#but always with a catchy pop veneer

[blippymilk]

John Dory x Kpop Fem! Troll

A/N: The reader is a female Korean pop troll. She is John Dory’s girlfriend during the events of the Trolls: Band Together movie (and so forth but you get it). I know the request doesn’t say K-pop but the user that sent this let me know. Please forgive me for any mistakes, I am NOT fluent in Korean at all!

Warnings: Slight cussing, mentions of death (yk Floyd)

This is also a lot longer than I intended but I was quite interested actually

I hope you enjoy 🥹

You laid back in your bed shifting under the covers to find the right spot. You placed your sleeping mask on, as you rolled towards the empty space in your shared bed. You took a breath and let your body relax as a small smile graced your lips. Your beauty sleep being so abruptly interrupted by your boyfriend busting the door to your room open. “아 젠장!” You screamed. “WAKE UP Y/N! We’re going to save Floyd!”

________________________________________________________

You sipped your tea at the dining table, wrapped up in your heavy blanket. Your boyfriend had just told you the story and the plan to go save his brother Floyd. Apparently he had been captured by two pop singers under the names Velvet & Veneer.

Once finished with your beverage, you placed your mug in the kitchen sink and headed over to your boyfriend who was driving ‘Rhonda’.

“Sorry again about that scare babe.” John Dory said turning to face you as Rhonda kept on the road. “Mhm” you said giving him a small peck on the lips. “That’s it?” He frowned as you scoffed. You sat down in the passenger seat next to him (yes there is one bcs I said so) and stared at the road in front of you. The looks of the setting around you was a lot different than what you knew truly.

“So Mount Rageous? Ever been there before?” You asked your boyfriend. “Nope.” John replied, still a little sour. “Then how will we know what it looks like then?” You questioned. “Different? Guess we’ll find out.” John said taking charge of the wheel again.

…

Mount Rageous was something different alright. It was so bright, and shiny, and full of color, and teens. Lot’s and lot’s of teenagers. The people that lived in Mount Rageous looked different too. The had an extremely skinny build, several types of hairstyles and colors, and most of them in colorful rompers and head pieces. They were always dancing whenever music was on, so they were a little bit like trolls in a way.

Once you and John searched around, you found the live concert area of Velvet and Veneer. They were no different from to say the least, they looked like Mount Rageons too. But they had shiny crop tops and shorts/skirts, diamond bracelets, and beautiful voices. They’re music was catchy you had to admit, but until further notice they were the enemy.

You and John snuck into their dressing room and found Floyd trapped inside a purple, stable, diamond bottle.

“Floyd!” John spoke as he looked up. “John Dory? I can’t believe it, I’d never thought I’d see one of my brothers again.” He smiled. Then he tilted his head back when he saw you, slightly behind John and waving. “And who’s this?” Floyd’s smile growing a little wider. “My girlfriend!” John said with a proud smile. “Hii!” You said still waving at Floyd as he wave back. “She seems sweet.” Floyd whispered to John through the bottle. “She’s definitely that! But what’s going on Floyd?”

From there Floyd explained Velvet and Veneer’s plan. Apparently they were using Floyd’s talent to sing and stay on top as the hottest celebrities in Mount Rageous.

It was almost embarrassing to watch your boyfriend attempt to break his brother out the jar. “John stop! The bottle is made of diamond, and there’s only one thing powerful enough to shatter diamond.” Floyd spoke. “Right, a diamond shattering diamond hammer!” JD said as you face palmed. “No Johnny,” you sighed, “It’s the perfect family harmony.” You and Floyd spoke in unison.

“Our voices sound like garbage, we’re dying out there! What we need is more troll!” A girl spoke as the automatic doors slid open. John picked you up and released his hair up towards the vent you both entered in. “We’ll be back with the bros, you have my word Floyd!” John said before you both disappeared out of Floyd’s sight.

When you made it back to Rhonda you worried for John, he seemed a little discouraged. “What are we gonna do JD?” You asked him sincerely. There was silence for a moment before John spoke boldly, “We’re going to find my brothers.”

________________________________________________________

You hummed quietly as you watched John Dory’s brother Branch, look over his ‘Clue Board’. You were going through album photos of Brozone with his girlfriend that you had clicked with named Poppy. “Oh my gosh Branch! Denim Tuxedos! Ahhh!” Poppy squealed holding a photo. You giggled at the way she fan girled over her boyfriend. It reminded you of yourself when you first began dating John.

“So how are we finding Bruce guys?” You snapped out of your thoughts, as John Dory walked over to you. “Not to worry because I got this!” He held up a postcard that said ‘Wish you were here’. “Seriously?” You and Branch spoke in sync. “Come on it’s definitely Spruce, I mean he’s the only one I know who talks like that.” John said matter-o-factly. “It’s not even signed.” You said. “And there’s no return address. This could be form anywhere!” Branch concurred. “All we have to do is find this sunset!” Poppy spoke. “Liking that optimism Poppy seed, one word Branch keeper.” He said as Branch stormed away to the front of the bus to talk to the bus driver. Did I forget to mention the bus driver was a 1 foot 2 inch sparkly baby troll with glasses and the bars of Eminem.

You pulled John aside to talk to him. You’d noticed that for the small amount of time John has been with his brother, he’d been treating him like the child he’d once taken care of. “John you should stop treating Branch like a baby ok? He’s an adult now, let’s treat him like one.” You explained. “What are you talking about? I’m not treating him like a child, he knows that I just love him. You don’t understand the brotherly love babe.” John deflected, not surprising you at all.

…

Once you guys found Bruce (and gave a little performance) you were on your way to find Clay. You’d decided to head to the front and control the radio after JD had given you a cold look for seeing you fan girl over the name Clay.

You finished humming the last lines of ‘Russian Roulette’ before it went off, and set your hand on the dial to play it back. “Again!” “NO!” John shouted running up to you and blocking the radio station. “That’s five times this week.” John Dory groaned. “Yeah, and it’s usually six, now move.” You said trying to move him which caused bickering between you both. “Damn, you two fight like a married couple.” Bruce was walking back to the steering wheel with Tiny Diamond, after taking a coffee break. “What? No we don’t.” John stuttered trying to hide his faint blush. “I think he would know, he is married ya know.” Tiny said with a little sass.

“They’re perfect for each other.” You heard Bruce whisper to him.

…

You and the rest of the group stood in frozen shock, as a light pink troll excitedly buzzed around you. You’d gotten off the bus, walked into a dark abandoned golf course, got jump scared by a clown, and now you’re being greeted by someone who’s almost two times more energetic than Poppy. It was nice that she’d welcomed you all in after the scare with food, and drinks, and beautiful lights.

“These fries are awesome! They would really go great with a burger!” Bruce said as a ear shattering scream left you all squirming. The trolls around you had run away as if something was about to attack. “What in the world?” You spoke. “Yea we try not to use that word around here,” Viva started going up to Bruce, “It’s just that burger sounds a little bit like…bergan.” Another shriek in the distance cut her off. “We call burgers,” You all looked up to see a troll with green, fluffy hair, emerging from a dim lit area, “Meat circles.”

“No way!”

“Clay?”

“Hey how you been man?” Clay walked up to Bruce. “CLAY!” John shouted for his brother. “Hmm, John.” He said coldly as John’s jaw dropped. You tried to hold back your laugh a little bit, but you failed and John shot you “hurt” look. After Clay was done talking to Bruce, John Dory spoke again, “Well if you won’t talk to me, maybe you’ll talk to my girlfriend huh?” John said out of pure pettiness as he brought you foward.

“Oh cool! You’re John’s girlfriend? Nice to meet you, I’m Clay if you didn’t know.” He smiled and put out his hand for you to shake. John’s jaw dropped (again) at this as you shook Clay’s hand, “I definitely know who you are! You’re like the best dancer ever! And so talented.” You said excitedly as Poppy started jumping up and down excitedly behind you. Clay smiled (a little nervously) as you finally let go of his hand. As Clay made his way over to Branch he gave John a little thumbs up (which may or may not have made him feel proud).

…

“Are we ready to practice brothers? Errrm- and ladies?” John asked pointing at you and Poppy as you nodded enthusiastically. “Ready as I’ll ever be.” Clay said sneaking in a little bit of a silly robot move, as you and Poppy shrieked in awe. That was quickly put to an end as John gave you a side eye, and Branch just blatantly stared at Poppy.

You all attempted to practice singing the hit Brozone song: Perfect, before John Dory stopped everyone midway. “Dude what are you doing?” Clay asked taking the shades of his face. “It’s not good enough, Clay you need some sillier robot, Bruce we need more smolder in those eyes, Branch maybe a smaller diaper?” John went on and on. “If this diaper was any smaller I could taste it.” Branch fumed. “Calm down JD, you’re acting like you’re perfect.” You said quietly to soften the blow. “Actually, you were a tad pitchy yourself.” JD said tapping his chin, which set you off a bit. “See now you’re being bossy.” Clay butted in. “Way too bossy and controlling !” Bruce told him. “In what way? John asked. “You’re 20 something year old brother is in a diaper!” You stated. “I’m doing this for Floyd!” John shouted. “Are you? Or do you just want to tell us what to do again?” Bruce shouted.

And from there it was just so much commotion. Eventually you separated yourself and sat down covering your ears, hoping to block out all the bickering. “Let’s just get this over with so we can go save Floyd!” Branch spoke. “Branch is right, let’s get this done so we can all go our separate ways.” John said. “Fine.” Clay agreed. “What?” Branch asked as you looked up. The boys went on about how they planned to save Floyd then go back to their own lives. “What you didn’t think we’d all live together? Sitting around roasting marshmallows?” John Dory joked as you gave him a stern look. “Oh I’m sorry is that funny to you? That I might actually want us to be a family again?” Branch as before telling Tiny to pull over.

From there Branch told his sob story and exited the bus, Poppy right behind him. You watched them and looked back at John who almost seemed to know your next step before you went through with it. “No ____ don’t…” John said as you shook your head. “I just need a break ok? Tiny Diamond, grab your bike.” You said exiting the bus, Tiny right behind you.

________________________________________________________

“After that luxury vehicle!” Poppy shouted as the van (Rhonda) took off. John, Clay, and Bruce had all been captured alongside Floyd by Velvet and Veneer. The two popstars had subtly hidden the trolls in their matching gem shoulder pads.

You were specifically after Veneer since he had John Dory in his right gem. You, Rhonda, Tiny, Poppy, and Branch were all after Velvet and Veneer. Shifting through the crowds and trying to dodge the multiple cars driven by teenagers, eager to see their favorite pop stars. “No respect for the blinker at all!” You and Tiny said in unison.

The duo were now on top of their car singing, giving a “live road performance”. You guys were trying everything; Branch attempted to grab Floyd before being knocked off by Velvet, Tiny had given Branch a…substance and more. “Uh guys what does the end of the road mean?” Tiny asked as you all froze and looked at the cut off road in front of you, plastered with the word ‘END’. “예수께서 운전대를 잡으세요 (Jesus take the wheel)” you whispered before you all fell off.

You landed back on a platform somewhere, as Velvet & Veneer abandoned their car and got away on a yacht. “Oh no!” Poppy said as she looked around. “Let’s hustle!” Tiny said before clicking the swirly orange button on JD’s van. You were carried across the sky by the three eyed entity you’d all met earlier. He dropped you off as you all fell out the reality, and onto a motorcycle driven by Bridget and Gristle. And surprisingly along with them, Viva was along side them.

…

You and Viva took her elastic hand and stretched it across the sides of the boat, causing Veneer to trip and fall backwards. You both grabbed his gems, you taking John Dory, and Viva retrieving Bruce.

Still Velvet and Veneer managed to get away, taking an escape route to the top of their yacht as Velvet finished off her high note. The other trolls had managed to retrieve Clay, but Velvet still got away with Floyd. “Are you guys ready for an encore?” Velvet shouted as their fans whooped and hollered. “It’s like she just wants to kill him!” You exaggerated.

You all huddled together as Branch pulled out a pep talk. As one thing led to another, you were all singing together. You finally saw the results of a perfect family harmony, and for the first time before too.

Soon Floyd was ejected from Velvet’s shoulder pad, as he floated up in the air along with the rest of you. Hitting the last note of ‘Better Place’, a wave was sent all through Mount Rageous, causing Velvet and Veneer to fall off the high platform of the boat.

You all slowly floated back onto the boat as you watch a clear, slightly blue, version of Floyd float back down as well. Branch caught him as you all rushed over to his lifeless body. “Floyd.” Bruce sighed. “Oh no.” Clay shed a tear. “I built that bunker…without the ten story water slide…” Branch said softly. You didn’t have time to question because you were all met with a familiar voice, “But, how will we shower?” You looked down to see Floyd fading in.

“Floyd!”

“Floyd! No way, yeah!”

…

“Anddddd tax evasion, I’m gonna have to reposes your yacht.”

“Fair enough, prison it is!”

You watched as Velvet (angrily) and Veneer (calmly) were being hauled off. “And sorry about that fall! Don’t take it personal, you just had my man.” You finger gunned Veneer as he nodded before being taken off the boat.

Just at that John Dory approached you, “Hey babe? I just want to say I’m really sorry for all that bickering, and if I was a little bossy.” He said as you chuckled. “And I’m sorry for butting into you and your brother’s personal lives.” You sighed laughing a bit. John smiled before pulling you into a long awaited kiss. You were shocked by the sounds of cheering off in the distance. Once you pulled away you looked around to see the commotion, and there was Branch and Poppy also getting intimate (kissing 🤨).

John laughed as you both walked past them and over to his brothers, “Get a room you two!”

________________________________________________________

[theeverlastingshade]

Hovvdy- Hovvdy

Of all the records that I’ve had the pleasure of listening to in 2024 so far, few have been as pleasantly surprising as Hovvdy’s self-titled 5th LP. The perpetually feel-good indie folk-pop duo comprised of childhood friends Charlie Martin and Will Taylor have been releasing music since the mid 10s, having gradually evolved from the self-described “pillow-core” label that cheekily but aptly summed up their gentle slowcore approach to a disarmingly inventive pop project with a nonchalant but immense tunefulness. They’re not the sort of band that deal in sweeping or demanding music that blows you away with their sense of experimentation or urgency; they instead work in small gestures that prize the beauty in mundane moments we so often take for granted but would be better served taking stock of. With each subsequent record, Hovvdy have become more adept at songcraft without losing their hazy, lovably low-key, nocturnal essence, and this self-titled double LP is the strongest realization of the sound they’ve been chiseling away at since the jump. Hovvdy have never made a bad record, but the expansive scope and refined approach to songwriting render Hovvdy the record they were always meant to make. Hovvdy probably isn’t going to change your life, but it very well might help you appreciate it more.

Hovvdy have been slowly but surely honing a supremely affable sound throughout their 5 LPs, continuously shedding the austere minimalism of their halcyon days with each subsequent record while simultaneously incorporating a wider instrumental palette and embracing tasteful electronic flourishes. Hovvdy comes across like the inevitable progression of a talented band with a hyper specific vision staying the course and growing into their own as songwriters, with a few subtle experiments that belie any accusations of them as purveyors of nothing but sonic comfort food. Flashes of pedal steel, strings, drum machines, and synths dot their once spartan vistas, but instead of flattening the emotional impact of these songs like a heightened sonic framework can manage so easily with such gently rendered music, the revamped sonic palette accentuates the potency of the sentiments being conveyed. While the record scratching, programmed beats, and effects-laden guitar passages are notable developments for the band, Hovvdy generally stick to warm concoction of subdued beats, bright acoustic guitar, and the friendliest sounding vocal melodies imaginable. What’s more impressive than the detours in their sound is how sharp their sound has become; these are consistently well-crafted, catchy songs with strong dynamics, clever arrangements, and vivid, lived in lyricism. While nothing here dramatically redefines what Hovvdy do, it all congeals into the most fleshed out, and striking batch of songs that they’ve ever composed.

Naturally, the heightened level of craft and assurance on display throughout Hovvdy renders it both a uniformly strong listen and also the record that houses more than its fair share of their strongest songs to date. Some of the highlights, like singles “Portrait” and “Jean”, are natural extensions of their tender porch pop, but imbued with some of their most dynamic verses, bridges, and hooks to date, which continue to belie their ingenuity through a deceptive, easy listening veneer. Other singles, like “Bubba” and “Meant”, allow jittery, polyrhythmic electronic percussion (on the former) and winding, effects-laden guitar (on the latter) to seep into the foreground, opening up new dimensions in their sound while being tastefully juxtaposed against their warm vocal melodies. The impossibly gorgeous late album stunner “Give It Up” is an easy bid for the single most beautiful piece of music that they’ve ever composed, particularly after the vocals dissipate and the creeping bassline juts around the jangly acoustic guitar and organ melodies, while the opening lines of “Forever” instantly present it as a full-blown career highlight, which is only reaffirmed by their breezy guitar melody, inspired record scratching transitions, and the timeless sounding vocal melody that emerges during the bridge. For as easy to identify, and seemingly well-trod as their core sound seems at first listen, Hovvdy remain the rare sort of group whose music has simultaneously become more immediate and approachable while also more adventurous over time. While the Alex G and Bedhead comparisons may have held plenty of water in the past, Hovvdy are on their own wavelength now.

Hovvdy’s music has always exuded a thoroughly nostalgic gaze, and the passage of time only continues to heighten that thematic focus. There really isn’t any irony, irreverence, wit, or malice in the Hovvdy songbook; this is deeply earnest, heart-on-sleeves folk-pop that constantly veers close to overly precious, but sidesteps those trappings with its humble, homespun feel that suggests they take their craft, but not necessarily themselves, seriously. For a band like Hovvdy, the prospect of a double album is a particularly risky prospect from a lyrics perspective; a scope this narrow could wear thin very quickly, but that thankfully doesn’t ever really pose a problem here. The opening lines of “Heartstring” aptly lay out their perspective “If I’d gone where I could have been/Would we be what we ended with/If we crossed at another time/Where would we spend our lives”, providing a litmus test of sorts for whether or not this is really your sort of thing. If “Heartstring” is too precious I’d steer clear altogether, but if it goes down easy there’s so much more to admire here. “Make Ya Proud” is a lovely tribute to Martin’s grandfather written during trips to visit him in the hospital towards the end of his life “Everyone needs a little more time/God damn, don’t we all need more time?” while “Jean” is simply about doing right by those in your life ”Don’t wanna get comfortable with anything that don’t feel right/Oh, tell me, Jean, do you see a light in my eye?” (one of the most Hovvdy-coded subjects imaginable). The sentiments espoused throughout Hovvdy are simple but sublime, imbued with a sly wisdom that’s all too easy to overlook within the context of these endlessly listenable pop songs. It’s hard to imagine that I’ll come across a more approachable, life-affirming record than Hovvdy this year.

Essentials: “Forever”, “Give It Up”, “Bad News”

[groovesnjams]

“HEARTFIRST” by Kelsea Ballerini

DV:

It might’ve premiered at the CMT Music Awards, but this is the least country Kelsea Ballerini’s ever sounded: like she and cowriters Alysa Vanderheym and Karen Fairchild tried to rewrite Tove Lo’s immortal “Timebomb” while channeling Kiss-era Carly Rae Jepsen. “HEARTFIRST” is a headlong, heady sugar rush of a song, and while it doesn’t quite rise to the level of either of those comparison points it’s thrillingly irresistible in its own right. And, I can’t emphasize this enough, it’s unquestionably a pop song with the absolute barest veneer of pop-country production. I grew up on Shania and Faith Hill and - most of all - The Chicks, but ever since the latter were blacklisted in the early 2000s there’s been a backlash against “inauthenticity” (always a presence for women in pop country) that’s dominated. Men, preferably white and with ridiculous beards, would dominate both the charts and the awards; women (with few exceptions) were minimized. And even a titan like Taylor Swift was releasing “country versions” of her singles as late as the Red era! But that backlash has slowly developed some hairline fractures: Beyoncé releasing the best country song of the last decade in “Daddy Lessons”, Sam Hunt picking up the banner for least authentic country superstar, finally giving Mickey Guyton a fucking stage. And now Ballerini, whose last song was a stock Kenny-Chesney-featuring ode to her hometown, is releasing something as unabashedly pop as “HEARTFIRST”. On one hand, it’s a fantastically catchy but relatively conventional pop song. On the other, it feels poised to function as a barometer for where the limits of the country genre are in the 2020s.

MG:

Truthfully, I remember back when Steven Hyden was hopping on the old Grantland to let us all know that if we liked rock music it was high time we checked out country, the last refuge of the guitar. I disagreed then that there was ever any meaningful distinction between rock and country (these are just, like, songs, people! verse chorus verse bridge chorus!) and I disagree now that there was ever any distinction between pop and country. The way country operates as its own industry amid the broader music business is just another bit of American exceptionalism and hostile individuality. If we’re finally ready to recognize it’s all the same and it’s all about making money -- great. In that regard -- sounding like a hit song and making the money a hit song makes --  country has struggled for over a decade despite there being a whole host of great songs by clever artists. I don’t think “HEARTFIRST” with its aggressive capitalization (she’s not like the lowercase girls!) and promises of simplicity and blonde, blue-eyed romance is anywhere near as interesting as Carrie Underwood’s massive catalog of murder ballads or Sam Hunt’s openly duplicitous late night voicemails. It’s just fine. The biggest distinction between country and any other style of music is how slow its product development moves. Ballerini has been attempting this mainstream breakthrough for half a decade and now she’s eclipsed by Morgan Wallen whining that Jesus wouldn’t cancel him. It doesn’t have to be that way, it just always is. Unlike The Chicks before her, Kelsea Ballerini isn’t riding on a career best songwriting effort, she’s just rearranging the poetry magnets on her fridge.

[taste-in-music]

taste-in-music’s Year End Wrap-Up

Hello everybody! We’ve finally reached the end of 2020. While I’m glad to leave this miserable year behind, one of things that undeniably got me through it was the vast amount of awesome music we got. In past years I’ve made favorite album and EP lists, but this time around I’m going to tackle them all in one go, giving reviews on the projects that had some significances to me over the course of the year. I’m going to make a post for my favorite songs too, so keep an eye out for that in coming days. Now, without further ado, let’s get started, shall we?

folklore by Taylor Swift: This was an incredible year of growth for Taylor Swift. As much as I’ve enjoyed her past music, the way she constantly felt the need to address what people thought of her always irked me, (though after watching her documentary, I do understand why she did it.) It wasn’t Taylor Swift the public persona that was most interesting, I thought. It was Taylor Swift the artist, the songwriter, the storyteller. What I wanted was an album focused on that. This year, I got one, (well... more on that later,) and it’s my favorite project she’s ever done. The tales Swift spins on folklore span across love triangles, heiresses, and battlefields, and she nails each and every one. While the chilly indie-folk influence from the likes of Aaron Dessner and Justin Vernon is prominent, Swift’s warmth and charisma always cuts through the fog like a beam of sunlight. So yeah, this is my undeniable album of the year.

Fetch The Bolt Cutters by Fiona Apple: I only started listening to Fiona Apple last year and had thoroughly enjoyed her music, but this album cemented her as one of my favorite songwriters and performers of all time. Everything about Fetch The Bolt Cutters is so idiosyncratic yet fits together in just the right way, like watching an entire house being dropped from the sky and falling perfectly into place. It is a testament to the creative process, emotional honesty, and breaking free from all the cages you may find yourself in, whether they be societal, personal, or those of your own making. And in a year that was so isolating, it felt like Apple was whispering everything I needed to hear right into my ear, just when I needed it. In short, my boltcutters have been motherfucking fetched. 

Punisher by Phoebe Bridgers: When Punisher was announced, I had no clue how Phoebe Bridgers would match the quality of Stranger In The Alps. Upon first listen, I wasn’t sure she had. By the fifteenth time I was listening to this album and every lyric was hitting like Cupid’s arrow to the jugular, I knew she’d surpassed it. Punisher presents a sonic scope that both comforts and crushes all at once, like with the upbeat yet mournful horns on “Kyoto” or the cathartic swell on standout “I Know The End.” In my opinion, Bridgers is one of the greatest songwriters of our generation in the making, and I can’t wait to see what the future brings for her. She may know the end, but she’s far from it. 

SAWAYAMA by Rina Sawayama: This is the album I see becoming a new shorthand for the true potential of pop excellence, a cult hit that never got its time to shine but is beloved by pop music geeks to the ends of the earth, like EMOTION by Carly Rae Jepsen. SAWAYAMA so effortlessly blends diverse genres and influences like disco, nu metal, and arena rock, and it yet it remains cohesive due to Rina Sawayama’s sheer strength as a performer. She deserves a spot on the pop girlie hierarchy, and one near the top. 

Future Nostalgia by Dua Lipa: I really enjoyed Dua Lipa’s debut album, but even I didn’t expect her to come through with such a fully realized, consistent, downright fantastic follow up. Future Nostalgia is a pop album that feels studied, like Lipa did her research of pop’s past as she made it. The result is an album that synthesizes several different sounds under her vision, one that is always trained ahead, and it simply slaps. In a perfect world, nearly every song on this album got spun off into a hit single. 

evermore by Taylor Swift: 2020 was already my year of listening to Taylor Swift, (I went through her whole discography, cultivated a favorites playlist, and at the end of the year I was in the top 2% of her yearly Spotify listeners.) evermore was a lovely cherry to top it all off. While folklore enchanted me with its stories, evermore captivated me with its melodies. I haven’t been able to get snippets of this album out. of. my. head. for weeks now. It’s a bit less consistent than it’s older sister, (and likely to live in its shadow,) but there is still so much to love. 

I’m Allergic to Dogs! by Remi Wolf: This EP is so much goddamn fun. It’s a blend of many different sounds, indie pop, electronic, maybe hip hop, I think reggae at points? It’s such a colorful, textured, quirky listen bristling with energy and undeniable hooks. “Woo!” conquered my Summer, and months later the bridge of “Photo ID” conquered TikTok. Keep your eye out for Remi Wolf in the coming year, she’s going to make a big splash. 

Good At Being Young by Charli Adams: Good At Being Young was the first EP this year that I could not get enough of. It drifts through dreamy indie-pop sounds, with melancholic guitars and cloudy synths, and Adams has a deep vocal timbre that delivers tales of adolescent tribulations with just the right amount of wistfulness. Overall, it builds the perfect soundscape for a late-night drive.

Cape God by Allie X: Allie X has been keeping us FED with content. It seems like only yesterday that Super Sunset came out, and yet her output remains impressively consistent. This album has impressive highs, some lower moments, but the danceability, duets, and enticing darkness under its shiny pop veneer make it a record you won’t want to skip. 

La vita nuova by Christine and The Queens: Perhaps the biggest flex of 2020 was Christine and The Queens dropping a fantastic EP and accompanying short film right out of the gate. The grooves on this are infectious, wiry, and air-tight, (the Caroline Polachek feature was another added bonus,) but that doesn’t mean there isn’t plenty of emotional weight too. 

Lighter by Donna Missal: This was one of my most anticipated albums of the year, and it’s hard to determine whether it disappointed or not. I think the only thing holding Lighter back is that This Time was such a formative album for me, (my favorite of 2018, to the uninitiated.) In fact, this album flows way better than This Time, more cohesive with its storytelling and more consistent in folk-rock sound. And, of course, Donna Missal’s vocals stun on both the bangers and the ballads. 

SURF by BLACKSTARKIDS: There was no record this year that was more instantly likeable than this one. The blend of low-fi indie pop and hip hop makes for a whirlwind of sunny fun and youthful malaise that would make the perfect soundtrack for a road trip to the beach. Standouts include the opening track “SOUNDS LIKE FUN,” the chill “WIGS,” and blissful title track “MUSIC TO SURF TO.”

The Baby by Samia: I’ve had my eye on Samia since “Milk” dropped years ago. Seeing her live sparked my belief that she was an indie darling in the making, and The Baby confirmed that she definitely was. The lyrics on this album mix quiet contemplation with just enough sardonic wit and raw emotion throughout a varied selection of sunny rock bops and gut wrenching ballads. If you enjoyed Punisher, then I can’t recommend this enough.

Season 2 by Nasty Cherry: Nasty Cherry is a group that I will not stop rooting for. Their EP from last year showed their potential for nailing monster hooks, but this sophomore effort shows just how versatile they can be. This EP covers everything from Dylan Brady produced hyperpop to early-2000s reminiscent pop rock to emotional balladry, and they pull it all off flawlessly. 

A Little Rhythm and a Wicked Feeling by Magdalena Bay: This album became a fast favorite way late in the year, there is such a sweetness to Magdalena Bay’s music that makes it stick in your brain like a piece of blue raspberry bubblegum. This EP is spacey, catchy, and filled with electronic synthpop mastery, with countless catchy hooks that’ll make you feel like drifting and dancing all at once.

Miss Anthropocene by Grimes: The bubblegum bombast of Art Angels fully redefined my taste in pop years ago, so I was fascinated to see how Grimes would follow it up. On Miss Anthropocene, she leans into darker, more industrial textures, but also anchors it back to Earth with acoustic touches and some of her most introspective lyrics to date. Grimes painted a version of a world on the brink of disaster on this album, a picture that was hypnotically beautiful. And in a year where the word was a certified disaster, that was strangely comforting.

Plastic Hearts by Miley Cyrus: I’ve been wanting Miley to go rock for so goddamn long, Plastic Hearts was bound to make this list by pure validation alone. But what can I say? This breed of glossy 80s rock suits Cyrus’s rougher voice so well! I hope she stays in this lane a bit longer, but as we know, she’s one of pop’s most chameleonic figures. Only time will tell. 

Where Does The Devil Hide by Zella Day: I have been patiently awaiting new Zella Day music ever since getting hooked on Kicker back in 2017, so this was one of my most anticipated releases of the year. This EP sounds nothing like Kicker, and I couldn’t be happier. It shows Day leaning even more into her influences from the past, (the 60s/70s vibes are intense with this one,) but also breathing a refreshing new life into them. 

SOUL LADY by Yukika: When I imagine the ideal of pop music, what it would sound like in a perfect world, this is what it sounds like. SOUL LADY is full of pristine, glossy production and catchy hooks that feel like they’ve come down from the clouds. I’ll admit that I can have trouble forming a connection with music when I don’t understand the lyrics, (it’s something I’m working on,) but this album cleared that hurdle with ease. If you’re curious about city pop or K-pop this is a great place to start. 

Heaven Is Without You by Love You Later: Give me lush pop production and heartbroken lyrics finished off with a heaping helping of nostalgia and I’ll eat it up with a spoon. Love You Later has been feeding my addiction to this genre for years, and this latest helping is particularly sweet. 

IN A DREAM by Troye Sivan: Troye Sivan has always supplied the bops, but it was about time that he started experimenting with his sound a little bit more. This EP offers some harder-hitting electronic textures, but also the addictive hooks that’ll keep you coming back for more.

Ungodly Hour by Chloe X Halle: These women are so TALENTED! If there is any word I’d use to describe this album it would be “effortless,” the harmonies, grooves, and chemistry between Chloe and Halle feels so natural and free-flowing. Charisma just rolls off of them in droves, I see full-blown stardom and several Grammys in their future.

Watching You by Robinson: This EP was one of the first on this list to arrive this year, and it still hits months later. Robinson’s confessional lyrics work wonders over the buoyant pop grooves, and “Don’t Say” remains one of the best pop songs of recent years. 

Manic by Halsey: I respect Halsey for dipping her toes into a myriad of different genres, (synth pop, rock, hip hop, and acoustic balladry,) but it does make for a jumbled listening experience. Still, I appreciate that this album features some of Halsey’s strongest tracks and writing to date, offering greater experimentation and emotional imtimacy than album’s past. 

We Don’t Stop by Aly & AJ: Should this count? It’s more a compilation of their past EP and singles... I don’t care, I’m counting it because there’s some new stuff too. This is an excellent display of Aly & AJ’s pop prowess in recent years, the hooks, vocal chemistry, and shimmery production are undeniable. 

Under My Influence by The Aces: The Aces returned in 2020 with a more laid-back, groovier record than their debut, exploring a wider variety of sounds. They’re as magnetic and likeable a group as ever, each member giving it their all, but I think I’ll return to the debut more often. 

Strangers/Lovers by Dagny: I’ve been anticipating a longer Dagny project, as she’s been drip-feeding us singles for a while now. This was a lot of fun, with Dagny pairing her upbeat earnestness with stories of romantic tribulation. While the hooks aren’t as memorable as her past offerings, there is still so much to enjoy. Lead single “Come Over” and “Let Me Cry” are my favorites.

DUALITY by Tatiana Hazel: I came across this via recommendation on Tik Tok and it’s a solid pop record! The music is swooning, synthy, and tinged with disco and Latin influence. The record doesn’t waste a second of its runtime, clocking in at less than half an hour and grooving the whole time.

After Hours by The Weeknd: The sonic palette of After Hours is so engaging, a neon-drenched blend of synthwave, electropop, and R&B. I’ve always felt lukewarm on The Weeknd’s musical persona of brooding, villainous party monster, so the strongest moments on this album tend to be when he subverts that in some way. Still, in full, this album is an undeniable force of smash hits, stadium-shaking ballads, and cinematic flair. I can’t wait for his Super Bowl performance. 

Petrol Bloom by LAUREL: It’s no secret that this year was chock-full of 80s revival albums (there’s what, five others on this list?) LAUREL wasn’t an artist I was expecting to go in that direction after the brooding folk pop of her debut album, but her deeper timbre works great alongside the synthy soundscapes. 

positions by Ariana Grande: I’ve just come to expect that nearly all of Ariana Grande’s albums are going to be growers to me. My first listen to positions was underwhelming, but the songs have grown on me more and more. This album feels like being let in on a giggly, fun slumber party with Grande and her friends. I wouldn’t call this her strongest album by far, and while I tend to prefer when she favors the more powerful parts of her range, (and her enunciations could still use some work,) there is a lot of good material here. 

THE ALBUM by BLACKPINK: We may just have to stan. I checked this out after watching their Netflix documentary, and while this breed of cacophonous, in-your-face electropop isn’t something I can listen to all the time, the hooks and charisma are undeniable. It certainly makes me feel like a bad bitch whenever I’m working out. 

Kid Krow by Conan Gray: Conan Gray burst onto my radar offering dreamy tracks rich with teen malaise and suburban restlessness, and a good amount of that initial appeal carries over onto this album. Kid Krow has both a larger instrumental scope and more stripped-back moments. In the end, it still feels like Gray is finding his voice as an artist, but he's giving up great bops to jam out to as he does.

Petals For Armor by Hayley Williams: Hayley Williams is one of my favorite vocalists, so seeing her venture out for a solo project was exciting. This album offers a mixed bag of danceable jams, emotive moments that showcase Williams’s powerful voice, and a few skips. But overall it showcases Williams’s strength as a performer as she tackles her past with vulnerability and versatility.

Apart by LÉON: Oh, man. This one was kind of disappointing. For context, LÉON’s self-titled debut was my favorite album of last year. This follow-up is by no means bad, but every song on her first album was instantly memorable. This one, not so much. LÉON’s vocals are beautiful, and there are some stand-out tracks, but I don’t see myself returning to this nearly as much. 

Blush by Maya Hawke: Maya Hawke’s Blush was to my 2020 what Tōth’s Practice Magic and Seek Professional Help When Necessary was to my 2019, (and that makes sense, as they’ve collaborated in the past.) This album is so blissful and nonchalant, and Maya Hawke has a gentle, soothing voice that feels wise beyond her years. While the writing isn’t as hard-hitting as, say, the Phoebe Bridgers album, sometimes I just want to listen to something that could rock me off into a dream world. If you like folksy, down-to-earth ballads, you’ve got a solid collection of them right here. 

Dedicated Side B by Carly Rae Jepsen: Of course Queen Carly would pull through with B-sides for Dedicated, did we expect anything less? Jepsen’s brand of controlled yet carefree shimmery poptimism drenched in 80s nostalgia that never fails to put me in a good mood. This album has some lusher, more tropical instrumentation than Dedicated proper, but works great alongside it.

Missing Person by Kelsy Karter: To the Plastic Hearts fans out there, your homework now is to give this record a listen. This rock album presents pop hooks, but a lot of reckless rock fun too. Kelsy Karter has so much irresistible swagger and carefree spirit as a performer, speeding through the emotional highs and lows like she’s burning rubber in a cherry red Cadillac. 

how i’m feeling now by Charli XCX: I’ll admit, this album was a bit abrasive to me on first listen. But tracks like “anthems” and “forever” made me return, and it’s a huge grower. If you listen closely, you’ll find the sugary-sweet hooks and relatable sentiments nestled deep in the crunchy hyperpop textures, begging to be discovered and eventually loved. 

Jaguar by Victoria Monét: If you enjoyed positions, then check out the debut from one of that album’s most prominent co-writers. Jaguar’s concise collection of silky R&B slow-burners show that Victoria Monet’s is a superstar in her own right. 

Some great albums I listened to that didn’t come out this year: Blue by Joni Mitchell, BLACKPINK IN YOUR AREA by BLACKPINK, I Need to Start a Garden by Haley Heynderickx, Plastic Beach by Gorillaz, Out in the Storm by Waxahatchee, 7 by Beach House, Dummy by Portishead, Lovers Fevers by Babygirl, and Red by Taylor Swift. 

Whether you liked, reblogged, or commented on a post, sent me an ask, or interacted with this blog in any way, thank you so much for all the support throughout the year! I can’t express how much I appreciate it. 

What were your favorite albums from this year? Did I miss anything? Send me an ask and let me know. I’ll tell you my thoughts, or put it on my to-listen-to list if I haven’t heard it. 

Here’s to 2021! May it clear the extremely low bar set by this year. 

[passionate-reply]

This week on Great Albums: My first video about Depeche Mode--and it’s about their first album! I think it’s pretty good, but a lot of people HATE it. Are you intrigued? Take a listen, or read the transcript, and see where you fall!

Welcome to Passionate Reply, and welcome to Great Albums! Today, I’ll be looking at the somewhat rough start of one of the most iconic bands in the history of electronic music: Depeche Mode, and their 1981 debut, Speak & Spell. While Depeche Mode are certainly a beloved band, many of their fans actively revile Speak & Spell. What’s wrong with it? Well, it has songs that sound like this.

Music: “Just Can’t Get Enough”

“Just Can’t Get Enough” isn’t exactly the kind of song Depeche Mode are associated with--though it did make an entry in the charts, and remains fairly well known today, largely thanks to its use in advertising. The band’s “classic run,” spanning roughly from the mid-80s to the mid-90s, saw them achieve substantial mainstream adulation, as a pop act peddling dark and gothic themes, and maintaining a substantial electronic element to their music, without ever becoming inaccessible to rock listeners. They were even “rock and roll” enough to consistently break America, which is no small feat for, essentially, a synth-pop band from England. That synth-pop heritage dominates the sonic palate of Speak & Spell, and it’s hard to imagine a die-hard rock fan vibing with upbeat, almost saccharine pop ditties like “What’s Your Name?”

Music: “What’s Your Name?”

Of course, “What’s Your Name?” has another big problem besides favouring bright, chirping synth riffs over the guitar-based chug of tracks like “Personal Jesus.” Its seemingly homoerotic lyrics might be said to constitute the first instance of Depeche Mode engaging in what we might call musical “queer-baiting.” Thumbing their noses at norms of sexuality and gender presentation have earned the band a substantial queer following throughout their career, but it’s not such a smart move if you’re trying to attract macho rock listeners, and get yourself into the Rock & Roll Hall of Fame.

Part of the reason why Depeche Mode were ultimately able to do those things, later in their career, is that they had a pretty handy scapegoat: Vince Clarke. Clarke was a founding member of the band, and as the chief songwriter for all but two tracks on Speak & Spell, he was unequivocally the creative force driving the album. Conveniently enough, Clarke not only departed from Depeche Mode immediately after this first album, but went on to serve as an integral member of two unequivocally poppy duos, Yazoo and Erasure. But as easy as it is to simply blame Vince Clarke’s interest in cheerful pop for the apparent failures of Speak & Spell, this hypothesis doesn’t hold up. Some Clarke-penned numbers, like “Puppets,” are at least as gloomy as anything from the mind of Martin L. Gore, who took over songwriting duties on every subsequent Depeche Mode LP.

Music: “Puppets”

“Puppets” is pretty far from a feel-good song. Those fairly bright synths remain, but here, they feel more like a tense crescendo of violins, as something goes poorly in a horror film, and a serrated synth stab answers them from below. Dave Gahan’s semi-whispered delivery of the vocals, which narrate the perspective of a manipulative and controlling partner, add even more to its sinister ambiance. Given only a minor aesthetic facelift, “Puppets” could fit just fine onto most other Depeche Mode albums, even if Clarke did write it. I actually think the softer, poppier touches this track DOES have serve it well, and make it feel a bit insidious--like a lover who seems loveable and charming at first, before revealing their abusive tendencies over time. Another track that really benefits from creating tension between pop fluff and things macabre is the striking “I Sometimes Wish I Was Dead.”

Music: “I Sometimes Wish I Was Dead”

“I Sometimes Wish I Was Dead” features an almost gratingly toylike synth riff, that reminds me a bit of those custom cell phone ringtones from the 00s. Its lyrics are also almost painfully chipper, at least at first, as is Gahan’s infantile delivery of them...but there seems to be some irony there. While that provocative title doesn’t actually appear, the song seems to be obliquely telling a story of someone dealing with a breakup, albeit cloaked in this eerily sunny music. International editions of *Speak & Spell* would remove this track in favour of the non-album A-side “Dreaming of Me,” presumably targeting it for its inflammatory title and short runtime of just over two minutes. “I Sometimes Wish I Was Dead” is a powerful reminder that just because something has a shiny pop veneer doesn’t mean it’s disposable, or that it lacks in artistic complexity.

Still, if you’re in the market for something that feels more like “classic” Depeche Mode, Speak & Spell can deliver on that front as well. Look no further than Gore’s contributions to the album, such as “Tora! Tora! Tora!” With its frantic refrain, and troubling themes of nuclear holocaust, “Tora! Tora! Tora!” feels more like Depeche Mode’s classic run than just about anything else on Speak & Spell, prefiguring iconic tracks like “Leave In Silence” and “People Are People” quite well.

Music: “Tora! Tora! Tora!”

Speak & Spell’s cover is certainly strange and a bit opaque, showing some sort of bird in its nest from a very low angle. The background is almost entirely a lurid, artificial-looking pinkish red, with no other recognizable figures to ground this landscape in reality. Between the chaotic textures of the nest, and the surreal emptiness of the scene, it comes across as a sort of nightmare world, albeit one populated by only this fairly non-threatening creature...that we know of. If we look closely at that bird, we can start to see what looks like a transparent veil covering its neck and head. I like to interpret this image as a representation of the natural world, destroyed by human callousness: an animal suffocates under a sheet of plastic, while the sky behind it glows red with bombs “raining from the sky,” as in “Tora! Tora! Tora!”

Despite the title, you won’t hear any samples of the titular toy on Speak & Spell--though Orchestral Manoeuvres in the Dark would famously incorporate some on their album Dazzle Ships, a few years later. The title “Speak & Spell” would seem to suggest the album’s light, playful tone, and sense of pop novelty. A Speak & Spell is, of course, a fun and entertaining toy, which repeats the same handful of things over and over, as a pop song might be played *ad infinitum* on the radio. Perhaps the way the songs sneak a darker emotional undercurrent past their listeners is parallel to how the toy covertly educates children in basic spelling, while also being amusing to fool around with.

After Speak & Spell, it took several more years for Depeche Mode to really find their footing, and launch into that classic period of theirs where they released most of their best-loved material. Despite the absence of Vince Clarke, their sophomore LP, A Broken Frame, is stylistically rather similar to Speak & Spell, and pairs somber tracks like “The Sun and the Rainfall” and “My Secret Garden” with some very upbeat ones like “The Meaning of Love.” If the fact that Clarke could write “Puppets” didn’t sell you on my assertion that he isn’t the singular problem with Speak & Spell, the fact that Martin Gore wrote “The Meaning of Love” should serve as proof that the desire to make catchy pop tunes didn’t rest solely on any one person’s shoulders.

Music: “The Meaning of Love”

My favourite track from Speak & Spell is the opener, “New Life.” “New Life” was also released as a single and made substantial headway in the charts, though it doesn’t seem quite as well remembered as “Just Can’t Get Enough.” Like “I Sometimes Wish I Was Dead,” “New Life” is almost disgustingly catchy and hooky, but hides some surprisingly dark lyrics. But I’ll freely admit that I don’t particularly have some sophisticated, intellectually justified reason for liking this song the most, besides just thinking it’s a real toe-tapper. While I’ve gone to great lengths to dispel the idea that Speak & Spell is nothing but cheerful pop, I’d also like to point out that simply being cheerful pop isn’t exactly a musical sin. Whether you like it or not, it’s certainly far from easy to write a great pop song that stands the test of time, the way tracks like “New Life” and “Just Can’t Get Enough” have, and simply pointing out that they’re not as morose as later Depeche Mode songs isn’t a worthwhile criticism of them. While I enjoy a lot of more gothic music myself, I think a work of art that elicits the emotion of joy has as much of a shot at being a Great Album as one that wants to make us angry, sad, or afraid. On that note, I’ve reached the end of my video--as always, thanks for listening.

Music: “New Life”

[willowvinyl]

Abbey Road - The Beatles | Album Review

Album: Abbey Road

Artist: The Beatles

Label: Apple

Year: 1969 | 2018

Speed: 33 rpm

No. of Songs: 17

Starting my reviews off with one of the most classic and well-known albums of all time. As I mentioned before, I’m a huge Beatles fan. So, when I got this record, I was thrilled. I couldn’t wait to listen to the B side with all of the odds and ends and hear how they flowed together seamlessly. I couldn’t wait to experience the white noise on “I Want You (She’s So Heavy).” It was definitely an experience that I would never trade.

Abbey Road starts with one of the most popular Beatles songs and a Lennon-penned tune, “Come Together.” The percussive “shoot me”s on beat one are really something—even if we ignore the macabre irony. Lennon goes through his four verses, poetically—and somewhat strangely—describing the band. The most biting line is “got to be good-looking cuz he’s so hard to see,” which references McCartney and their growing artistic disputes, and how he seemed to stop coming around, as he was starting on a solo career.

“Something” is one of the greatest love songs of all time, and the only Harrison-credited A side the Beatles ever released. It’s sweet, but not sickeningly so, as it also encompasses the unsureness of any love story in the bridge: “You’re asking me, will my love grow? I don’t know, I don’t know.”

Bang bang! “Maxwell’s Silver Hammer” certainly does hit hard. Although definitely not out of character, it is still a bit disturbing in its nature. The song is pure McCartney—a narrative, with a sort of fanfare and theatrical theme. Though I have to say, the song is catchy as hell.

Another great track on Abbey Road is “Oh! Darling,” another McCartney-led song which flaunts killer, rock n’ roll riffs and vocals that young Paul was known for. And of course, the bass line is flawless as well.

Ringo has to have a song! Right? “Octopus’s Garden” is very reminiscent of “Yellow Submarine,” and not just in the nautical theme. The lyrics are a bit nonsensical and bizarre, but leaves you with warm fuzzies like most if not all of Ringo’s songs do. Something in his voice is just so matter-of-fact that it leaves you complacent and thinking that, yeah, I do want to hang out in an octopus’s garden.

Probably my favorite song on the album is “I Want You (She’s So Heavy).” Obviously the lyrics aren’t the highlight—the same ten words are used across the 7:47 run time. But the riff is so timeless and just guttural in the best way. Lennon’s vocals evoke such emotion, as always, that it’s hard not to get lost in those ten words. The jazzy interlude is also a key point, and the sudden stop + white noise at the end is just the icing on the cake.

“Here Comes the Sun” starts the album’s B side, and is just a happy little tune contributed by Harrison in order to revel in the fact that winter might finally be coming to an end in England—and let me tell you, living in the Midwest, I can relate. Its riffs are iconic, as are its harmonies. It’s probably the quintessential Abbey Road song.

I heard somewhere once that the melody of “Because,” with its haunting and flighty harmonies, came to fruition when Yoko Ono was playing Beethoven’s “Moonlight Sonata” and Lennon asked her to play it backwards. To me, the track reminds me of something that might have fit along perfectly with the track list of Magical Mystery Tour—but alas, it was destined for Abbey Road—and it still fits perfectly.

“You Never Give Me Your Money” is the beginning of the famous Abbey Road Medley, which encompasses nine partially finished songs all banded together through trail offs and, in some cases, a continuation of a narrative. This particular song is probably one of the most complete of the nine, and is another favorite of mine on the album.

“Here comes the sun king...” I see what you did there, John. “Sun King” continues the medley and even adds a bit of worldly flair thanks to the nonsensical Italian-Portuguese-Spanish hybrid outro.

“Mean Mr. Mustard” is quite a crass song if you listen to the lyrics, but really does stick with Lennon’s style on the album. It seems to go together with “Polythene Pam,” who I believe is Mr. Mustard’s sister. Such a small world.

“She Came In Through the Bathroom Window” is another mostly completed track that could probably stand alone. It’s another favorite on the album, and has McCartney’s trademarked narrative lyrics.

“Golden Slumbers” is a twist off an old nursery rhyme, with a lot a bit more timbre and a partial version of McCartney’s rock n’ roll voice. It does continue very well into “Carry That Weight,” in which I think I can hear Ringo’s voice popping through. Way to go, Ringo!

“The End” is an appropriate almost-last song. However, it’s a very Beatle-ish thing to do to have a song called “The End” be followed by another song; in this case, “Her Majesty,” which is the shortest song in the Beatles catalogue. Honestly, I appreciate it. It gives the album more character on top of its already incredibly unique veneer.

All in all, Abbey Road is one of my favorite Beatles albums, and probably one of my favorites of all time as well. It needs—no, deserves—to be listened to on vinyl. Your ears will thank you.

~~~~~~~~~~~~~~

Please let me know what you think of my review! It’s my first one, so it’s a little rough I’m sure, but it was really fun to dive deeper into an album I already know and love and put into words what is special about each song. Please let me know what I can do better, and I’ll work on it! Thank you so much if you made it this far into reading! 💕