#but its extremely hard to track down the original versions of said songs cause 1. no one uploads them on YT/doesnt show up on results

[nexo-nex]

you know a band is obscure as hell when there's little to no information about certain albums/songs they've released

[ts-unpopular-opinions]

Side Tracks opinions part 1: Janus

(Yes I’m staring with Janus and going backwards, I just need to talk about this snake man right now!)

Alright, I’ve seen lots of people give their takes on each of the sides playlists, and honestly... I feel like they’re not all that similar to my interpretations. I mean yes anyone can interpret the songs how they’d like, but some people just flat out ignore canon to see the songs as their ship instead of what I believe they are actually meant to be seen as. Anyways... Janus! Yes let’s go through each song one by one 💛

1) Black Hole Sun: I’ll admit this one was hard for me. The song is obviously so Janus, with plenty of references to snakes and lying, but I can’t seem to put a finger on the exact meaning. If I had to guess, it’s showing Janus’ fist instance of fearing society. He’s realized that the world is not a safe place for Thomas and no one can be trusted (“Times are gone for honest men” “no one sings like you anymore”). He longs for the ignorance of childhood when society didn’t seem to pose a threat and Thomas wasn’t aware of the dangers and lies it held, but he knows that someone has to protect him from it, and that is Janus (“my youth I pray to keep” “hang my head, drown my fear”).

2) Seemed the Better Way: To me, this is a song about Janus knowing his place as a dark side and knowing that the others will not listen to him (“I better hold my tongue” “better take my place”). He initially trusts the core sides to do what needs to be done and take care of Thomas adequately, but when he realizes that it isnt enough, he finds it hard to keep in hiding (“Seemed the better way” “now it’s much too late to turn the other cheek”).

3) Anywhere: A BIG middle finger to society (“It’s a beautiful world, if youve been lied to” “No no no, nothing in this world is beautiful”). Janus basically trusts no one in society, not even the people closest to Thomas because he believes that everyone will do whatever it takes to get what they want (“Every man standing on another man’s back”). He also believes that society has been a huge detriment to Thomas and, AGAIN, is very dangerous (“It’s the world’s excuse for being disfigured and lying to you”).

4) Talking at the same time: This song is about Virgil. The song begins with explaining that a hard time for one person can be a triumph for another in multiple different metaphors (“Umbrellas cost more in the rain” “hard times for some, for others its sweet” “someone makes money when theres blood in the street”). The next part of the song practically shoves it in your face that it’s about virgil leaving (“Well she told me she would leave me, I ignored all the signs” “I know you're leaving and there's no more next time”). Janus was clearly hurt by Virgil leaving and it seems like he was almost in denial about it happening. A line near the end of the song that I found particularly interesting was “Well we bailed out all the millionaires, They've got the fruit, We've got the rind”. This line to me shows that Janus and the other dark sides let Virgil go, possibly in an attempt to get all of the dark sides accepted. Virgil capitalized on this opportunity and of course, got accepted, however, he left the others behind. Despite wanting Virgil to get accepted by the light sides, Janus remains bitter that Virgil was the only one. Virgil got the fruit, and the rest of the dark sides got the rind.

5) All the Good Girls go to Hell: Janus believes that Thomas needs to listen to him if he is going to stay safe and healthy. He thinks that his assistance, above all other sides, expecially Patton, is crucial for survival in this messed up world. (“And once the water starts to rise, And heaven's out of sight, She'll want the devil on her team” “Look at you needing me”). You’ll find it a common theme in this playlist that Janus refers to himself as the devil or an evil entity of some sort... Just thought I’d point that out.

6) Denial: Well, its in the title folks! Thomas is (or was) in denial. Janus is aware of the moments when Thomas thinks about consulting him or using one of his functions, but almost as soon as he gets the idea, he drops it and acts like the thought never happened (“Don't just shut your eyes closed” “You know that I can hear you thinking, I've heard you all the way from here, But if I look you in the eye though, It's like your thoughts all disappear”). Thomas is struggling for answers to questions that only Janus can answer, but he refuses to listen to consult him and Janus desperately wants this to stop (“I know you're looking for direction, I know where you wanna go” “Please don't turn the light out, I don't think the conversation's over”).

7) Trust in Me: Obviously, the original song has much more sinister undertones, but when listening to the song from Janus’ perspective, I get a different vibe. Basically, Janus just wants Thomas to trust him and give him more reign over decision making. Not much for this one.

8) Razzle Dazzle: JANUS IS EXTRA! Is anyone shocked? Also a HUGE showman. But again, no one’s surprised. Janus believes that the only way to get the light sides to listen to him is to practically put on a show to cover up whatever his true intentions are (“How can they see with sequins in their eyes?” “Razzle dazzle 'em And theyll never catch wise!” “How can they hear the truth above the roar?”) I could keep listing lines but theyre literally all just different versions of the same sentiment.

9) When the Chips are Down: The title right off the bat shows that, again, Janus believes that Thomas needs to look to him when important decisions are on the line. There are also a lump sum of jabs at patton in this song, lines like “Aim for the heart, shoot to kill” and “Cast your eyes to heaven, You get a knife in the back”. Theres also a lot of lines, yet again, of Janus practically begging Thomas to trust him and no one else (“Ain't nobody but yourself to trust” “Help yourself, To hell with the rest, Even the one who loves you best”).

10) Mandy goes to Med School: Soooo this one... Honestly, I don’t really have a lot. The original meaning of the song is not very applicable to Janus, so its a bit hard to pinpoint its meaning. The only thing I can think of is that Janus is again hating on society and the crazy things that people have to go through in it. If you weren’t aware, this song is about coat-hanger abortions.

11) I put a Spell on You: This one seems pretty striaghtforward to me. Janus knows that Thomas doesn’t want him, and it drives him up the wall, but he does what a snake boi does and slithers his way in anyways (“And I don't care if you don't want me, I'm yours right now” “I can't stand it 'cause you put me down”). I suppose you could argue that you could replace Thomas with Patton (mostly because daddy is used like 10 times in the song 😂) but a later song covers their realtionship extremely well.

12) Evil Night Together: Another toughie. My gut feeling is that this is a song about Remus and Janus just going out and having a wild night together. As I read into the lyrics more, though, it seems almost like Janus is doing this for Remus. Like he wants Remus to feel accepted and loved by him (something that can’t be said by Thomas). I just can’t read some of these lines without getting big Momceit vibes... i mean... theyre so supportive! “I'll hold your hand while they drag the river” “I'll cuddle you in the undertow” “I'll hold you close while they dust for prints”. Then theres of course this line... “Who's gonna make you a hero?” And to me, that is Janus saying that, if Thomas only sees Roman as his hero and not Remus, then it is Janus’ job to make Remus feel like a hero. Janus also saying “No need for cake or flowers” also feels like him reassuring Remus that he doesn’t need to be like his brother to be perfect and loved.

13) Don’t tell Mama: I think I’ve seen some people interpreting “mama” as Thomas in this song, but to me Patton seems like a better fit, especially after their interactions in the most recent episode. Basically this song is all about how Janus doesn’t mind people knowing about the bad things he does, but he can absolutely not have one person know. Janus seems to have grown a soft spot for Patton in the new episode and if you ask me, he would definately not want patton finding out about some of immoral things he’s wanted Thomas to do. I mean he literally waits for Patton to sink out and then the second he’s gone he starts scheming about pushing people down stairs and sabotage.

14) You’re a Cad: Another Virgil one, but this time it’s after Virgil’s acceptance. I think Janus has little faith in the beginning that Virgil would get far in his journey to the light side. Whether that is because of envy or just plain pessimism, I’m not sure, but he definately doubted Virgil would ever be able to escape his past (“So now you want the whole world to notice that you've come around, Now you expect, We'll see how you're really so much better now, But I know the truth” “What's the point pretending that you could be a better man, Just give in, since you always end up right back where you began”). Despite his reluctance to support Virgil’s endevors, Janus shows a softer side for Virgil that has gone completely untalked about in canon (“You're a rascal and a rogue, a villain and a crook, Still I tug at your line, I'm a fish on your hook” “Still I know the truth, but I have a sweet tooth for a Cad and a bounder, a dog and a cheap”). Janus really misses Virgil and I would go as far as to say that he regrets the things that he’s done to make Virgil want to leave (“I should be better, but I'm worse” “You're reckless with my heart, still I wait by the phone”).

15) As far as I can See: A sadie but a goodie. Janus doesn’t really understand love, but he’s sure that no one loves him (“As far as I can see Nobody loves me”). No one listens to him, no matter how much he shouts and cries. He doesn’t believe that anyone could love him if they are unwilling to hear him out and communicate with him (“As far as I can see, Nobody's listening” “And when I'm crying out, Nobody cries back for me”).

16) Criminal: AH MY FAVORITE SONG ON THE PLAYLIST! I LEGIT CRIED MY GUYS! Anyway. Janus LOVES Thomas. I would go as far to say that Janus loves Thomas more than any other side. Despite his lacking knowledge of love and what it feels like, he knows for a fact that what he feels for Thomas is the closest thing he will feel to love (“Because he's all I ever knew of love”). Now that thats out of the way, lets get to the juicy stuff... Janus feels like a criminal as he’s been taught over and over again that his opinions and thoughts are bad and harmful (“Cause I'm feelin' like a criminal” “I've done wrong and I wanna suffer for my sins”) This song is ultimately about Janus wanting to improve for Thomas, the one he loves the most. He knows that Thomas needs him, and the only way to get Thomas to listen is to get some help. Whose that help you might ask? Patton. Janus wants to be more helpful, but he doesnt know how. He’s envious of Patton’s ability to be accepted so easily, so he goes to him for advice (“I've come to you cause I need guidance to be true, And I just don't know where I can begin”). Janus wants to be redeemed in Thomas’ eyes, he wan’ts to escape the criminal appearance he’s been doomed to (“And I need to be redeemed, To the one I've sinned against”). He HATES some of the things he does to Thomas and some of the things he makes him think, but he doesn’t want to be forgiven, he believes that he deserves to be punished, but he still wants to get better for Thomas. He just doesn’t know how to do that (“Oh help me, but don't tell me to deny it, I've got to cleanse myself Of all these lies til I'm good enough for him”). Also, Janus sees Patton in a very very high place. He goes as far in this song to liken him to an angel while comparing himself, again, to the devil (“So what would an angel say, The devil wants to know”).

17) Change: The song is about, you guessed it, change! This to me is a continuation of the last song. Janus finally feels like things are changing in his favor (likely after the most recent episode). He was beginning to feel like there was no point in caring or trying, but now that he’s begining to see the light, he’s grown a bit hopeful (“Lately I've been thinking it's just someone else's job to care, Who am I to sympathize when no one gave a damn?” “Trying to find the power in me to be faithful” “Change is a powerful thing, I feel it coming in me”). With Patton’s help and acceptance, Janus is begining to feel worthy of Thomas again and begining to see the he has a voice (“Maybe by the time this song is done I’ll be able to be honest, capable, Of holding you in my arms without letting you fall when I don't feel beautiful Or stable”).

18) Devil in the Details: Janus worries again about his ability to help Thomas. He doesn’t believe that he can tell the difference between good and bad and he looks to Patton for that differentiation (“There was love I meant, there were accidents, So tell me which is which. 'Cause I just can't work it out” “I have, no way, of knowing,…”). There’s also an odd underlying message about doing something that he doesn’t want to do, but continues to do despite this and I’m not quite sure what that could be referring to (“And I know the cost, and I want to stop. But I can't do it, I just can't do it.”). It could simply be referring to him lying or deceiving others, but that seems too simple. I wish I had a better answer.

19) Come Little Children: ALSO MY FAVORITE SONG ON THE PLAYLIST! This is really big guys. This song practically confirms the fact that Janus was in charge of taking in and hiding the dark sides from Thomas (“Come little children, I'll take thee away Into a land of enchantment”). The song literally uses the phrase “My garden of shadows”, a clear metaphor for the hidden parts of Thomas’ mind where Janus keeps the dark sides. But it gets better... Janus pities these poor sides. He hates the way that society has forced them away from the light and into the shadows (“Follow sweet children, I'll show thee the way Through all the pain And the sorrows”). Not only does Janus feel bad for these sides and longs to protect them from the cruelness of the real world, but he LOVES them. He values every aspect of them and thinks they are beautiful and perfect. He cannot fathom why society wouldn’t also love see them this way and it frustrates him to hide such amazing traits from the world (“Weep not poor children For life is this way, Murdering beauty and passions”). Despite this sadness and dissapointment, Janus does his job and keeps the dark sides hidden away, knowing that society would never accept them for what they are (“Hush now dear children, It must be this way”).

20) Into the Unknown (no not the Frozen song): This song is VERY IMPORTANT. I have seen so many misinterpretations of this song, and granted mine could also be wrong, but please hear me out. This song comes right after the last song for a reason. The sides that Janus had once hidden away are now being shown to Thomas. He is literally going into the unknown (“Led through the mist, By the milk-light of moon, All that was lost, is revealed.” “Somewhere lost in the clouded annals of history, Lies a place that few have seen. A mysterious place, called The Unknown. Where long-forgotten stories are revealed to those who travel through the wood.”) Thomas is figuratively traveling through the wood by learning more about himself and traveling deeper into Janus’ previously mentioned Garden of Shadows. The song ends, beautifully framing Janus’ love for the sides he’s raised and hidden away, calling them “ The loveliest lies of all”....

(Ahhh! I’m sorry that was so long guys 😅 Thank you if you read the whole thing or evern part! I’d like to hear your opinions, so let me know 💛💛💛)

[dolldirector]

Fallen Realm Playlist Masterpost

Big infodump under the read more, if you like my OCs and/or agree with my flawless music taste this should be interdasting

1. MUSE - Thought Contagion

Vampire stuff, punk vibes, a nod to thriller, all of the above fit the mood of a FR show + the song is genuinely very good and I could see it being used on stage easily.

2. PAIN - Call Me

Absolute banger. But that's besides the point. I see this as being the bassist Jez/Jamie's song (with a side of Deuce as the second vocalist). Jez is a fairly quiet lad who generally keeps to himself but I always imagined that he’d be secretly very flirty and cheeky, but would mostly only really express it via music. I actually wrote a lil short story where most of FR's band (minus Rex and Isabella) find themselves in some dive bar after a show, and end up performing in the place of the no-show band that was meant to be there that night. That band ends up being the very same one that kicked Jez out, so it’s a bit of a revenge story for him. This short is on my discord by the by.

3. Emigrate - Eat You Alive

Oh boy, this is a strong one. Basically, just watch this video but pretend that Axl is Richard (the frontman). That’s it. That’s the explanation.

Being serious though, RZK is and always has been a huge influence for Axl's visual design, mannerisms and on-stage behaviours. On top of that, this is 100% the type of music he'd listen to, and the lyrics may as well just be plucked right outta his brain. Are the words meant to be aimed at Valeriya in a threatening way? Or is it a cheeky flirt with Trinity? Both? Neither? We’ll never know.

Also, completely unrelated I’m sure, here’s a wip you may or may not be able to force me to finish on stream via channel points soon...

4. Axel One - Out of the Dark

Can't exactly say much about this one cause it's spoilers, but I will say it's less about the song itself and more about the video, and that it does concern the one FR character who is already dead when the story begins.

5. Lord of the Lost - Raining Stars

Just seems to me like a real good song to perform to. I can imagine seeing acrobatic stunts in slow-mo to this track. That’s it for this one, just “I just think they’re neat”. Gorgeous song and video by an amazing band anyway though.

6. Oomph! - Supernova

Kinda the same deal as the Emigrate song, you can just insert Axl into this one in Dero’s place, along with Jez, Vlad, and Thatch. Once again the style and lyrics fit him perfectly, and this one earns bonus points since Dero is actually Axl's canon voiceclaim - specifically in this era of Oomph!’s music too.

7. Die Kreatur - Kälter als der Tod

At the risk of this thread becoming Oops All Axl TM - AH YES. This one is perfect for the point where Axl finally gets the fuck over himself, and stops being horrible to Vlad because of guitar jealousy, and they become bros.

Realistically, I doubt that Vlad - the clueless human vampire fanatic - will ever realise that Axl is a real actual vampire, but he'd be so glad that they seem to have this ~shared interest~ in them, and he'd by hyped as heck to do a performance like this with his guitar buddy. By the way, Vlad wonders to himself, isn’t it odd that he’s never seen Axl putting his fake fangs in?? Weird

As for the girl on the altar, there are a couple ideas I’ve toyed with. Random audience member for fun. Trinity but Axl gets mad jealous even though he thought and said he wouldn't. (No sharing!! Not even for jokes.) Valeriya but the poor thing is scared to the point of tears because this is just a little too close to a real experience for her and Vlad just can't figure out why. Axl insists she’s just being dramatic. Rex has to rescue her because she’s too shy to put her foot down.

Or perhaps Isabella would wanna join in, but she can't take it seriously and keeps laughing which just causes a chain reaction every time with even Axl cracking a smile. There are like a million cut takes now. Send help.

All in all a fun crossover to think about.

8. Adelitas Way - Still Hungry

This one is just Diesel’s anthem. This is the story of a young punk who can’t stop, won’t stop, never gives up and needs more. Right kinda music for him too.

9. MONO INC. - Shining Light

100% a full-cast song. I feel like the lyrics apply to a number of different things about various members of the circus' backstories, and their found family vibe together - if you think about them in super vague terms, at least. I liked to consider the vocals a duet between Rex and Isabella, being the two singers, but there are a couple lines that are kinda too adult for Bella and would make the duet sorta odd so ehhh 90% of it can be that, let’s say. (This is baring in mind that Isabella is an orphaned minor and Rex is like a father figure for her - as he kinda is for many of the members of the circus)

I also did a doodle of this. This one will also be on the force-me-to-work-on-this-WIP-live pile.

9.5. Lacrimosa - Lichtgestalt a.k.a the original version of Shining Light

Same song, just German and carrying a much darker, creepier tone. It fits in new, fun ways.

10. Oomph! - Viel zu Tief

OOPS ALL AXL TM

Lyrics are very important for this one. Once again, music is the right style, Dero is still his voiceclaim, and Axl actually speaks German in canon (and NO I didn’t do that just so Oomph! songs fit him better, shUT UP)

11. Pet Shop Boys - It’s a Sin

Bit out of left field for this playlist, sure, but with all the controversy and extremely shakey morals in FR's world and with its characters, this one just seems fitting. Plus I'd want em to cover it for a show. Banger.

Honorable mention goes to Ghost’s cover of this song. I don’t even listen to Ghost but my reaction upon finding out this exists was like “lmao yes, of course, why wouldn’t they”.

This song in general I associate instinctively with Vlad, purely because its 80s and campy and I feel like he’d be the type to listen to Ghost.

12. Destiny Potato - Lunatic

Very strongly feel this is a performance song featuring Isabella. This song fits the character - and in particular her tragic backstoryTM pretty well. I’d even go so far as to say the singer would be a pretty good voiceclaim for her if her voice wasn’t meant to be more robotic in canon. This is pretty close to what I imagine, though. Strong n sweet.

13. Nightwish - I Want My Tears Back

One of the first songs I imagined to go well with stage performances. This one for sure would be a duet between Rex and Isabella.

Plus at about 3:10 there's a long solo with a bit of back-and-forth between the guitar and hurdy gurdy (I think?) that I could 100% see Axl and Vlad doing on guitar and keytar respectively.

14. Lord of the Lost - Drag Me To Hell

Yeah this one is just Axl @ his ex

15. Lindemann - Steh Auf!

Bleib nicht liegen, es wär schade - Zirkus ist heut in der Stadt

So, this would be from Isabella’s perspective. Did I mention she was orphaned? Yeah. I guess this one is a little dark.

16. Otetsu & GUMI - Disordered Self-Restraint Girl

The song itself seems to be the story of a child who is trying to coax their parent/guardian into getting up and doing things, not realising that parent had passed away from a drug overdose. Drugs isn’t the way Isabella’s parents died, but the rest of the song fits that part of her backstory imo. Plus, it’s German, and Isabella is German, so yay!

Uh oh, vocaloid.

For a long time I've associated this one with Valeria, and her feelings towards the circus in the early days. After she's accidentally turned by Axl, Val gets effectively kidnapped by FR, taken in before she can even regain consciousness and completely against her will, since it would be incredibly irresponsible of them to just leave a fresh new vampire out in the world so they kinda don't have a choice. While she eventually finds her place and elects to stay after some time has passed, there was a period of time where she definitely would have felt trapped.

This is without even going into the fact that she's now stuck travelling and living with her would-be murderer, and - due to the fact that half of the circus don't even know non-humans exist, let alone what actually happened to Valeria - many of the people around her don't seem to care, or simply do not understand why she's so scared and stressed. It leaves her, at times, feeling like she could be killed tomorrow and nobody would give a shit.

Showtime, katanamochi bunbun furimawashi kubi kara ue hanetobashite mo - ashita ni nareba minna motodoori, waratte yurushite

Translation: Showtime, even if a sword wielder slices my head and makes it fly off, tomorrow everything continues as usual, smiling, forgiving

(Don't worry, in reality Rex, Diesel, and Thatch are there for her & understand the shit she's going through. I promise the folks in the circus do actually care. It's just hard for her to see it in this period of time.)

(There will almost definitely be more songs and doodles added here in the future, but for now that’s all folks!)

[grimelords]

Two days after I said I’d upload it tonight, here it is! My October playlist is finished and it’s chock a block full of good music and also bad music that I love. From John Mellencamp to drone metal, from Katy B to Cassius, it’s all here and more. Deadmau5 also is here and for that I apologise.

Small Town (Acoustic) - John Mellencamp: Guess who had a legit emotional reaction to a John Mellencamp song this month, thinking deeply about what it means to be from a small town and how much this song gets right and wrong about identity and freedom in a small town versus living in a big town? This guy. I think this song works a lot better stripped down acoustically than it does in the album version. It gives the lyrics a lot more space, and really lays out just how simple the sentiment of the song is. It sets the tone of this month's playlist pretty well now that I think about it. I've been feeling like a real pea-brain hayseed this month and big chunks of this playlist really reflect that.

Katy On A Mission - Katy B: It feels like this and Hold It Against Me by Britney Spears (which was also 2011) is the moment that big american style dubstep completely crossed over into the mainstream, Scary Monsters And Nice Sprites was about six months ago and from there it was a tidal wave until oversaturation and complete death. But Katy On A Mission is different because it's at least got the credentials of dubstep pioneer Benga producing it and it doesn't go all-out on the super dirty bass, or even particularly have a big drop at all - it just uses it textually all the way through and it's better off for it.

I Only Have Eyes For You - The Flamingos: The way this song is recorded is insane. It literally sounds like they're at the bottom of a well. And it's mixed in that good early stereo hard-panned style so the lead is in the right channel and the whole harmony is in the left channel and absolutely soaked in reverb in a way that just sounds incongruous with the rest of the song. It sounds like a dream. My favourite moment is at about 2:30 when the harmony vocals get so large on the high note that they clip out and distort in a way that just sounds very, very cool.

Horses In The Sky (Live Version) - The Sound Of Animals Fighting: The Sound Of Animals Fighting was a post-hardcore prog supergroup where they were all anonymous (it was just the entirety of RX Bandits plus Anthony Green from Circa Survive) and I really wish they'd done more like this after their first album - because they still wrote very very good songs but they got lost in the mire of studio ambient interludes and being avant-garde for the sake of it which sometimes worked and most times just bored you which thankfully they only succumb in the end section of this version. Compare this to the studio version if you want to know what I mean, halfway through the guitar solo it just starts playing in reverse.

Split Wide Open - Cannibal Corpse: Here's what I mean about feeling like a pea-brain this month. Cannibal Corpse is proper troglodyte moron man music. It makes me feel dumb as fuck like a real stupid guy. There's something interesting about Cannibal Corpse's enduring ability to shock people, and that a band making such extreme music are at least a name that people know. They were in Ace Ventura: Pet Detective for god's sake. Before Marilyn Manson and that wave of cabaret shock-rock really got into the popular consciousness Cannibal Corpse were making shocking, violent music without any of the glamour and I think it's served them well in the long run. Songs like 'Hammer Smashed Face' or 'I Cum Blood', are shocking in title, artwork and content to this day are still musically shocking to the vast majority, far more than Marilyn Manson's spooky androgyny and wearing like a top hat and having fangs or whatever that's aged like milk and become just another boring cliche. The idea of the devil being charming and sly, disguised in charisma is so much more boring than the devil just tearing you apart like mince meat and eating you. Anyway I'm here to say Cannibal Corpse is good music for dum-dums like me.

Funeraloplis - Electric Wizard: Someone's edited it now but it's still in the footnote links, but the best ever piece of writing on wikipedia was the quote on Electric Wizard's page where they were explaining the origin of their name because it said "Is the name Electric Wizard made out of two Black Sabbath song titles? [smokes a big bud of weed through a can] Hahahaha, yeah it is!" which is so good and sort of all you need to know about them.

I <3 U So - Cassius: Looking back through this list it seems I'm having a real 2011 moment for some reason. I don't think I *get* Cassius. From everything I read about them they seem to be french dance royalty but they literally have two good songs and they're both in this playlist. These two songs are very good though so maybe it's just that. Anyway it's a shame what Kanye did this to song on Watch The Throne but I don't blame him, it feels like this song is just impossible to work with. It's at a weird tempo, it's incredible loose, it basically has one section. I imagine this song would have frustrated a lot of DJs when it was popular cause I really don't know how you would mix in or out of it, but fuck it while it's on it's a great song!

Youth, Speed, Trouble, Cigarettes - Cassius: This is the other good Cassius song. I'm pitching it as the theme song for when they eventually reboot Skins. I really appreciate that this song has 1 idea and basically just does every variation it can with it before bringing it to a climax. When your idea is this simple and this good that's all you need. Also the big toms that kick in after the 'just one more' but are heaven sent.

It Took The Night To Believe - Sun 0))): Sun 0))) are such morons and it's so funny that you can be so dumb and so serious about this sort of music at the same time. On this song Greg Anderson is credited as Mystik Fogg Invokator and Stephen O'Malely is credited as Taoiseach, which is the name for the Irish prime minister. Whenever I listen to Sun 0))) for the first two minutes I'm like 'lol this sucks' but then suddenly the guy is like 'cry yourself to ash' and I'm feeling the pull of the void quite heavily. Basically it's just like that meme.

Seven Angels - Earth: I remember ages ago some guy posted Earth 2: Special High Frequency edition and it was just this whole album with a high pass filter on it which is a funny joke. Anyway it interesting to think of this album in the context of when it came out. Two years after Nevermind, six months before In Utero - grunge at the absolute height of its power, stoner metal like Kyuss and Sleep huge when suddenly this guy comes out of nowhere and distills guitar music down to its essence: slower, louder, heavier than anything else by an order of magnitude.

Mutual Slump - DJ Shadow: I finally saw Xanadu this month and now I can finally relate to the weird smiling breathing out your nose noise that she makes after she says 'I'd never hailed a cab before' in this song.

Walkin' On The Sidewalks - Queens Of The Stone Age: Queens Of The Stone Age's first album is 20 years old this year and I've been thinking a lot about how it was a two person operation. Josh Homme played and sang everything on this album except the drums and it's funny to think about writing this sort of music all by yourself outside of a jam structure. He really sat down with a pad and paper and wrote down 'outro: bass riff x400' and then recorded it just like that.

Witch - Maps & Atlases: I wake up with this song in my head so often it's insane. I think a triplet groove in 4/4 like this is such a good and underused feeling and this song really deploys is perfectly. I want more of this, the good kind of math rock where it's not just guys doing midwest emo tappy riffs that all sound the same.

Down 2 Hang - Kirin J Callinan: This is what meeting up with people from the internet feels like. It's kind of a shame that this album got completely overshadowed by the Jimmy Barnes screaming meme, and that it's the first and last a lot of americans will ever hear of Jimmy Barnes but in reality it's exactly what Kirin J Callinan wanted to good for him I suppose.

Fast In My Car - Paramore: If you can't tell already I'm having an extremely basic bitch moron man month and that included listening to this Paramore album a lot and telling my girlfriend about how isn't it so interesting that the guitarist Taylor York just took over drum duties for this album after their longtime drummer quit and did such a good job playing drums AND guitar and her rightly not caring at all. I'm always impressed by songs that keep the same chords through the verse and chorus, it seems impossible but it works great here.

Don't Stop The Dance (feat. Delafleur) - Breakbot: I'm clapping my hands to stress each syllable when I tell you that Disco Will Never Die.

Oqiton - Jeremy Dutcher: I'm so glad this album won the Polaris Prize because I feel like I would never have heard of it otherwise. I absolutely love it, and I think what I love so much about it is that it doesn't fall into the trap of similar projects like this in the past of smoothing out all the jagged edges and turning it into plastic pretty music from the untouched ancient peoples - it's a real and alive reinterpretation of old music that looks toward the future and past in equal measure. Including the actual original recordings in each track is such a smart move, it gives you the context you need so this album isn't about liner notes and extra sources and it lets those old recordings seamlessly fold into these new reorchestrations.

I Remember - Deadmau5 & Kaskade: Anyway moron month continues here with the only worthwhile contribution to the planet earth that Deadmau5 ever made, I suspect by letting Kaskade do most of the work. It sounds sadistic but I really appreciate how this song is nearly ten minutes long, I'm a big fan of any song with that much confidence that actually pulls it off.

Overtime - Jessie Ware: Fucking Jessie Ware is back and she’s got Bicep producing! I think I added this song to my playlist before it was even a minute in, I just heard the bassline and my brain stem said yes.

Body - Julie Jacklin: I really think Julia Jacklin might be the best songwriter around right now and I cannot wait for her new album. I guess this keeps with the moron man theme by telling it from the other side. I keep listening to this song and then getting into a real mood for about an hour afterwards so I can't imagine the damage the album is going to do to me.

Can't Tell Me Nothing - Kanye West: Throughout the whole ongoing Kanye drama I've been thinking of this song. " I feel the pressure, under more scrutiny, and what I do? Act more stupidly" "I'm on TV talking like it's just you and me". Anyway he's had is money right for a long time but it's becoming increasingly apparent that you really really can't tell him nothing. I think it's interesting that the thing that seems to have spurred him into clarifying his beliefs and finally backtracking on anything is that Candace Owens tried to credit him for the shitty Blexit thing and it turns out the one thing you can't do to Kanye West is manipulate him into putting his name on something he doesn't believe in or didn't create. It's insane that John Legend and Mos Def and Talib Kweli reaching out didn't change anything but Candace Owens taking one too many liberties absolutely did.

Like Wolves On The Fold - Colin Stetson: I've said it one million times but I love Colin Stetson. I love how straightforward this is for a Colin Stetson song. You can sing along to it! So much writing about him focuses on the intricasies of his technique rather than his resulting very human, very primal music. I feel like his music is not very far from beating on your chest and yelling a lot of the time (especially toward the second half of this song) and the saxophone element just makes it a lot more socially acceptable.

Sack 'Em Up, Pt. I / Sack 'Em Up, Pt. II - Gwenifer Raymond: Bandcamp had a really good article about American Primitive the other day https://daily.bandcamp.com/2018/10/10/american-primitive-list/ and I found this album in it and fell completely in love instantly. I listened to it five times in a row. It's just incredible and I'm so glad that the music I love is finally being rescued from the mire of New Acoustic youtube men with their slapping and tapping and harp guitars and moving forward in new ways with artists like Sarah Louise, Marisa Anderson and Gwenifer Raymond. Women are finally allowed to play guitar now and thank fuck. One of the things I really appreciate about this album is just how written it feels. Every part, even the very swirly Part One of this song feels very purposeful, and if not totally written at least improvised in a tight framework before moving into the completely written second half. There's nothing wrong with improv but in a genre like this that's almost overrun with guys putting out hour long improv records it's refreshing to hear someone with such a clear vision execute it so expertly.

Bleeding Finger Blues - Gwenifer Raymond: Also, get a fucking load of this. An absolute powerhouse performance from a master. There's not enough solo banjo music around and it's a shame because I don't know if there's a better argument for banjo as a solo instrument than this song. The other thing I like about this album is there’s three banjo songs on it, which works well for breaking up the sequencing and making each song really distinct in a genre where albums can really blend together.

4:30 - Danger: It's a shame that Danger never really fulfilled his potential. With songs as good as this as 19:11 he seemed set. But then he took about a decade off before his debut album and I guess he lost something along the way. Anyway, doesn't matter because when you've got a song as good as this it's all you need. Also here's a good video where someone just put this song over the bar scene from Terminator which really accentuates the vibe in my opinion. https://www.youtube.com/watch?v=z37R39-mff8

Crybaby - Abra: I love love love the production on this. A friend sent it to me because he said it reminded him of the Call Me Mr Telephone song I was raving about and he’s absolutely right. I love how formless it is, it goes through about three different verse ideas before finally getting to the chorus at about a minute and a half in and it’s only stronger for it. I’m so glad a new generation of darkwave adjacent people are discovering freestyle because this is great.

OMG!!! - Yelle: This song is probably best experienced with the music video. https://www.youtube.com/watch?v=eoWK4rV3INY It’s fantastic on its own, especially the “oh my god!” sample and the whole chorus section, but the video - titties out, covered in glitter, very very good dance move for the rising 'ooo' part, a hamster is there. Really accentuates it.

Copacabana (At The Copa) - Barry Manilow: Was thinking about this song the other day. Woke up with it in my head actually which was strange. I feel like this song and the Pina Colada song definitely take place in the same cinematic universe.

King Of The Dead - Cirith Ungol: I've been rereading Lord Of The Rings and also a very dodgy 70s sci-fi series called Dray Prescot and so divine fate has drawn me to discover Cirith Ungol. The good kind of metal where all the album covers could also be fantasy novel covers and all the songs are about how cool it would be to slay an ancient demon with a sword. I love this song because it feels impossible to sing it without doing some very dramatic face acting and also his voice is completely insane. I feel like this is maybe just how he talks.

Sugaree 10/21/1978 - Grateful Dead: Grateful Dead are good and ever since I came to terms with that I've felt like I'm always on the precipice of buying a box of tapes, covering my car in confusing stickers and dropping completely out of society. The problem with a big chunk of live Dead recordings that I've heard is that while the playing is always on point, the vocals can vary wildly - especially when they try any kind of harmony, but this recording is just great. Fantastic vocals with a lot of feeling, ample crowd noise so it doesn't feel like just a sterile soundboard recording, and of course an incredible extended jam.

Ring De Bell - Brother Resistance: I don't fully understand what rapso music is yet, I don't have enough understanding of the culture or surrounding genres. I basically just found this Best Of compilation and have been listening to it a LOT. As I understand it it's 70s Trinidadian calypso music that got very political, which is very cool. I'm a big fan of this sort of lyric where it feels like you could just go on and on for days about all the places you should ring the bell.

Kojack - David Rudder: The crown jewel of this compilation is of course this song I've posted about before and absolutely love to death. A protest song about them taking Kojack off the TV because it's too violent when shows like Dallas and Dynasty, which are far worse, remain on the air. Miami Vice! Before youtube comments and online petitions you had to make extremely good songs about this kind of thing, and its a huge shame that we've allowed this to die.

The Power Of Love - Celine Dion: I love Celine Dion because all her songs sound like they were recorded across 5 countries and 8 different studios and cost two million dollars. They always sound too expensive for casual listening to me, like I should have an emergency mink coat on me at all times just in case The Power Of Love starts playing in a supermarket.

Airworks - J Dilla: I've been listening to Donuts a bunch this month and really thinking about what makes him so good and the vast legion of Dilla imitators on soundcloud bad and I think this song is a good example. The main sample sounds straight up ugly, it's backwards and twisted to hell, the main strings part keeps folding over itself, it's just chaos but completely controlled chaos. Every imitator is so afraid to make a total mess like he does and is too focused on the underpinning laid-backness of the beat, where Dila somehow makes the relaxed feeling easily as a result of a million clashing elements.

Anti-American Graffiti - J Dilla: I also found a playlist on Spotify where someone had put together Donuts with all of the the original tracks it sampled (or at least the ones that are available on Spotify) and it's such an illuminating new way to listen to this album. https://open.spotify.com/user/keatonkreps/playlist/1TPeWt38uceWXD1Vhyf7wx?si=NJ_jHrYqQpCt18q-W9nrag

Marvel - Solillaquists Of Sound: Every genre has good music in it. Even rappity rap conscious hip hop has good songs like this one. There’s another song on this album called Popcorn that’s basically the It’s Media picture converted to a .wav but this song is good. Especially her vocals when they come in halfway through sounding like an astrology zine except good.

Rock Island Line - Johnny Cash: Johnny Cash has around one million songs about trains, including ‘Blue Train’, ‘Train Of Love’ and a song called ‘I’ve Got A Thing About Trains’ but this is the best one because it’s about train-related fraud and doing perhaps the most outlaw country manoeuvre ever and telling the toll man that you’re carrying livestock when you are in fact carrying pig iron.

I <3 U So (Skream's Made Zdar Feel Like He Was 20 Again Remix) - Cassius: Also as a kind of coda, here's Skream's version of I <3 U So, where he's completely ironed it out and turned it into a pulsing dnb thing which is always impressive to me when people completely reverse the feel of a song in a remix.

Worms Of The Senses / Faculties Of The Skull - Refused: Stereogum had a really good article about The Shape Of Punk To Come on its 20th anniversary and whether it really did turn out to be the shape of punk to come. They asked a bunch of people whether the title seemed arrogant and the vocalist from La Dispute had a really good answer where he said "But it’s like calling your shot and then fuckin’ hitting a home run. If it was arrogant, it was justifiably so." which is so great. https://www.stereogum.com/2020358/refused-shape-of-punk-to-come-turns-20/franchises/sounding-board/​

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