songwriting, which we know is what taylor swift came to do, and what she will always dominate in. i said about the record of the year nomination that anti hero will be known for its gut wrenching honesty and not necessarily for its sound, and i stand by that here. for me, taylor's selling point is her ability to write music that is obviously deeply personal to her, but also general enough that any of us can relate to it and feel heard and seen. anti hero is a masterclass in this - every word is perfectly crafted in such a way that you can see yourself and your own struggles in it, even if they're nothing to do with hers, without a scrap of taylor's personal feelings being lost in it. it combines beautiful poetic lyrics with a punchy hook that somehow remains perfectly tasteful and never cheap or lazy, and every second of it is dripping with genuine emotion. this is one of the songs of hers that will outlast us, and deserves to be recognised as such.

4. best pop duo/group performance - karma (ft. ice spice)

i will be one to say this song is WAY overhated. it's a grower for sure, but i love it. ice spice is just so excellent with wordplay and rhyming, it's great to see them on a track together. karma is a brilliant song anyway, it's so tongue in cheek it regularly crosses into comedic in an artful way. i don't expect it will win, if i'm honest, not because it's not a good song, which it is, but because it has too much competition for it to live up to standards. most likely it will go (deservedly) to "candy necklace" or "ghost in the machine".

( her other nominations are for best pop solo performance for anti hero and best pop vocal album for midnights - not much more i can say there )

[djxblyss]

“I’M NOT YOUR DAYDREAM - STOP, ‘CAUSE YOU’RE KILLING MY VIBE”

INTRODUCING…

NAME: Daphne-Jean Blissett DJ Blyss

GENDER & PREFERRED PRONOUNS: Cis woman {She/Her}

AGE: 26

BIRTHDAY: December 10, 1996

ZODIAC: Sagittarius Sun, Libra Rising, Virgo Moon

SEXUALITY: Bisexual (Lesbian-Questioning)

FACE CLAIM: Madelyn Cline

OCCUPATION: Synthpop/Electropop Singer & Songwriter

HOMETOWN: Port Fairy, AUS

CHARACTER PLAYLIST: HERE.

UP NEXT: “GIRL IS A GUN” BY HALSEY

BIOGRAPHY: TW DIVORCE, TOXIC RELATIONSHIPS, ADDICTION (ALCOHOL & DRUGS), MENTAL HEALTH

Daphne-Jean was the production of a whirlwind love story. Her mother was a part of a traveling tour group from the US, taking a 32 day trip to go see the world. They were stopped in Australia for 2 days, where she met Daphne’s soon-to-be father and they fell in-love. To make a long story, short, her mother never finished out her trip; cutting all ties from her birth state of Florida to just make roots with this new guy in a foreign country. Wanting to move somewhere more family-oriented than the city of Sydney, they chose to start their family in the small coastal town of Port Fairy. It took a year for them to tie the knot, and another year for Daphne-Jean to be brought into the world.

Growing up in the Blissett home consisted of going to the local roller rink or bowling alley on Fridays, and dancing around on Sunday mornings whilst making a hearty homemade breakfast. Though the town was small, Daphne-Jean was never deprived of activities to do. The beach providing good waves for surfing in the summers, and the local theatre never short of local and global talent on their calendar.

Daphne-Jean was first coined as ‘DJ’ by her father, and though her mother was diligent in calling her by her full name (being named after her grandmother), her mom even eventually caved. The usage of the nickname grew as she attended school and made more friends beyond her dance classes. Her mom always bragged about how DJ danced before she genuinely walked, and as she has always been known for running on her toes because of it. Her younger years in dance classes marked her love for music, and a major bonding point for her and her mother. One of DJ’s favorite memories as a kid was doing jazzercise videos with her mother. They also shared a love for the 80′s aesthetic and music. Still being a huge part of her brand to this day; both fashion-wise and music-wise with influence. DJ always admired the bold color choices, and the upbeat music that just made you wanna breakout in dance.

It was DJ’s charm and outgoing personality that made her popular. Sure, her looks played a part, but the genuine compassion that radiated out of her so easily made her liked even by those who would normally hate the popular kids. Though she was a social butterfly who had no issue with making friends, there was always a struggle in the romance department. Maybe it was a form of self-harming in a weird addiction sense, or maybe it was just the fact she was popular and attracted the attention, that she always seemed to be in a toxic relationship. Even if it was not always the other person, DJ always had a way of shifting blame because there could never be anything wrong with her. At the end of the day, she always had a justification for her actions - and her perception of it would be the only one that mattered. That didn’t mean she didn’t deal with her fair share of assholes; one in particular being a constant through her high school career. It was a toxic circle of jealousy and games, but DJ just couldn’t find an ‘out’ - mostly because she liked the highs so much, that she didn’t want an ‘out’.

During her 3rd year of high school, DJ started drinking and partaking in experimentation of drugs. It was triggered by her toxic flame at the time, but also her parents’ divorce. Her wild side came out as a scream for help, not necessarily wanting to lean on her father or mother because of how hard both were taking it. It was also the fact that both were taking it so hard, that it confused DJ as to why they were getting a divorce to begin with. It wasn’t until she graduated high school, that she became aware of her mother’s BPD and the negative aspects to her respective case that caused the split; overspending, infidelity - it was too much for DJ to see her mother that way. It also was marked as a wakeup call for DJ when her father would state she was ‘acting’ like her mother. It caused her to cut ties and flee, a part of her always unsettled by how easy it was for her to leave her small town and travel to the city with nothing more than $10 to her name.

DJ never took school seriously, and thus she had to fall back on her skills to obtain a job that could support her in Sydney: stripping. It was during this time in her life that she genuinely felt the most alone she’s ever felt, and so she turned to alcohol and drugs to cope. One of her good friends who was a co-worker of hers, hooked her up with a ‘nice guy’. He did wind up getting DJ into a rehab facility, and DJ instantly obtained a therapist to stay clean when she got out of rehab. The issue was, he started to change - expecting way more from DJ because he credited himself fully for getting her clean. It was like clockwork, how the toxicity followed her in such a vicious cycle. She relapsed twice before actually leaving him.

DJ’s therapist made the correlation known to her, between her happiness and music. It was supposed to be a silly little ‘project’ for her therapy session to come up with a song to air out her emotions about her most toxic ex who wouldn’t leave her alone. She wasn’t expecting her drunkenly posting it on TikTok to go viral. It was an overnight sensation, and that had everything to do with how brutally honest she was; her songwriting more like she was speaking to her best friend that just so happened to be the world. She kept her stage name as DJ Blyss, and is known as DJ, Blyss, or just DJ Blyss by her fanbase - her old identity now something she quickly forgot.

A major record deal came into the picture after 3 years of DJ being a pop star in Australia. Though she felt hesitance with what the label contract entailed (practically going from Australia-based to now international), she signed on and moved to NYC. She’s only been signed to the label for 6 months, but her debut EP is set to be launched by this upcoming October. ‘Til then, she’s still learning the ropes when it comes to this music industry stuff; only really used to fully managing and running her stuff, herself. And also just leaking stuff she shouldn’t be, currently.

EXTRA-EXTRA, READ ALL ABOUT HER!

DJ’s either in a super good mood, or in the worst mood ever. She’s coded in extremities, and maybe that had something to do with a mental illness in her family history, but she’s not properly diagnosed with anything. She seeks out thrills, and is a sort of ‘yes’ woman when it comes to last minute trips or activities such as skydiving. DJ is a huge partier, though she is over 8 months sober (and counting), she still loves to let loose and have fun; never turning down an opportunity to dance and have fun. She’s quick to make friends, and can be very supportive. The downfall, is that in a romantic sense she is easily bored. So, if it’s not something toxic, she will make it toxic herself just to watch it self-destruct in her face. She is prone to jealousy and will try to make others jealous. She’s also petty int he sense of loving the chase more than anything, and to be chased. DJ is quick to fall into lust and infatuation, but hates being romanticized. Even though, she’s prone to romanticizing things (especially strangers), and this is because she feels everything so deeply but also because the way she sees things is just how they are to her. This also makes her really stubborn, and it’s hard to have her see things from a different perspective other than her own. DJ doesn’t really think things through, but it makes for great stories. She loves fashion with lots of color, even her black clothing having some rainbow-esque or neon accents to it. She also loves her hair curled and she’s coined a hot pink as her signature color: loving how it’s confident yet happy as a color. She’s also almost never in pants. Her go-to is a skirt or dress, and if she has to wear pants then they’re either sheer or short-shorts. DJ is prone to being optimistic to an unrealistic degree, but she means well and for the most part it’s a self-coping way for her to get in a better mindset. She’s currently questioning her sexuality; thinking maybe it’s not her but the boys who’re making it hard for her to build serious meaningful connections with, but she’s keeping that on the down-low as she’s experimenting more with her bisexuality to figure it out. At the end of the day, she’s someone who radiates fun and she understands struggle - so she’s a great person to have in your life if you need some sunshine, just be careful when her storm clouds start brewing.

PERSONALITY:

+ Compassionate, Energetic, and Alluring

- Apolaustic, Destructive, and Petulant

[essential-music]

Thank You for the Music: Why ABBA’s Masterpiece Remains a Pop Paragon

ABBA’s “Thank You for the Music” stands as a timeless testament to the power of craftsmanship, emotional depth, and universal resonance. Released in 1977, this anthem of gratitude for music’s transformative magic continues to captivate listeners, not through nostalgia, but through its impeccable composition, stirring performance, and pristine production. This song reminds us what pop music can achieve when it aspires to artistry.

The song’s composition is a masterclass in balance and emotional storytelling. Its melody, deceptively simple yet profoundly uplifting, weaves through verses and choruses with a natural flow that feels both inevitable and exhilarating. The harmonic structure, rich with lush chord progressions and subtle shifts between major and minor tonalities, elevates the song beyond standard pop fare, infusing it with a choral-like grandeur. The lyrics, meanwhile, strike a universal chord, celebrating music’s ability to capture hearts with a sincerity that avoids cliché. Lines like “I’m nothing special, in fact I’m a bit of a bore” ground the song in humility, while the bridge’s exuberant “What a joy, what a life, what a chance” soars with unbridled passion. This emotional arc, carefully constructed through verse-chorus-bridge dynamics, ensures the song resonates on both personal and communal levels.

The performance of “Thank You for the Music” is equally compelling. The lead vocals, delivered with warmth and clarity, carry the lyrics’ emotional weight with effortless grace, transitioning seamlessly from introspective verses to the triumphant chorus. The backing harmonies, a hallmark of ABBA’s sound, add a layer of richness, creating a sense of unity that mirrors the song’s theme of music as a shared human experience. The instrumentation—anchored by a delicate piano intro, supported by strings, and driven by subtle percussion—strikes a perfect balance, never overshadowing the vocals but enhancing the song’s dynamic range. This interplay of softness and intensity gives the performance a journey-like quality, pulling listeners from quiet reflection to joyous celebration.

Production-wise, the song is a model of clarity and polish. The mix is meticulously balanced, with each element—vocals, piano, strings, and harmonies—distinct yet cohesive. Warm, organic tones and tasteful reverb create a sense of space, lending the song a timeless quality that transcends its 1970s origins. The pacing, driven by a moderate tempo, allows the melody and lyrics to breathe, while the gradual build of instrumentation ensures a seamless flow. This attention to detail underscores ABBA’s commitment to sonic excellence, making the song as aurally satisfying today as it was nearly five decades ago.

What sets “Thank You for the Music” apart, however, is its artistic ambition. While firmly rooted in pop, it borrows from classical and choral traditions, with its layered harmonies and intricate arrangements evoking a sophistication rarely seen in the genre. Yet, it remains accessible, its universal message and melodic strength inviting listeners of all backgrounds to connect with its joy. This versatility—evident in its adaptability to solo performances, choral renditions, and even theatrical settings—speaks to its enduring relevance. The song’s ability to convey gratitude and wonder without sentimentality is a rare feat, positioning it as both a celebration of music and a blueprint for pop songwriting.

In a world where pop music often chases virality over substance, “Thank You for the Music” is a reminder of the genre’s potential to inspire and uplift. Its craftsmanship, emotional authenticity, and universal appeal make it a paragon of what pop can be when it prioritizes artistry over trends. ABBA’s masterpiece doesn’t just thank music—it embodies its magic, inviting us all to sing out loud and rediscover the joy of a melody well-crafted. So, thank you, ABBA, for giving us this song—and for showing us what music can do.

Year: 1977

Composer/Lyricist/Producer: Björn Ulvaeus, Benny Andersson

[columnistfromtheabyss]

Review: Dawnwalker - The Unknowing

Dawnwalker's The Unknowing is nothing short of a triumph, solidifying the band's position as one of the most innovative forces in progressive rock today, showcasing the band at the peak of their creative powers, blending their signature atmospheric soundscapes with ambitious songwriting, evocative lyricism, and a masterful command of dynamics.

From the very first track, it's clear that The Unknowing resonates on an emotional level. The production is stunning, with every layer of sound given room to breathe—whether it's the ethereal vocals, intricate guitar lines, or the thunderous rhythm section. The mix is both expansive and intimate, allowing the album's emotional weight to shine through while immersing the listener in its lush, textured world.

The songwriting is a standout feature, seamlessly weaving between moments of delicate fragility and towering, cathartic crescendos. Each track feels like its own journey, yet the album as a whole is cohesive, with recurring themes and motifs that tie the experience together. The band's ability to merge diverse influences into a unified vision is exceptionally breathtaking, a statement to their innovative approach.

Performance-wise, the band delivers some of their finest work to date. The vocals are haunting and emotive, carrying the weight of the album's introspective themes, while the instrumentation is precise yet complete of life. The guitars are both soaring and pensive, the drums dynamic and powerful, and the basslines anchor the compositions with a subtle but commanding presence. Also the poetic depth of the lyrics perfectly complements the music's emotional resonance, creating an album that feels as intellectually stimulating as it is sonically captivating.

In many ways, The Unknowing represents the culmination of everything Dawnwalker has been building toward. It's a record that pushes boundaries while staying true to the band's identity, and it's destined to be remembered as one of their most outstanding achievements. For fans of progressive rock, post-metal, or atmospheric music in general, this is an essential listen — a masterful blend of ambition, artistry, and emotion.

Rating: 4/5

[chorusfm]

Liner Notes (January 18th, 2025)

Quick one this week, but some early thoughts on the new Coheed and Cambria record and surprise release from The Maine. This week’s supporter Q&A post can be found here. If you’d like this newsletter delivered to your inbox each week (it’s free and available to everyone), you can sign up here. A Few Things * Last week I wrote about popcorn coconut oil, and everyone reached out with all kinds of fun popcorn tips and tricks. Many recommended Flavacol popcorn salt, and I can confirm it’s a very nice addition to our popcorn routine. * I’ve been trying to spend far less time on social networks over the past few years. I kicked all the apps off my first home screen and have been trying to replace my previous aimless social media scrolling time with catching up on my RSS feed time. By and large, it’s worked. I’ve basically stopped reading any text-based social media, except for a few occasions when I’ll flip through a few things. I have stayed relatively active on Instagram because it’s been the one I find the most value out of (not only seeing what my real-life friends are up to but also seeing a lot of cat and nerdy memes and photos). I also enjoy posting a monthly collection of pictures from the past month to remember what I did, a mini photo diary of sorts, and sharing photographs of vinyl records and writing a little about them has been great too. But all the latest bullshit from Meta has me once again thinking about just how much time, content, and attention I want to give any of their platforms. I’ve also been thinking a lot about the Ev Williams piece about the difference between social media and social networking, and I don’t know how much I need the media part in my life these days. It’s something I will keep thinking about this year, but I know I feel better when I am reading blogs from people I like or writing myself or making stuff on my own. In Case You Missed It * Review: The Maine – Dyed (2008 * The Maine Surprise Release New Album * Paramore’s Zac Farro and Hayley Williams Unearth Williams’ Grandfathers Album * Coheed and Cambria – “Someone Who Can” * Mayday Parade Announce Anniversary Tour * GoFundMe Started for Marko of Sugarcult * Chorus. fm’s Top 30 Albums of 2024 * Albums in Stores – Jan 17th, 2025 Music Thoughts * The Maine surprised released a fun project this week where they took old ideas from past album eras, cleaned them up with a modern touch and production, and released them to the world. The whole thing is pretty great, but the songs starting at the American Candy era onward are particularly impressive. I don’t find that shocking, given that’s where the band stepped up to the next level of songwriting/creation-wise in their career. I used to say the most significant musical surprise in my life was Hellogoodbye releasing Would it Kill You? But, given the catalog depth, and we’re five (six including this one) albums in now, I need to re-think my answer. The Maine going from a band that didn’t seem for me to being one of my favorites, and not just a favorite, but actively being one of the more interesting bands making music! That is one helluva turnaround. And Lovely Little Lonely and their self-titled album are both up there with my favorite albums of the last decade. That’s a special band on a special run. * Spitalfield released their first new music in years with the new single “Remembering Right Now.” A perfect mix of nostalgia meets the classic Spitalfield sound — an immediate smile. I hear more is on the way, and I can’t wait. * Coheed and Cambria released what might be my favorite song from their new album. In many ways, the upcoming release piggybacks on what they did on Vaxis II. It has a similar production sheen, similar sound profile, and works very well as a sequel to that album. And that album was the one that re-kicked my interest in that band up again, so I couldn’t be happier. I need more time to pin down where it ranks in the band’s catalog, but it’s about everything I… https://chorus.fm/features/articles/liner-notes-january-18th-2025/

[rockzone]

D-A-D - Speed Of Darkness

Release Date: 4 Oct 2024

The year started with a trip back in time for D-A-D with their 40th anniversary, and now they look into the future with their 13th album, "Speed of Darkness". They had written 40 songs since their last album and picked the best 14 for this new double album.

Jesper Binzer says, "I am totally stoked about this new collection of songs – I can’t wait for the fans to hear this album. It is so much D-A-D – and so much better."

Drummer Laust Sonne agrees. He says, "We have never played better than we do on this album. Our songwriting is on top notch, and this collection of songs is our strongest in many years. Sound- and production-wise, we have cared deeply for every little detail. It has both power and finesse."

’Speed Of Darkness’, was mastered by Jacob Hansen (Volbeat, Amaranthe, Powerwolf). Laust Sonne says, "Jacob Hansen is really good at producing drum sounds, and he has a recording room designed for drums. There are not a lot of studios like that left out there, as most of it is done on computers in peoples’ living rooms these days. It is hard for drummers like me, who hit hard and make a lot of cymbal noise, to find studio people trained for it, but Jacob is one of them. The more I let loose, the better I sounded, so that was really awesome."

Producer Nick Foss thinks that this is the strongest pool of songs in a long time.

In support of their new record release, D-A-D are about to kickstart a major festival summer tour with 24 concerts. Following this run, they will play 16 concerts in Norway, Sweden, Finland, Germany and Switzerland as well as a completely sold-out show in Royal Arena in Denmark in November.

[mymbios]

Tatum Peak was born on August 14, 1985, in Los Angeles, California, into a world of glitz, glamour, and rock 'n' roll. Her mother, Serena Whitmore (59), was a successful fashion model in the '80s and '90s, gracing the covers of countless magazines and walking runways across the globe. Her father, John Peak (62), was the frontman of the Grammy Award-winning rock band Stonewolf, which dominated the charts in the late '80s and early '90s with its edgy, rebellious sound and electrifying performances.

From a young age, Tatum was drawn to the chaotic, creative world of music, following in her father’s footsteps almost instinctively. Growing up surrounded by the energy of live shows, the hum of recording studios, and the company of iconic musicians, Tatum was a natural performer. Her early memories include being backstage at concerts, watching her father lead crowds of thousands, and hearing stories of the golden days of rock ‘n’ roll. She would often tinker with instruments, especially the guitar, which became her go-to at a young age.

Tatum was a free spirit, much like her father. As a child, she was adventurous, curious, and unafraid of bending the rules. Her life on the road meant she was exposed to different cultures, languages, and lifestyles. She spent more time on tour buses, private jets, and backstage green rooms than she did in a traditional classroom, giving her an unconventional but rich upbringing. The world was her playground, and she thrived in the fast-paced, ever-changing environments that defined her family’s lifestyle.

Personality-wise, Tatum inherited her father’s rebellious streak and her mother’s poise. She was bold, fiercely independent, and always on the move. Her creative mind was constantly at work, dreaming up new sounds and exploring the limits of musical expression. Music was her greatest passion, and it was clear from an early age that she had both the talent and the drive to be successful in the industry. She idolized her father, who nurtured her love for music, teaching her about songwriting, production, and the highs and lows of fame.

By the time Tatum hit her late teens, it was clear that she wasn’t content with simply being a musician. She had a deep fascination with how music was made, from the initial spark of an idea to the final mix that made it onto the airwaves. She began learning the ins and outs of music production, shadowing producers in the studio and experimenting with her own recordings. Tatum was determined not to live in her father’s shadow but to build her own legacy in the music world.

In her early 20s, Tatum began producing tracks for emerging artists in the indie rock and alternative scenes. Her distinct ear for blending genres and her innate understanding of rhythm and melody quickly made her a sought-after producer. She developed a reputation for being hands-on, pushing artists to experiment and evolve their sound. Her love for raw, authentic music paired with her technical expertise helped her produce critically acclaimed albums across a range of genres, from alternative rock to electronic pop.

Tatum’s personal interests extend beyond music. She is an advocate for mental health awareness in the music industry, drawing from her own experiences with the pressures of fame and life on the road. She’s passionate about animal rights and is known to rescue dogs wherever she goes. Tatum also has a deep love for nature and often spends her downtime hiking or surfing along the California coast. Despite her high-profile upbringing, she has an earthy, grounded nature that endears her to friends and collaborators alike.

Now, at 38, Tatum Peak is a respected and influential figure in the music world. Her work as a producer has earned her accolades, and her bold, rebellious spirit continues to shape the music industry. She balances her time between producing, writing, and occasionally performing, though she prefers being behind the scenes, crafting the sounds that shape the next generation of artists. In many ways, Tatum is her father’s daughter, but she has made it clear that her success is all her own.

[dotdigsit]

The Secret of Us - Gracie Abrams

Rating: 🛼 🍭 🪩

First Listen Favorites:

Blowing Smoke

us.

I Knew It, I Know You

Free Now

Close to You

What I Think

I really enjoyed this album from Gracie Abrams and will definitely be going back to it as I feel it had some very strong songs throughout the record. I have been a casual listener of her for years. Notably, I’ve always enjoyed songs of hers like The Bottom and block me out. I think this was an excellent step up from her debut album Good Riddance, which although it was a decent album I was not the biggest fan of.

What I enjoy the most about The Secret of Us is that it feels like Gracie has really found her sound both vocally and production wise. Aaron Dessner has been credited for production on each of the songs along with Gracie herself, and I think the two work really well together.

There are several stand out songs like I Knew It, I Know You and Blowing Smoke show how much she has advanced in her songwriting. She sonically has created an album that is both cohesive and diverse enough to keep the listener interested.

In the past, I have not been a fan of Gracie’s singing style. I did not enjoy the shake in her voice, and I feel with this album she’s found a middle ground where her vocals sound more natural and make the songs overall more enjoyable to listen to.

Overall, I think this album was a huge step up from her previous work. Her previously unreleased song Close to You was the closing track and felt like a great way to showcase her growth as an artist while also showing she is staying true to her sound. This is an excellent pop/ indie pop record that I would recommend to anyone interested in that vibe.

[duchess-music]

|| THE TORTURED POETS DEPARTMENT - Taylor Swift ||

Genres: Alt-Pop, Synthpop, Singer-Songwriter

REVIEW

Why was this album made? Someone tell me, please. This is a half-assed, boring project which is a pain to listen to.

Starting off quite strong, 'Fortnight' is definitely a good song. One of the best on this whole album, actually. That's all it is, though. Just good. Everything functions like it's supposed to, and it's not entirely forgettable, but it doesn't feel like there's anything below surface level. 'I love you / It's ruining my life' just seems a bit heavy handed, no? I did enjoy it quite a bit, I didn't even notice Post Malone was there which is definitely a bonus (it does lose points for telling me to move to florida, though). Sadly, all of the charm is lost by the time we get to the title track, and it doesn't return. Also, quick note: The title is really pretentious. You're not tortured and these lyrics definitely aren't poetry.

The lyrics on this album are lazy too. 'My Boy Only Breaks His Favorite Toys', get it? Like, I'm the toy that's being broken?? Being cast aside by a partner is a brilliant songwriting topic, but Swift's talent appears to have been thrown out the window for this album. The metaphor is executed horribly and ends up being on the nose with little to discover underneath its surface, an unfortunately common theme throughout this album.

The production of this whole album is really lazy and same-y and I'm definitely with the crowd telling her to drop Jack Antonoff as producer after this. The singer and the song should be equals a good 80% of the time, but Swift's voice dominates every track while the instrumentation is slim to none. Everything about the album has been made to fit around her and her voice, but that doesn't have to be the case; Having more interesting instrumentation and production would've benefited this record an incredible amount. Sadly, we're left with bland Synthpop production that isn't memorable at all.

Some of the most enjoyable parts of this album are the track titles, Swift releasing a song called 'Fresh Out The Slammer' is just hilarious to me. 'Florida!!!' is boring, 'loml' is boring, 'The Alchemy' is boring, every song on this album has me bored to tears. It makes me wonder if I'm missing something here? Nothing about this album stands out to me at all unless it's so bad it's funny. At every turn, Swift fails to create a catchy melody or a memorable tune in favour of overproduced, bland pop music. During the listening process I had to take breaks between songs because I was so drained. I even fell asleep during my first listen (I am an eepy lil guy but most albums don't do that to me). By the end of the album I felt like my soul had been wrung out. It's stuffed full of filler that makes it impossible to remember.

This is her worst album to date, no doubt about it. It's so painfully dull and uninteresting, both lyrically and production-wise. At least the only way is up from here. I've heard that the anthology is better but at this point I don't think I can bear to listen to it. I really hope her next album of new material is better.

FINAL SCORE: 37/100

follow for more :/

[chrisryanspeaks]

The Most Impressive Album Of The Last 20 Years Has Arrive | Cindy Lee - ‘Diamond Jubilee’

Diamond Jubilee by Cindy Lee, an artistic endeavor helmed by Patrick Flegel, former leader of the band Women, stands as a profound exploration into the depths of experimental pop and noise music. The album is a mesmerizing journey through complex emotional landscapes, cloaked in a mix of haunting melodies and dissonant noise. Purchase the album here From the outset, Cindy Lee's approach to sound in Diamond Jubilee is arrestingly unique. The opening track, which weaves together ethereal vocals with a backdrop of gritty, industrial sounds, sets a tone of melancholic introspection that pervades the entire album. Flegel's use of reverb-laden guitar and lo-fi aesthetics creates a sense of intimacy while simultaneously alienating the listener, a dichotomy that Cindy Lee excels at. Lyrically, the album delves into themes of identity, loss, and transformation. The lyrics are poetic and often cryptic, requiring the listener to engage deeply and repeatedly. Flegel's performance is theatrical in its delivery, with a gender-ambiguous falsetto that adds to the album's eerie and otherworldly atmosphere. Standout tracks like "GLITZ" and "BABY BLUE" showcase Cindy Lee’s ability to balance melody and dissonance. In "I HAVE MY DOUBTS," a plaintive melody is juxtaposed with abrasive soundscapes, creating a hauntingly beautiful disunity. "Shadows" uses minimalistic synth lines and whispered vocals to create a chilling effect that lingers long after the song ends. Production-wise, Diamond Jubilee is a masterpiece of lo-fi techniques, with an aesthetic that feels both raw and meticulously crafted. The use of analog equipment and tape distortion is evident, giving the album a warm, nostalgic feel that contrasts sharply with the modernity of its themes and lyrical content. In conclusion, Diamond Jubilee is a challenging and rewarding listen. It is not an album that seeks to comfort its audience; rather, it confronts them with its stark beauty and complex emotional content. Fans of Cindy Lee, and those who appreciate the outer edges of music production and songwriting, will find much to admire here. This album confirms Patrick Flegel's position as a formidable voice in experimental music, capable of weaving pain and beauty into a tapestry that resonates with a rare depth. Check out the album below: Read the full article

[audiofuzz]

The Most Impressive Album Of The Last 20 Years Has Arrive | Cindy Lee - ‘Diamond Jubilee’

Diamond Jubilee by Cindy Lee, an artistic endeavor helmed by Patrick Flegel, former leader of the band Women, stands as a profound exploration into the depths of experimental pop and noise music. The album is a mesmerizing journey through complex emotional landscapes, cloaked in a mix of haunting melodies and dissonant noise. Purchase the album here From the outset, Cindy Lee's approach to sound in Diamond Jubilee is arrestingly unique. The opening track, which weaves together ethereal vocals with a backdrop of gritty, industrial sounds, sets a tone of melancholic introspection that pervades the entire album. Flegel's use of reverb-laden guitar and lo-fi aesthetics creates a sense of intimacy while simultaneously alienating the listener, a dichotomy that Cindy Lee excels at. Lyrically, the album delves into themes of identity, loss, and transformation. The lyrics are poetic and often cryptic, requiring the listener to engage deeply and repeatedly. Flegel's performance is theatrical in its delivery, with a gender-ambiguous falsetto that adds to the album's eerie and otherworldly atmosphere. Standout tracks like "GLITZ" and "BABY BLUE" showcase Cindy Lee’s ability to balance melody and dissonance. In "I HAVE MY DOUBTS," a plaintive melody is juxtaposed with abrasive soundscapes, creating a hauntingly beautiful disunity. "Shadows" uses minimalistic synth lines and whispered vocals to create a chilling effect that lingers long after the song ends. Production-wise, Diamond Jubilee is a masterpiece of lo-fi techniques, with an aesthetic that feels both raw and meticulously crafted. The use of analog equipment and tape distortion is evident, giving the album a warm, nostalgic feel that contrasts sharply with the modernity of its themes and lyrical content. In conclusion, Diamond Jubilee is a challenging and rewarding listen. It is not an album that seeks to comfort its audience; rather, it confronts them with its stark beauty and complex emotional content. Fans of Cindy Lee, and those who appreciate the outer edges of music production and songwriting, will find much to admire here. This album confirms Patrick Flegel's position as a formidable voice in experimental music, capable of weaving pain and beauty into a tapestry that resonates with a rare depth. Check out the album below: Read the full article