#but this is the first time i’ve listened to *new* heavy rock music in the past 10 years

[megumimania]

WHY DONT WE FALL IN LOVE ? - jean kirstein

summary: you and jean are brought together by a shared love of music, is that all there is or is there something more below the surface?

warnings: jean x black!reader, fluff, jean is definitely an alt rock/ grunge enthusiast, jean and reader are down bad for each other but won’t admit it, ayesha and corinne win the award for best wing women, get you a man who truly cares, the format is weird my bad

a/n: this was written for @honeybleed’s 90’s rnb event! congrats naj, you deserve everything and more!!

it was another day at the record store, where you worked part time during the weekend. you loved your job, talking with customers and bonding over your shared love for music and records was one of the main highlights of your day. of course there were some customers who were rude and pretentious but you didn’t let that deter you from providing a good experience for your customers.

the faint sounds of dreams, fairytales and fantasies by asap ferg played in the background as you were organising new stock, humming the lyrics to yourself while doing so. you were so deeply engrossed in your task that you didn't register jean's presence near you. jean was one of your favourite customers, he was a world away from the regular customers that you were so accustomed to dealing with.

when you first met him, you immediately assumed that he'd be annoyingly pretentious, condescending and snarky—a characteristic you were used to seeing on the daily. but one day he came up to the counter while you were working and you absentmindedly had your finger ready to point to the 80’s rock section, not registering the look of confusion on his face.

"what are you pointing to?" he asked, brows furrowing in confusion. you felt your cheeks flame with embarrassment, “i just assumed that you-anyways how can i help you?" you replied with a smile, trying to break the awkward tension.

he looked around sheepishly, the tips of his ears flushing a faint pink. "uhh... honestly i don't know, do you have any recommendations?” he asked, with a level of shyness which you found quite cute.

his naivety to music/good records astonished you, considering he looked like a cross between a heavy nirvana fan and a country music enthusiast. after a long conversation with him, you gave him three albums to listen to, along with your number because you wanted him to tell you if he liked the songs or not.

since then you've developed a friendship with jean despite your two best friends/coworkers, ayesha and corinne saying otherwise. you’ve always denied it but lately, you’ve started to feel some type of way about him. suddenly you’ve began to notice his dimples when he smiles, the faint freckles he has on his face or how his eyes are more of a hazel colour in the sunlight—friends usually notice these things about each other right???

jean cleared his throat, snapping you out of your reverie. “y/n, you good?” he said, giving you a once over to make sure that you were okay. you felt your face heat up and you silently thanked god that he was unable to see you blush. “yeah i’m good.” was all you managed to reply with.

a minute of tense silence passed between you both, either of you waiting on the other to break the silence between you both. “can y’all stop eyefucking each other, you’re making me sick!” corinne yelled from the counter, scaring you both. the tips of jean’s ears turned a light pink from embarrassment.

“you left your bonnet and your scarf at my place the other week.” he said handing them over to you. “i’ve washed them for you, i’d thought you’d like that.” he said, the last part coming out quieter than intended. “we still on for saturday?” he asked, his gaze locked on yours, “yeah of course.” jean smiled before responding, “cool, i’ll see you then.” he walked off, waving you goodbye which you returned.

you tried to avoid ayesha and corinne for the rest of your shift but they cornered you as soon as you left work, dragging you to a nearby cafe. “so you and jean huh?” ayesha teased, taking a sip of her drink. you sighed and rolled your eyes, pretending to look interested in the menu in hopes that ayesha would drop the question.

“guys, i might order—hey!” you protested as corinne snatched the menu from your fingertips. “there’s nothing going on between me and jean.” you finally spat out after a moment of silence. “we’re just friends.” your friends shared a look that said they weren’t buying it. “so why was your bonnet and scarf at his house then?” corinne pressed further, and you genuinely felt like you were being interrogated for a crime you didn’t commit. “i slept over at his place, its not a big deal.” you said nonchalantly, drumming your fingertips on the table.

“we all saw the way you two were staring at each other, and you really want me to believe that you guys are just friends?” ayesha added, corinne nodding in support. “it’s okay to admit that jean thee pony has got you weak in the knees, you know.” you snorted at her nickname for jean. “i hate you guys.” you sighed, staring out the window dramatically. “and we love you too, y/n!” they said in unison, pulling you in for a hug.

“y/n, your white boy is here!” corinne shouted from the hallway. you were nervous, you’d spent an hour getting ready for today and you were still unable to quell the nerves in your stomach. you debated on taking a rain-check but decided against it. you quickly added the finishing touches to your hair and makeup and headed out. corinne gave you her thumbs up of approval as you left.

jean’s plan to act cool completely evaporated once he saw you. you were gorgeous in a way he couldn’t comprehend, he tried to maintain his composure but as always his face betrayed him, unable to hide the blush that spread across his face. “you look gorgeous, y/n.” was all he managed to sputter out. you were surprised that you had him fumbling over himself like this but you found it cute.

“you look great yourself.” you replied, taking him in. from the fresh trim, to his outfit, to the cologne he was wearing, everything about him made you feel giddy inside. “where are you taking me today?” you said, hopping into his car. his gaze lingered on you for a second before he cleared his throat, “its a surprise.” he said, sticking his tongue out at you whilst turning on the ignition.

the last few minutes of the car journey, jean told you keep your eyes closed. you eyed him weirdly, but did it anyway because you trusted him. his hand remained on the small of your back as he guided you to the destination. “are we there yet?” you asked, becoming increasingly impatient, he responded to you after a moment of silence. “open your eyes.” he whispered in a low voice sending chills down your spine.

you opened your eyes and you turned to him in disbelief “how did you—i’ve been trying to book a reservation here for ages, how!” jean placed his jacket on your shoulders, noticing the way you were shivering. “the owner is a family friend of mine, plus he owed me one.” he said coolly, trying to not make it seem like a big deal. “let’s go inside.” he took your hand in his leading you into the restaurant. the interior looked gorgeous with it being fairly modern as beautiful ceiling fixtures hung above you.

you were led to your table which was on a second floor that away from everybody else. jean pulled out your chair for you letting you sit down before he did. you opened the menu scanning it to see what appealed to your tastes. whilst you were busy trying to figure out the menu, jean kept stealing glances at you. he couldn’t help it, even when he was trying to read the menu, his eyes kept drifting back to you.

you grew shy under jean’s gaze and used the menu to cover your face. jean chuckled softly, gently putting down the menu to the side. “why are you hiding your face from me, beautiful?” your face heated up at the pet name. “you make me nervous, i cant help it.” you said feeling quite bashful, he took your hand in his, tracing light figures on your palm. “believe me when i say i’ve been nervous this whole time.” you both laughed at that, it helped to diffuse the awkward tension between you both knowing that you were both nervous as each other.

dinner flowed smoothly after that as you grew comfortable with each other again, the usual banter and jokes resumed and you truly felt at home with jean. apart from the silence that was shared when you were eating, you were talking non stop and even at times when you felt like you were saying too much, he looked at you with so much adoration, wordlessly telling you to keep going. you’ve never felt so relaxed during a date before it was weird not having to condense parts of you to seem likeable when it seemed that jean liked every part of you.

one of the reasons that you wanted to dine at the restaurant for so long was for its infamous beach views. the moon hung lowly in the distance as you and jean walked down the beach, hand in hand as you talked about everything and anything. he suddenly broke out into a sprint heading straight first to the water, you had no choice but to follow him. you shuddered as you walked into the cold waters trying to find him. jean pulled you towards him making you shriek as you felt his cold hands rest on your waist. “why did you do that!” you smacked his shoulder playfully, he laughed in response. “didn’t mean to scare you, beautiful.”

he pulled you even closer, you were now breaths apart which made the moment more intimate. “how can i make it up to you, hm?” he asked softly, his eyes boring into yours as he held you in his arms. “i think i know just the trick.” he smiled softly before he picked you up and pressed his lips against yours gently and for a moment the world disappeared around you leaving you and jean in your own bubble. his lips were surprisingly warm considering how cold his hands were. “you’re forgiven.” you smiled as you pulled away from him, brushing the wet strands of hair away from his face. “good, because i wouldn’t want to be on your hitlist.” he said, laughing as he finally carried you out of the water.

[voltronisanobsession]

Hey could you write Percy with a fem s/o who’s emo? Like she is seen blasting her headphones with Slipknot and other bands all the time. Also her maybe having split dyed hair too? I think that would be so cool ngl.

Percy with an Emo Reader

Once an emo, always an emo🫡 I really like this, it’s different from the other requests I get😍😍

Hope I did you justice, it’s been a while since I’ve entered emo territory💔 I played my rock playlist just to write this lmao💀💀💀 not proofread

I love this idea SO MUCH

When people see you, they don’t expect you to be dating the one and only Percy jackson

Dressed head to toe in mostly black, wearing a Slipknot band tee while rock and metal music blares out from your headphones is the last thing some people expect to see at camp

So imagine their surprise when they see Percy holding and kissing your hand, sending a cheesy smile your way while you playfully roll your eyes

You guys are just so different from each other that most people wouldn’t guess that you guys are a couple

You’re dressed in dark clothing while Percy has a little more color in his wardrobe. you’re the black cat and he’s the golden retriever in the relationship 😖

But your differences is honestly what makes you both closer!

Percy could honestly care less on what people think of your relationship

He knows that as long as you’re happy doing what you do then he’s definitely happy as well

Though sometimes you might grow a bit self conscious of how you guys look like to others, Percy is quick to get rid of those thoughts with a soft kiss on your cheek

He understands your concerns, understands why you might be a bit more hesitant to be around him while out in public, but he makes sure to not let those fears control your guys relationship

His confidence gives you confidence💔💔

Moving on, when Percy first met you, it was definitely a really cool experience for him

He thought you were the coolest person, and he still thinks so!

You’ve shown him a whole new range of music he never would have thought he would listen to

The loud drums and guitars hurt his ears at first but he soon found himself enjoying the tracks you recommended to him from different bands

Omg you guys totally give each other song recommendations

His personal favorite rock band you’ve shown him so far lowkey might be sleeping with sirens💀🔥🔥

He also likes all the rock band tshirts you have

They’re different from what he would usually wear, so this dude steals some of your shirts

The thing is that he can’t really hide that he steals your shirts so you’ll just randomly see him one day wearing your slipnot shirt, the black a stark contrast against all the orange camp shirts

If you also wear an accessories, just know if something goes missing, Percy is MOST LIKELY wearing it

OMG AND YOUR HAIR

Percy LOVES your hair

Especially if you dye it different colors throughout the year! I feel like dyed hair is automatically more fun to play with, so you know this dude is gonna have fun with your hair

I can imagine him trying to run his fingers through your hair only for it to get stuck a second later, your head pulled back as he keeps trying to get his fingers through it

Since you most likely dye and bleach your hair often, it’s lowkey fried and damaged, so unfortunately running his fingers through your hair might be a little hard💀💀💀💀 and painful💀

Percy might even wanna dye his hair to match with you teehee

You would paint his nails black when you crash in his cabin for a night (he learns to paint his own nails when you’re not around :,D)

Omg you might even draw some heavy eyeliner on him or add black eyeshadow under his eyes because he probably asked you to😭😭

If you have an piercings, whether it be face piercings or body piercings, Percy’s immediately asking if they hurt and to what extent.

“What’s this piercing called? An industrial? Damn, did it hurt?”

“It hurt like a bitch.”

“Oh wow ok, haha not getting that one!😀”

Honestly Percy slowly adds some of your stuff into his life, your band tees becoming a permanent clothing piece in his own closet

And you’re just happy that he’s so interested in your interests, seeing as it’s made such an impact in your life!

A small thought, you would totally get along with Thalia

You both might share some of the same music interests and immediately bond over it

You guys are lowkey besties

Ending this, Percy would totally let you throw him into a mosh pit if you both were to go to a concert together

[sweetdreamsjeff]

Amazing 'Grace': How Australia Gave Jeff Buckley His Biggest Hit

23 August 2024 | 12:00 pm | Jeff Jenkins

“In that moment, Jeff Buckley became a superstar in Australia.”

“I’ve got something I’d like to play you,” the woman from the overseas label announced.

It’s the start of 1994, and I’m at a Sony sales conference on the Gold Coast. We’ve been running through the major priorities for the year – Celine Dion, Mariah Carey, Pearl Jam and C+C Music Factory – when the representative from the company’s New York office mentions a new signing.

“I’ll play it during morning tea,” she says.

As she pressed play on the CD, you could hear a Mojo Pin drop. The Sony staff – music fans, grizzled music veterans and cynical indie types – were all united. No one had to say a word. The look on everyone’s face said it all: “This guy is special.”

In that moment, Jeff Buckley became a superstar in Australia.

Hearing him sing Hallelujah for the first time was a revelation. Nothing needed to be said. It was as if Sony’s Australian staff made a pact: we’re going to make this record a hit.

Jeff Buckley’s debut album, Grace, was released in the US 30 years ago today. The album’s Australian release came the following month, when Inpress editor Andrew Watt put Buckley on the cover and eloquently explained the album’s appeal. “Every now and then a new artist comes along whose sheer quality and artistic vision is so obvious that you just know you’re going to be listening to him for a long, long time.

“Grace is an album that seems so complete and so vivid in its expression that it’s almost an insult to try and deconstruct it and examine it to try and find out what makes it work.

“Probably the highest compliment that can be paid to Grace is that it’s timeless. It’s a brilliant album now, it would have been 10 years ago, and it will be in 10 years’ time.”

The record company bio that accompanied Grace had a section where the label listed what format it fitted. Grace ticked most of the boxes – alternative, AOR, easy listening, heavy metal, jazz, jazz/rock and “all other”. But Buckley responded: “That’s all just useless typing … everything it’s not, it is.

“What is it?” he added. “It’s just American music.”

And yet, Grace didn’t connect with American audiences. It peaked at number 149 in the US. Australia was the only country where it landed in the Top 10.

The American critics were initially unsure of what to make of the album. “Jeff Buckley sounds like a man who doesn’t yet know what he wants to be,” stated the three-star review in Rolling Stone.

John Encarnacao had no such reservations in his four-and-a-half-star review in Juice. “What kind of person wouldn’t like this disc?” he asked. “Maybe someone afraid of involvement. Or someone unprepared for music to penetrate their outer layers. Or anyone who rolls their eyes at the names Joni Mitchell, Neil Young or Sinead O’Connor. Grace is one of those sacred recordings.”

Grace received some play on US college radio but was shunned by the mainstream stations. “The songs were too long, and they didn’t have any hooks,” Buckley explained, relaying the complaints of the American radio programmers.

“It’s all a question of taste. I have no idea. I don’t know how their minds work, and if I ever do find out, I’ll hang myself from the nearest tree. I’m not really bitter about it at all.

“It’s a total crapshoot dealing with radio, so it doesn’t matter. Just so long as people come to the shows and enjoy it and get what they want, I can’t ask for more.”

And that’s exactly what Australians did – they embraced Buckley live. That first Jeff Buckley tour in 1995 is referred to in the same hushed, reverential tones as The Beatles’ 1964 visit and Nirvana’s shows in 1992.

You had to be there.

In Melbourne, Buckley did three shows at small venues – the Lounge, the Prince Patrick Hotel and the Athenaeum Theatre, as well as a set live to air on Triple R’s rooftop.

Lainey Wilson Has Never Been In It For The Awards: ‘I Want To Feel Something & I Want People To Feel Something’

Amazing 'Grace': How Australia Gave Jeff Buckley His Biggest Hit

23 August 2024 | 12:00 pm | Jeff Jenkins

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“In that moment, Jeff Buckley became a superstar in Australia.”

Jeff BuckleyJeff Buckley (Source: Supplied/'You And I' album cover)

More Jeff BuckleyMore Jeff Buckley

“I’ve got something I’d like to play you,” the woman from the overseas label announced.

It’s the start of 1994, and I’m at a Sony sales conference on the Gold Coast. We’ve been running through the major priorities for the year – Celine Dion, Mariah Carey, Pearl Jam and C+C Music Factory – when the representative from the company’s New York office mentions a new signing.

“I’ll play it during morning tea,” she says.

As she pressed play on the CD, you could hear a Mojo Pin drop. The Sony staff – music fans, grizzled music veterans and cynical indie types – were all united. No one had to say a word. The look on everyone’s face said it all: “This guy is special.”

In that moment, Jeff Buckley became a superstar in Australia.

Hearing him sing Hallelujah for the first time was a revelation. Nothing needed to be said. It was as if Sony’s Australian staff made a pact: we’re going to make this record a hit.

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Jeff Buckley’s debut album, Grace, was released in the US 30 years ago today. The album’s Australian release came the following month, when Inpress editor Andrew Watt put Buckley on the cover and eloquently explained the album’s appeal. “Every now and then a new artist comes along whose sheer quality and artistic vision is so obvious that you just know you’re going to be listening to him for a long, long time.

“Grace is an album that seems so complete and so vivid in its expression that it’s almost an insult to try and deconstruct it and examine it to try and find out what makes it work.

“Probably the highest compliment that can be paid to Grace is that it’s timeless. It’s a brilliant album now, it would have been 10 years ago, and it will be in 10 years’ time.”

The record company bio that accompanied Grace had a section where the label listed what format it fitted. Grace ticked most of the boxes – alternative, AOR, easy listening, heavy metal, jazz, jazz/rock and “all other”. But Buckley responded: “That’s all just useless typing … everything it’s not, it is.

“What is it?” he added. “It’s just American music.”

And yet, Grace didn’t connect with American audiences. It peaked at number 149 in the US. Australia was the only country where it landed in the Top 10.

The American critics were initially unsure of what to make of the album. “Jeff Buckley sounds like a man who doesn’t yet know what he wants to be,” stated the three-star review in Rolling Stone.

John Encarnacao had no such reservations in his four-and-a-half-star review in Juice. “What kind of person wouldn’t like this disc?” he asked. “Maybe someone afraid of involvement. Or someone unprepared for music to penetrate their outer layers. Or anyone who rolls their eyes at the names Joni Mitchell, Neil Young or Sinead O’Connor. Grace is one of those sacred recordings.”

Grace received some play on US college radio but was shunned by the mainstream stations. “The songs were too long, and they didn’t have any hooks,” Buckley explained, relaying the complaints of the American radio programmers.

“It’s all a question of taste. I have no idea. I don’t know how their minds work, and if I ever do find out, I’ll hang myself from the nearest tree. I’m not really bitter about it at all.

“It’s a total crapshoot dealing with radio, so it doesn’t matter. Just so long as people come to the shows and enjoy it and get what they want, I can’t ask for more.”

And that’s exactly what Australians did – they embraced Buckley live. That first Jeff Buckley tour in 1995 is referred to in the same hushed, reverential tones as The Beatles’ 1964 visit and Nirvana’s shows in 1992.

You had to be there.

In Melbourne, Buckley did three shows at small venues – the Lounge, the Prince Patrick Hotel and the Athenaeum Theatre, as well as a set live to air on Triple R’s rooftop.

“His shows caused the biggest buzz in town since the Stones were here in March,” I wrote in Inpress.

I took my friend Nova Weetman to the Athenaeum show. She wrote about it in her recent book, Love, Death & Other Scenes. “I was down the front,” she recalled, “weeping as the strains of Hallelujah lifted us up.”

Buckley was a potent mix of Jackson Browne and Jimmy Page. He had the heart of a poet. And he could rock like a god. As one Rolling Stone live review said, “The punchline is, Jeff Buckley can get away with anything.”

Interviewing Buckley was no easy task. He seemed troubled, knowing that the interviewer would inevitably ask about his father.

Jeff’s mother, Mary, had been briefly married to a then-unknown Tim Buckley. When he was eight, Jeff spent a week with his dad; apart from that, he never knew him. Two months after that meeting, Tim Buckley died of a heroin overdose.

The young Buckley loved record stores. “They’re a really emotional place,” he said. “All my life, I tried to work in one, but they never accepted me, and now I’m in them. I go to Tower Records and see all these lives in the bins.”

He noted the sad irony of his record being filed next to his father’s catalogue. “Separated all our lives, and now I’m right there in the bin next to him.”

David Browne, the author of Dream Brother, the biography of Jeff and Tim Buckley, noted that the younger Buckley “was painfully aware of the mistakes Tim had made in his life, and struggled to avoid them”, though “the weight of acclaim helped undo them both”.

That first Australian tour sent Grace into the Top 10. I remember a backstage scene when a Sony rep informed Buckley that the album had gone gold and was headed for platinum. “But do I really want that?” the artist responded.

In Sydney, he visited Bondi Beach at sunrise. “I tried to swim, but the water was too cold,” he smiled. “My nuts totally contracted into my body.”

Thirty years after it was released, Grace has gone eight-times platinum in Australia, and it remains a consistent seller.

Buckley returned in February 1996 for bigger shows, forging a rare connection with Australian audiences.

On the morning show on ABC radio in Melbourne, Raf Epstein has a popular segment called Changing Tracks, where a listener talks about a song that was playing at a pivotal moment in their life.

Recently, Julie recounted her memories of driving down Puckle Street in Moonee Ponds in September 1995. “I was listening to triple j,” she wrote. “I had just given birth to my only daughter … and I was in a loveless marriage. I was feeling extremely emotional and desperate. My husband had not wanted to be a father and was reluctant to involve himself in parenting.”

Like Tim Buckley decades before, Julie’s husband said, “I don’t want this.”

She realised she would be better off on her own.

“Listening to the radio that morning, I heard Jeff Buckley for the first time,” Julie continued. “Singing with a lilting, powerful, emotionally charged voice, he seemed to soothe my pain, and it lifted me out of the hole I had found myself in. I bought the CD that day, and his music supported me through probably the worst 12 months of my life.

“Every time I hear Jeff singing, he reminds me of the strength I found in the most vulnerable time in my life. For that, I am grateful.”

In that first interview with Inpress, Buckley revealed his desire to write a new American national anthem. “I hate the national anthem,” he declared. “The song itself is about having kicked somebody’s arse in war with bombs and stuff. Someday, there will be a [new] song, and hopefully, if I live into old age, I’ll make a stab at it.

“That will be my crowning achievement if I can replace that awful thing called the national anthem.”

He also said he hoped that Grace would be timeless. “If I make it into old age, I’d like to be able to visit it and have it still be true. The things I love the best are very timeless.”

Buckley highlighted Bob Dylan, Patti Smith, Duke Ellington and Allen Ginsberg. His favourite Ginsberg poem was Kaddish, which includes the line:

And how Death is that remedy all singers dream of.

Sadly, Jeff Buckley didn’t make it to old age. On May 29, 1997, while in Memphis working on the follow-up to Grace, he went for a swim in the Wolf River. His body was found on June 4.

Jeff Buckley never got to write that new national anthem. But one of his wishes came true: Grace is timeless.

In that first Australian interview, Buckley mused about his second album. “I’ll make an album that’s so not me,” he predicted. “But it will be me.” He even revealed he had a title for the record: My Sweetheart The Drunk.

The posthumous album Sketches for My Sweetheart The Drunk was released the year after Buckley’s passing.

“The songs that would have been My Sweetheart The Drunk (as well as all the other recorded material he left behind) are the true ‘remains’ of Jeff Buckley, not the speck of dust that was pulled out of the Wolf River,” his mother Mary Guibert said.

The Sketches album entered the Australian charts at number one. It was Buckley’s first number-one anywhere in the world.

Guibert also compiled the 2000 live album Mystery White Boy, which included five songs from the Palais Theatre in St Kilda, as well as Buckley’s cover of Big Star’s Kanga-Roo, recorded at Sydney’s Phoenician Club.

The great tragedy of Jeff Buckley and the modern music business is that Grace was his only completed album.

In the liner notes for Sketches, Bill Flanagan wrote: “If the music business ran in the ’90s as it did in the ’60s, Jeff would have had five albums out … But Jeff loved searching more than arriving.”

By the time Tim Buckley died, aged 28, he had released nine studio albums. Jeff, who died at 30, released just one.

But then, we were blessed to have experienced Jeff Buckley’s genius. One perfect album and some magical live shows.

Hallelujah.

[rottingsam]

tag game!

thank you @hellhoundlair for the tag!

Do you make your bed? no, because i am just going to mess it up again anyways and its kind of harsh to make my bed with the position it’s in anyways

What's your favorite number? 17

What is your job? it’s a secret but i ship samdean like its my day job :)

If you could go back to school, would you? i am in school right now! however, I wouldn’t want to go back to high school, elementary or even my previous years in college…they were not very fun.

Can you parallel park? hell yeah

A job you had that would surprise people? not technically a job but i did get paid for it. some summers i would work horse stables and it was kind of fun, i like horses. i just don’t think by looking at me or seeing the way i behave, that people would assume i do jobs like that on occasion.

Do you think aliens are real? yes, i think that the world is too big for their not be. maybe not in the traditional way people thing, but i will bet on Some Planet in Some Galaxy very Far Away there is another form of life out there- intelligent or not.

Can you drive a manual car? yeas

What's your guilty pleasure? nothing about pleasure is guilty but i also don’t do anything that would be considered a “guilty pleasure”

Tattoos? soon hopefully! there’s not very many good studios around me and i want to put something on my body forever, im willing to spend big and travel far when the time is right. i would like cybersigilism pieces on hips, with a fawn incorporated on my left side and lamb on my left. maybe a tramp stamp. and i like bluer inks rather than just stark black. yeah

Favorite color? green and yellow

Favorite type of music? i like Midwestern emo a lot. also alternative rock, and traditionally what is referred to as “emo” for the past year or so i’ve been a huge fan of flyleaf, when listening to music i tend to focus on the lyrical elements. but i also like heavy guitar, or when the guitar is very very prominent in a song

Do you like puzzles? sometimes! i like sudoku and brain teasers but i don’t really like assembling traditional puzzles

Any phobias? i dont know what it is called but when i am by myself i am constantly scared that i am not really by myself and someone is secretly watching me or hiding somewhere

Favorite childhood sport? golf

Do you talk to yourself? yes, frequently because i have a lot to say all the time and i always feel like i just talk at my friends so i just talk to myself when i have new things to say most of the time

What movies do you adore? i don’t watch movies hardly ever, but i will say Creep and Creep 2. they made me so deeply uncomfortable and i can’t wait until the third movie is finalized. it is so weird and disturbing and i love it!!!!!

Coffee or tea? i liked iced coffee or frappes a lot

First thing you wanted to be when you grew up? i really really really really wanted to be a doll

tagging: @sin-stained

[newmusickarl]

5-9’s Album of the Month Podcast – latest episode out now!

The latest episode of the 5-9 Album of the Month Podcast is here and it’s a bit of a sad one as 5-9 Editor Andrew Belt was unable to join us! So this time around it’s just me and Mama Mañana Records' Kiley Larsen reviewing five high profile album releases from the past month in music, ultimately naming one as our Album of the Month at the end of the discussion.

For our June 2024 episode, it was John Grant’s synth-soaked majesty on The Art of the Lie that took home the coveted Album of the Month title. For our latest episode, we look back at five big releases from July and the albums vying for recognition this time around are:

King of the Mischievous South Vol. 2 by Denzel Curry

Django’s High by Future Utopia (Poll winner, thanks for voting!)

As Above, So Below by Highly Suspect

Harmonics by Joe Goddard

HEAVY JELLY by SOFT PLAY

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Album & EP Recommendations

Wild God by Nick Cave & The Bad Seeds

Let’s face it, Nick Cave doesn’t make bad records. However, even by his incredibly high standards across his illustrious career, his recent work has been truly exceptional, towering bodies of work. Fuelled by unimaginable tragedy, grief and loss, albums Skeleton Tree and Ghosteen rank among my favourite albums of the last decade, listening experiences that are beautiful yet emotionally devastating. His last album with just him and Warren Ellis, Carnage, was no slouch either, finishing in my Top 10 of the year back in 2021. Now both have reunited with the full Bad Seeds ensemble, and new album Wild God continues their recent hot streak.

Emerging out of the vast darkness, their eighteenth studio album is a much brighter and more joyous experience compared to its predecessors. Filled with uplifting, string-drenched arrangements, some of which include none other than Radiohead’s Colin Greenwood on bass duties, the lyrics also find Cave in a much more optimistic mindset. It all makes for another endlessly captivating listen, with Joy the real standout in the first half, as Cave’s poetic lyrics are spun across a mostly minimal, piano-led composition. However, the finest moments for me are in the back half, with the gospel cries and stomps of Conversion, the operatic and ghostly Cinnamon Horses and standout single Long Dark Night a particularly incredible trio.

Once again, Nick Cave & The Bad Seeds have crafted one of the finest albums I’ve listened to all year. Impactful and stunningly orchestrated, it’s another stirring collection of songs that will keep you absorbed across countless repeated listens.

Listen here

I Lay Down My Life For You by JPEGMAFIA

Another album that has quickly become one of my favourites of the year, NY-rapper JPEGMAFIA has followed up his sensational collaborative album with Danny Brown, 2023’s Scaring The Hoes, with arguably his strongest solo outing to date.

It’s a rap record but with punk rock energy, with most of the tracks here under the three-minute mark and plenty of heavy guitars powering the sonics. JPEG uses the record’s frantic pace to jump wildly between each bold idea, with the production never anything less than stellar. Collaborating with the likes of Flume and Kenny Beats on the production front, he also pulls in other current rap superstars like Vince Staples and Denzel Curry to lend a few bars too. It all makes for a thrilling wall-to-wall listen but if I’m to pick out just a couple of highlights, it’s the metal-charged SAN MIEDO and string-tinged experimentation of Exmilitary.

Colliding fast and furious bars with heavy punk, noise rock and industrial influences, all in mesmerising fashion, this is without a doubt the rap record of the year for me so far.

Listen here

No Name by Jack White

Another man who rarely disappoints, guitar maestro and all-round modern legend Jack White returned recently with a surprise new album. Initially stealth releasing on vinyl towards the end of July, the record officially released to streaming platforms and critical fanfare at the beginning of August. While I may not agree with the consensus that this is his best solo outing to date, there’s no denying that this is another fun and mightily impressive release.

You see while some critics have found White’s solo discography to be quite patchy, I’ve actually been a big fan of his output over the last 12 years. Blunderbuss and Lazaretto both boasted songs that could be dubbed as instant rock classics, Boarding House Reach was wild but always fascinating in its experimentation, and the duo of Fear of The Dawn and Entering Heaven Alive showed that White’s songwriting shone through, whether plugged or unplugged.

With No Name, for me, what we ultimately get is more of what White has already done before and proved he can do previously. That said, the lo-fi production and fuzzy rock riffs still sound terrific, especially on tracks like Old Scratch Blues, Archbishop Harold Holmes, What’s The Rumpus and Terminal Archenemy Ending. So, while it lacks anything new or revolutionary and brings with it an air of safe familiarity, there is no denying that White can still rock out. If you’re a fan of his previous work, you’ll still find plenty here to enjoy.

Listen here

Lagos Paris London EP by Yannis & The Yaw

And finally on the EPs front, Yannis Philippakis of Foals finally released his long awaited first solo project, Lagos Paris London. A dazzling, collaborative five track EP featuring the late-great Nigerian drummer Tony Allen, the EP is as vibrant and sonically adventurous as the globe-trotting title would suggest. While Yannis brings his signature guitar grooves to the table, some soaring string arrangements, jazz-like horns and Allen’s Afrobeat-style drums ensure the project always has a different feel to anything under the Foals banner.

Whilst the whole EP is well worth 20 minutes of your time, it is Rain Can’t Reach Us and Clementine that particularly stand out for me.

Listen here

Also well worth checking out:

DAYS BEFORE RODEO by Travis Scott

Imaginal Disk by Magdalena Bay

True Magic by Salute

This World Fucking Sucks by Cassyette

A Firmer Hand by Hamish Hawk

Participation Trophy by China Bears

Heartbreak Town EP by GIRLBAND!

Song Recommendations

The Emptiness Machine by LINKIN PARK

It’s been quite the month for big comebacks, hasn’t it?!

First came the colossal news that the Gallagher brothers would finally be reforming Oasis for a huge 2025 tour, before Linkin Park also made their long-awaited return, announcing new album From Zero will be dropping this November. The Emptiness Machine is the first taste of that new record and their first single to feature new vocalist, Emily Armstrong.

Emily’s arrival into the band has certainly caused controversy, with her links to Scientology already a hot topic amongst fans. While that debate will continue for the foreseeable, what is clear from this single and the band’s return livestream performance is that Emily certainly has the vocal capabilities needed to front the iconic, much-loved band. While of course no-one could fully replace the late-great Chester Bennington, I am glad to have Linkin Park back making music once again.

Listen to The Emptiness Machine here

Watch the livestream performance back here

All You Children by Jamie XX featuring The Avalanches

A late contender for song of the summer, this huge collaboration between Jamie XX and The Avalanches was on heavy repeat for me towards the end of August. Propelled by an infectious tribal beat that will just make you want to get up and dance, it’s left me hugely hyped for Jamie’s new album In Waves dropping in a few weeks’ time.

Listen here

He by Hayden Thorpe

Another album I cannot wait for dropping at the end of September, Hayden Thorpe’s adaptation of Robert Macfarlane’s book Ness will also soon be here. With book and album both inspired by Orford Ness in Suffolk, He is the ultra-groovy second single from the project. Featuring an endlessly fascinating arrangement that even includes a sackbut (a 15th century early trombone) and a spinet (a small 17th century harpsichord), Hayden's unique songcraft shines through once again.

Listen here

A Landlord’s Death by One True Pairing

And Hayden is not the only Wild Beasts alumni to be releasing new music this year. A month later in October, Tom Fleming will also be releasing his second solo album, Endless Rain. Working with acclaimed producer John ‘Spud’ Murphy, the singles so far have suggested a much more traditional and folk-inspired sound compared to his solo debut. A Landlord’s Death continues this hypothesis, featuring some stomping acoustic riffs, wild strings and a catchy chorus.

Listen here

Sick Of The Blues by Porridge Radio

Another album due for release in October, indie rockers Porridge Radio will be returning with their new opus, Clouds In The Sky They Will Always Be There For Me. Sick of the Blues is the closing track for the project but also the album’s first teaser single, finding frontwoman Dana Margolin in an apathetic mood as raw rock riffs build and erupt around her.

Listen here

Straight To Heart by ALT BLK ERA

From MOBO and Heavy Music Award nominations to storming festival sets at the likes of Glastonbury and Download, there is absolutely no stopping ALT BLK ERA’s momentum right now. Now with their highly-anticipated debut album Rave Immortal due for release in January, the alternative sister duo have released the second taste of the upcoming record. The synth-soaked track highlights the continuing maturity of their songwriting, with Straight To Heart seeing Nyrobi open up and reflect on her agonising battles with chronic illness.

Listen here

Nothing Compares To Nineteen by Fiona-Lee

Another one of the UK’s most promising emerging voices, singer-songwriter Fiona-Lee has recently returned with her second-ever single. A hugely emotive track, it was written in the wake of Fiona tragically losing a lifelong friend after he took his own life. Recalling her struggles with anxiety, grief and depression, along with conversations with her father on mental health, it’s another hard-hitting single that absolutely soars.

Listen here

Split Lip by Dolores Forever

One of my other favourite new music discoveries in 2024, I’ve had the pleasure of catching indie-pop duo Dolores Forever twice over this summer’s festival season. With their debut album finally dropping at the end of September, Split Lip is one of the latest singles taken from the project and a song that really stood out in their live performances. Hugely anthemic amidst captivating vocal harmonies and shimmering synths, this upcoming record is slowly shaping up to be one of the best debuts of the year.

Listen here

One Day by Hallworth

Released at the end of August, singer-songwriter Hallworth also recently released her heartfelt new single, One Day. Inspired by the Netflix movie of the same name and written while she was in Nashville, it’s a stirring track about her struggles with a long-distance relationship. With Hallworth’s own tender vocals at the fore, it’s a gorgeously laidback love song that will have you hitting the repeat button.

Listen here

Never Meant by Iron & Wine / For Sure by Ethel Cain

And finally, this year marks the 25th anniversary of one of my favourite albums of all time and a seminal work that still inspires countless musicians today – American Football’s self-titled debut. To mark the occasion, the band are releasing a remastered version of the original record, along with a brand new covers version.

The first two of these covers have been revealed and they are both unsurprisingly stunning. Firstly, American singer-songwriter Samuel Ervin Beam transforms the iconic Never Meant into a wonderful, folky lullaby, reminiscent of Bon Iver. Then, the much beloved Ethel Cain has turned the haunting For Sure into a near 10-minute moment of beauty and ethereal transcendence.

If all the covers are to this standard, with more cuts from the likes of Manchester Orchestra and Blondshell still to come, this project could be something very special.

Listen to Never Meant by Iron & Wine here

Listen to For Sure by Ethel Cain here

Also worth checking out:

Ego by Halsey

You by Ktlyle

JACKIN’ THE SYSTEM by NOISY

Tonight, Tonight (Smashing Pumpkins Cover) by Snail Mail

Hometown Edge by Kele

Bright Lights by The Killers

HERE WE GO! by Lil Nas X

Find The Way by Peggy Gou

SO WHAT by Confidence Man

SilverCane by Corinne Bailey Rae

REMINDER: If you use Apple Music, you can also keep up-to-date with all my favourite 2024 tracks through my Best of 2024 playlist. Constantly updated throughout the year with songs I enjoy, it is then finalised into a Top 100 Songs of the Year in December.Add the Best of 2024 playlist to your library here

[basilsnotemo]

4, 16, 20, 23, 32, 58, 73 for creek :3

omg thank you for the ask i’ve been dying to yap about the boys

4 Which of the two listens to old music and which one is more into the newer stuff?

i think that’s craig is more inclined to listen to older music just from spending time with his dad as a kid, they were always listening to either the classic rock station or the country station and i think craig still tends to listen to the older stuff since he already knows the songs, but he isn’t opposed to new music either (i also hc that craig is a total swiftie)

tweek on the other hand i feel like he doesn’t really listen to a lot of music, but tends to listen to newer stuff just because he spends so much time in the coffee shop and that’s mostly what they play is like top 100 pop hits and he mostly tunes it out, if he had to pick tho he likes like early 2000’s pop music cause it’s easy

16 Which one’s the first to help a stranger in need?

probably tweek, while BCU tweek, is pretty small, he is INSANELY strong from years of heavy lifting and moving stuff around in the coffee shop and he used to take boxing lessons in high school/ college so he’s got some muscle built up and tweek is better at talking to strangers then craig is since that’s what he does all day at work.

20 Who’s more likely to get into a bar fight?

i don’t hc either of them as big drinkers, i think they are like a glass of wine with dinner types of people, that being said, tweek 100% that man has a short fuse and fighting experience, usually the cause of it is someone saying some homophobic shit about him and craig or anyone else in the bar and tweek has no tolerance for that so he will shut it down really quick.

23 Which of the two would you rather team up with for a game of laser tag?

craig hands down, he is the type to find a really good hiding spot and just snipe people and no one ever finds him, he calculates every single move he makes and always wins

32 Who’s the first to apologize?

that depends, usually whoever started it is the one that apologizes first but i think tweek will do it a lot faster then craig will. now i think that’s they have a very healthy relationship, personally i think that they go to relationship counseling because they are both kind of shit at talking about their feelings and stuff and having that third person there really gets them to talk about anything they might need too without it escalating into a big fight. i don’t think they fight often so when they do it’s really bad, like they aren’t talking for a few days after, but they always get over it, usually tweek apologizes first because he’s stressed that if he doesn’t he thinks craig is going to leave him. and craig will apologize when he realizes he was being an asshole

58 Who’s the most fashionable?

craig, but unintentionally. he doesn’t really care he just grabs things that he thinks look nice and then he leaves, like he’s usually just wearing black jeans, a random tshirt and his NASA jacket (that he got from work) and then i think he exclusively wears high top black converse. like it’s nothing particularly special but it just works for him, tweek would say it’s because he’s naturally hot so he could wear anything he wants and still look fantastic. tweek lives in a hoodie and jeans cause he’s always cold and he doesn’t bother putting together a nice outfit because it’s just going to get covered in coffee anyway

73 Whose hobbies/interests change every 2-5 business days?

tweek for sure, he is the opposite of craig who has two or three interests and hobbies that he is just so incredibly hyperfixated on that they never change. tweek can’t focus on anything but is somehow naturally good at everything he does, his main hobbies are reading, piano, and painting but he has tried almost every single type of art that he realistically can he goes through all sorts of phases, pretty much anything you can think of tweek has been into at one point or another

anyway thanks for listening to my yap session please send me either more numbers from that list or just ask me a question i love to talk about the boys and i have this whole world built in my head

[theloniousbach]

FOR MILES!: MARK MORGANELLI and THE JAZZ FORUM ALL-STARS (George Cables!!, Ron McClure, and Sylvia Cuenca), SMALL’S JAZZ CLUB, 6 JULY 2024, 6 pm set (partial) and 7:30 pm set

Though I didn’t have this on my radar, I found it in time and of course I’m going to listen to George Cables play 1950s Miles Davis tunes.

MARK MORGANELLI runs Jazz Forum Arts in Tarrytown that, like Jazz St Louis, puts on concerts and runs community educational programs. He’s a solid enough trumpet player, perfectly capable of evoking Miles with and without a mute, but he’s probably more of an administrator as he was the musical coordinator at Birdland for several years too. Still he plays and records with first rate musicians and acquits himself well. Again, like high level professional athletes, any established New York jazz musician is first rate. Here, he selected the right tunes, played his part well and crisply, and deferred to his band, especially Mr Cables.

He is a favorite of mine thanks to these streams. I haven’t seen him nearly as often lately, but he is so good natured, fluid, and evocative. I can’t say that I’ve heard him play these particular tunes, but they are all part of the repertoire he draws on.

There was only 33 minutes of the first set on YouTube, so I came in at the end of All Blues, but then got Stella By Starlight, On Green Dolphin Street (maybe a bit too fast and, dare I say, that Cables was a little heavy handed?), Bye Bye Blackbird, and Tune Up. The second set that I saw in real time and in toto had Four (which is an Eddie Cleanhead Vinson tune, which had never registered with me. So is Tune Up.), Old Devil Moon, In Your Own Sweet Way (Morganelli told Dave Brubeck stories), Freddie Freeloader (also stories about the real character who was around Birdland and the whole scene), Lover Man, If I Were A Bell, and, probably, There Is No Greater Love. And of course they did short refrains of The Theme to close out the sets.

Cables was so swinging and infectious in his playing that he was just wonderfully comfortable. Ron McClure doesn’t show up in the Small’s Live streams, but he is a venerable player who still has more than a little adventure in him. Sylvia Cuenca is another veteran (Renee Rosnes talks about playing a gig with Joe Henderson and an all women rhythm section and that fact, not the music, was how the NYT covered it. Grrr. Well, Cuenca was the drummer). She too was a rock—steady and subtle. She was not at all flashy but she was all business and very effective.

This was a very welcome surprise and a treat.

https://soundcloud.com/markmorganelli

[miashyperfixations]

HONEY REVENGE

07.12.2023 @ Camden Assembly, London (220 Capacity)

Written Dec 2023

I started listening to Honey Revenge at the start of 2023, caught in the promo of their single ‘rerun’ & after seeing other artists I follow repost their content, I went back to listen to their discography & was hooked. Their debut album ‘Retrovision’ is one of my favourites of 2023 and all time (see review here). They never fail to miss with banger after banger - not just at first listen but the songwriting & production is amazing too. Naturally, as soon as this show was announced, tickets were bought. The band itself is made up of Devin on vocals and Donny on guitar, but are accompanied by their touring members, Tay Kincaid (bass) & Matt Arsenault (drums). They have played numerous tours this year alongside The Home Team & Broadside, Loveless, Finish Ticket & Arrows In Action. a US headline tour in the fall, and now The Home Team & The Used, here in the UK, with plans to open for Meet Me @ The Altar across the United States in the new year.

The fist opener was a rock band hailing from Leicester called Mouth Culture, taking inspiration from a range of musicians from Bring Me The Horizon to The 1975 to Harry Styles. THeir music is a mashup of all genres with a distinct heavy, edgy vibe. The second openers were a Scottish band called happydaze who are label buddies with Honey Revenge (Thriller Records). Their set was much heavier and had everyone hyped up for Honey Revenge’s set afterwards with heavy rock tunes that have a clear pop influence.

Seeing my favourite songs live was an unreal experience. I’ve been a fan of this amazing band for so long now and with all their concert content online, it’s safe to say that my expectations were high. But that didn’t matter because they were blown out of the park anyway. Due to the fact that this was a headline show, they were able to play every single song in their discography with no breaks, meaning that everyone in the crowd was able to hear their favourite Honey Revenge song. I never realized until I listened to the retrovision album in full, but Devin’s vocals are phenomenal and being able to sing so many belters back to back AFTER having rushed through London from an opening set down the road to this headlining gig is a real show of her talent - I know many of today’s new up-and-coming singers wouldn’t have been able even think about it, let alone actually doing it. Based on where we were in the crowd Ami & I watched both Donny & Devin kill it in real time and it was clear that everyone in the room enjoyed themselves the entire night.

Having come directly from their show with The Used, the band came on after happydaze had packed up their stuff and with Camden Assembly being such a small venue, the entire crowd was able to see them set up their equipment. Not just the drumkit and guitars, but the pedalboards, multicores & mic stands too - everything. Being a sound engineering student, I loved seeing this with a different lens than most people in the crowd, watching the team set up as quickly as possible just like how I’ve been doing in college with my classmates tells me I’m not too far from a professional standard within the industry and I can’t wait to be doing just that someday. Security was pretty tight at the venue (as one would expect in London). I wasn’t able to meet the band after the show due to me being underage and the band wasn’t able to come out of the bar but Ami was able to go in and get them to sign my ‘are you impressed?’ postcard & their CD lyric booklet that I had bought with me, so all was not lost and I was still able to buy a t-shirt from their tour manager, Em.

It's rarely heard of for a band like Honey Revenge to be able to come and do an international tour (even if it's as a support act) within their first year of touring. To be able to do a show as a headliner is unheard of outside of viral success and them being able to both so just proves that they’re here to stay and take over the music industry. Camden Assembly is an iconic venue with multiple star acts of the music scene such as Ed Sheeran, The Strokes & Adele starting out there and to be able to see my favourite band was a perfect close to the year.

[atranswomansdiary]

Day 8

June 13th, 2020

The fantasy and the daydream never truly went away.

I’m so alone right now, so separated physically (because of COVID) and emotionally (because life) from whoever could show me any love or appreciation that I’ve begun to think deeply about myself once again, as I did when I was young.

My adolescence brings back very few memories of partying or drinking or sex or drugs, but lots of long hours listening to music and staring at the polystyrene ceiling of the side of the room I shared with my parents and siblings that was my “bedroom” (I didn’t have a proper bedroom until I was 24). And in those long hours I used to ruminate a lot about my life, my (lack of) friends, (the absence of partnerly) love, and many other things.

Aside: I don’t know how it surprised me—or anybody—that I fell deeply in love with philosophy when I encountered it a couple of years later. My predisposition/nature was already philosopically-oriented, I guess. One of my life’s greatest regrets is that I went back on my decision to pursue a career in philosophy because of my mom’s pressure—and my own insecurities, of course.

Back on track: I’ve been thinking a lot about that Friday morning I described on Day 1 (a week ago, but it feels like an eternity), reminiscing about it and almost savoring it, but the sensations are slowly but surely fading away. And, as they've done, I've become addicted to just think of myself as a woman whenever I can.

Now it doesn’t matter where I am, if I’m not engaged otherwise, in my head I see the world if I were woman. It may sound stupid—it probably is—but, although my rational part tells me that is impossible, I feel that I’m able to get completely immersed in the fantasy. That it actually doesn’t require much of me to become a woman in my head.

What’s even more outrageous (or telling) is that I don’t think my female version is that much different from my current self.

Call it hubris or delusion, but not only do I find comfort in those fantasies: I feel more solid, more myself—for lack of better words—than in “reality” in them. Things make sense. My feelings, perceptions, and even thoughts feel more coherent, less chaotic, and more focused. Am I losing my mind? Is this some kind of elaborate new way to deceive myself? I feel like I’ve always been looking for something, for an answer about myself and the world. That’s what interested me first about learning things when I was a child, and subsequently led me to fiction and then fantasy. At the same time I went from classical music to protest rock and then to heavy metal. From sports to RPGs.

I cannot but see myself in all these wildly varied circumstances looking for something, for a place to truly feel at home. To belong to. Relationships felt a little bit like that; as if I was looking for someone to complete me; my lost other half, as in the “Origin of Love” from Plato’s Symposium, which I first met in the wonderful Hedwig and the Angry Inch.

Once again, self-delusional or egotistical much? Self-centered and oblivious to reality? I really just don’t know.

Maybe I should ask a therapist. Or get some therapy. Maybe that could help but, who knows?

For now, these fantasies are mine—and no one else’s. They’re my secret, my private paradise—and I’ll keep them as such for the time being.

Maybe some day—one day—they’ll be more than fantasies, but who knows? Maybe in a next life (if there’s any such thing).

Until then, with love,

ZZ

[neros-very-first-fiddle]

history of panic! at the disco except I’m only a moderate fan, so it’s not 100% accurate and I had to fill in some gaps with my imagination, so you definitely shouldn’t quote me on any of this

it is currently 1 am and this is the only thing in my head, so let’s go.

have I listened to every p!atd song? yes. do I know the history? absolutely not.

so, Las Vegas, right? there’s a bunch of high school guys who are in a band and everything is going great, but uh oh, they need some back up vocals. local loser teen Brendon Urie comes to the rescue with his mediocre singing skills (he can’t sing) (at least not yet) so the band reluctantly takes him on. they play a few shows, so pretty good for a high school band, then they release an album. did they get signed to a record label first? uhhhh, I’m gonna say yes. its Vegas, they might as well have been.

so they write their first album, “a fever you can’t sweat out”, and it does well! “I write sins not tragedies” does absolutely fantastic in particular. it’s emo, it’s young, and their target audience approves.

riding off that high, they do what any other self respecting cool, hip, emo band would do and they write a psychedelic folk album. because duh. and using my knowledge that the first track states “we’re so sorry we’ve been gone”, the album took a minute to make and produce. Two years to be exact. And that’s exact exact. A whole 24 months. Released it on fever’s anniversary and everything. Also; at this point, one of the band members dropped out. probably a drummer. their name? uhh, idk, probably frank, david, or pete,,

so they write another album. it’s called “vices and virtues” and it uses a bit more tech and it’s a good sound and it goes a bit more back into their rock and roll roots. they continue with their thing of going super heavy into eccentric album themes and where all these cool steampunk outfits in the mvs and on the album cover. then ryan ross leaves. and this makes lots of people sad because he’s ryan ross. but the album’s good, so there’s some consolation. also some of the other members leave with him. the bass player dipped and their drummer flaked again. he didn’t want to go on without ryan ross’s ryan ross-ness and honestly who can blame him? also fun fact! the bass player left for completely non-ryan ross related reasons. his parrot brother passed away and it really took a toll on the family. and no I’m actually not joking because another fun fact! parrots live really long and a lot of the times in families they’re raised along with the children and they become so bonded to the family that oftentimes they’re considered an actual part of it. I found that out from a podcast when one of the hosts said her ex had a parrot for a brother which made me break down laughing, but that’s honestly really neat. anyways.

after that they, you guessed it, write another album. this one’s called “too weird to live, too rare to die”. the album cover is very cool™️ and so is the music. and they have a new bass player! his name is dallon james weekes and he is actually The coolest person ever. lots of fans are upset with the new album because it’s missing ryan ross, but dallon makes up for it. Then he leaves immediately after they finish touring for the album. boohoo.

it’s the summer of 2016. death of a bachelor has just been released. I’m at an outlet mall with my family and am standing under a giant tree trying to catch some shade from the texas heat that burns on my black hair and my brother pokes me in the arm. he’s got apple music opened up to the album Death of a Bachelor by Panic! At the Disco. he asks me if I’ve ever heard of them. I say no. he offers me an earbud and I happily take it . he presses play on a certain track; LA devotee. I’m instantly transported to another world. the sound is like nothing I’ve ever heard before. it’s not like the Spanish music my grandma always plays or christian music or 80s songs my mom sings in the car or the show tunes I sing with my friends or the classic rock my dad always blasts. it’s different. and it sounds so distinctively like me.

suddenly I’m emo. a few weeks later, I’m at a sleepover and we’re singing death of a bachelor and I mess up one (1) lyric and one of the other kids calls me a fake fan. at that exact moment in time I make the decision to religiously listen to and memorize every single lyric off the death of a bachelor album. and I did. so take that, julia. (we’re still friends)(she absolutely does not listen to panic anymore)

oh hey, would you look at that. pray for the wicked just came out. for the first time ever, I count down the days, then the minutes to an album release. it’s really fun.

and uhhh, that’s it. it’s just one guy at this point.

[top-the-cat]

So I mentioned the other day that I had been vinyl shopping at Psychotron Records in Sutton Coldfield recently, and I am still working my way through my new finds…

We’ll start with this by Lee Scratch Perry and if you know Lee Scratch Perry, then you know exactly what this is going to be. Essentially, volume one of the 12” versions of his biggest hits of the 70s. They had the next couple of volumes in there, but I figured I would start at the start, as the opening track is the Original Upsetter 12” mix of Disco Devil, which you may know as Max Romero’s Chase The Devil or The Prodigy’s Out Of Space, or Dreadzone’s Iron Shirt, to name the first three that come straight to mind . (Apparently, according to Wikipedia, Max Romero’s came first, but Perry produced it and the original Disco Devil was his dub version)

But yeah, if you know that track, you know what this whole record is going to be about; five dubbed out tracks by either by him or produced for others by him, with plenty of echo, extended breaks, and let’s say hazy atmosphere to them.

My only criticism though is the bass isn’t as heavy as I figured it would be on the early tracks. I mean, they are all from the same end of the late 70’s but the tracks on the B side sound better, and I’ve got a pretty decent system to play it on, but its not as heavy and gut rumbling as I figured it would be… Still good though!

Lee Scratch Perry presents Disco Devil Vol 1, Discomixes From The Black Ark

OK, so this is just the 12” single and listening to it, it’s not the exact version that I know and to be honest, I’m not really that impressed with it. The quality is fine, but it kinda’ goes on a bit too long and it feels just a little forced. It’s like there’s no soul left in it. There’s the instrumental on the other side, but again, it’s the instrumental of this alternate version and yeah, if I wanted to sample or battle with it, then it’s there, but lets be fair, neither of those are really going to happen.

Plus, the title of it is weird. Everyone knows that Grandmaster Flash had nothing to do with it and it was Sylvia Robinson of Sugar Hill Records that made it and in turn destroyed the Furious Five, but why call it Grandmaster & Melle Mell? What’s the & got to do with it??

White Lines (Don’t Do It) by Grandmaster & Melle Mel

Now were talking! If you don’t know, Buddy Rich was a classic jazz drummer, who played with all sorts of greats from Frank Sinatra, Ella Fitzgerald, and Luis Armstrong to Count Basie and Charlie Parker. And when you listen to him, he fucking wails on those drums. I mean, he is firing off high speed drum & bass style breakbeats in perfect time, which as a teenager back then, would do the same things to you that jungle would do today.

The first side is a bit jazz standard business. Its calm and maybe a little smooth, but all the while you can hear him trying to restrain himself from going wild. Every now and then though, he lets loose with a little drum break or an inspired fill and it all kicks off. It picks up a bit on the second side with his band barely being able to keep up with him. Pure class!

Stick It by Buddy Rich

Have you been listening to BBCRadio6 over the last couple of weeks? They have been doing some specials on 50 years of hip-hop and some hip-hop specials from the decades. (It’s actually 90’s day on the radio today and I’ve been proper getting my rave on whilst I should be working!) But one of the groups they have been playing a fair bit is BDP, or Boogie Down Productions, which is essentially KRS-One, Scott La Rock, Red Alert, and a few other random DJ’s, producers, and people. And the point is, I’ve been quite surprised by how much I have been liking it. I mean, I’ve always been a hip-hop head, but figured all the best stuff came from the 90’s, as most of the best music does.

So I saw this from ’89 and figured I’d give it a spin as it was only £6. There are no tracks on there that I know but plenty of samples that I do. Its all classic funk and soul samples with the usual KRS socially conscious message over the top. Which is all good in my books.

Ghetto Music: The Blueprint Of Hip-Hop by Boogie Down Productions

I’ve spotted this in my local record shop a few times and looked it over it without buying it. And it was still there last time I was in, so I thought I’d have it away… and it’s like nothing else in my collection.

Essentially, its two guys, Big Black and Black Harold playing African, spiritual jazz on just kongo drums and a flute. There’s chants, rolling rhythms, screams, mysticism, and I’m sure the odd voodoo incantation in there for good measure.

It’s the soundtrack to beatniks sitting in a circle, smoking old grass, wearing polo-necks, stroking their beards, reciting poetry and I fucking love it!

I tell you, I was clearly born in the wrong time. I would have made a quality beatnik. Grooving to this, dropping out, getting stoned, writing bad poetry, sleeping around... Can you dig it daddy-O?

Message To Our Ancestors introducing Big Black

Last one for today and this was a compilation I spotted and bought it purely for the fact that it has Asha Puthli on it, who I first heard on Gilles Peterson’s show, about seven or so years ago. He was interviewing her, cutting with bits of her music, which was a mix of jazz, with a bit of sci-fi disco but not like how you would imagine. And he’s trying to get an age out of her, by asking what sort of year the tale she was relating to was and she stops him, and you could hear the look she gives him over the radio, and just goes “Darling. No” and I pretty much fell in love with her right there and then.

So yeah, bought this mainly as it opens with an Asha soulful disco jazz track and the rest are all fairly similar jazzy/disco rare groove numbers that would be make you feel like you’ve just uncovered some hidden gems going through your parents record collection in the loft.

Not sure why it's written out in biro on the label, and to be honest, it's not the best pressing either, but as the title suggests, these are cool classics....

Cool Classics Vol. 10

[kurumeki]

Boris 5/23 @Proxima, Warsaw

Last time I saw Boris live was in December 2019 and that was also the first Japanese band I had the chance too see since pandemic started. Needless to say – I was very excited about the gig. I didn’t plan on it, but for some reason I entered the venue first (I’ve never had a ticket number that would be A1 in Japan), and despite running to merch stand first, I still managed to secure a spot in first row, right in front of mic stand. Which is exactly where I wanted to be, knowing that for this tour Atsuo is not playing drums, but being strictly band’s frontman and doing vocals.

Merch wise – I was pretty upset when their staff told me that caps didn’t make it on time for the gig. I really wanted to buy one with Amplifier Worship Service, guess I will have to order it online from their EU store. But I got other items I really wanted – the tour t-shirt with the leopard (love love love the design), I got a patch for my battle vest, pins, stickers (because I also need my laptop to look sick with those) and then I decided to buy a polaroid with the whole band and their autographs; I recall this is pretty rare stuff to buy (price wasn’t that bad? It was 100 PLN per polaroid, I think that’s fair).

Boris is known for bringing less known Japanese bands on tours with them, so support for this part of their European tour was 明日の叙景 (Asunojokei) – fairly new band playing post black metal. I’m not that much into this type of music, but their show was good; I was especially impressed with the vocalist and his general vibe. At the end of their set I snatched the setlist, so I can listen to the exact set later.

Pic from 明日の叙景; it was so easy to spot myself but of course they picked one where my eyes are closed. Oh well.

When time came for Boris, I was so ready. In 2020 they released album NO and that was like my favourite record from that year, it’s so heavy and energetic, I was hoping they would go on tour with this stuff and guess what – it was happening! They played mostly songs from the mentioned NO but also from Heavy Rocks released in 2022 (on my birthday, to be exact! August 12th). I think that’s a perfect super heavy mix. Knowing what to expect, I was preparing myself mentally for their show, but jesus fucking christ – it was so much better than in my imagination.

First of all, being in front row, it wasn’t difficult to get Atsuo’s attention. Guess me willing to give the band my all, to headbang until my neck cracks, to scream their lyrics didn’t go unnoticed. With Atsuo stepping onto the podium in front of the barriers, I didn’t expect anything less than him taking my hand a couple of times; during another song he was having an emotional moment and he fucking cradled my face with his hand, that caught me so off guard but I mean – no complaints. For Fundamental Error I really did my best with singing along and Atsuo fucking held the mic to my lips during chorus. That was well. Also unexpected, but if he wants you to do shit, you just do it. Do I fall for this type of interactions with audience? Absolutely! At the end my efforts were rewarded – for the last song Muchio, the support drummer, left the stage and Atsuo finally sat behind drums. He used the gong behind him (as usual) and poured his heart out on drums when they played Farewell; and as the song and the show finished, he got both of his Pearl gong mallets and gave one to me and the second one to a woman next to me that really was competing for attention.

Some other highlights from the set – I loved their black outfits, I was really fascinated with Wata’s heels, her shoes looked so cool. And while I love watching her absolutely kill it with her vintage Les Pauls, my eyes were drifting to Takeshi (when I was not looking at Atsuo, which was 90% of the time). The double neck bass/electric guitar just looks so fucking cool when he’s playing it and he has got some amazing moves. I was so so sooo happy I got to hear (and sing!) Kikinoue live, that was my dream ever since I heard this song for the first time. Nosferatou was also amazing live, I love how their slow drone tracks feel like being wrapped in a warm blanket of sound. I sure am glad I wore earplugs to the gig, I think I would have not survived in the first row if not that.

Below's the setlist. Encore was Farewell, as mentioned.

After the show I did something that I’ve not done before – decided to wait outside the club for band to come out, because I really needed to talk to Atsuo. I have hinted it a few times already in my posts, but basically on the fanclub platform I’ve asked Morrie if he’d like to go on tour with Boris as their support, to which Morrie very enthustically said that he would love to and he is simply waiting for invitation. Knowing that I could get a chance to talk to Boris about it, how could I not at least try? Also – I’ve made a connection recently, befriending a guy that knows both Morrie and Atsuo privately; the guy and myself really get along and upon hearing that I’m going to Boris show in Warsaw, he decided to text Atsuo and let him know I’d be there.

The wait outside of venue was almost an hour and I almost gave up (not because it was cold; I was just tired after two shows), but then they came out! I nearly ran to them, not risking I miss a chance to speak to them. One good thing about me is that I’m stupid brave, which means that if I get a chance to talk to a musician, then no matter how anxious and silly I feel, I will fucking do it. So I just came over to Atsuo, being full on „hey, do you have a minute? Our mutual friend K-san was telling you about me, I think”. It was so worth to wait for an hour on the back of the club to see Atsuo’s face light up with „oh right! You’re Cherry, nice to meet you”. (DEAD ON THE SPOT!) I passed him the message from Morrie, he laughed about that enthusiasm. We chatted just for a minute or two more and when I was already bowing and wishing them a safe travels for the rest of the tour, Atsuo was like „don’t you want a picture? Come on!” and suddenly we were taking the group shot. That was not on my bingo card for the night. Did I crop the pic from my own instagram? Hell yes, I am a lazy goblin.

It’s safe to say it was easily the best Boris show I’ve been to and I am just already impatiently waiting for them to come back for a show (but this time with Morrie! Come on…).

[thisaintascenereviews]

Green Day - Saviors

You know what, I’m gonna say it — I’ve never liked Green Day that much. They’re one of those bands that I respect a lot for what they’ve done for their respective genre, and I do enjoy a few albums from them, but they’ve got way more misses than hits in my book. I just never have been able to fully get into them, and even on the albums I like, I still have some issues with them. I don’t know if it’s vocalist Billie Joe Armstrong’s nasally vocals, or his whiny lyrics (that do lean into political territory from time to time, and they work for the most part, although feeling heavy handed every now and again), or the band’s penchant for relatively safe pop-punk, they’ve just never fully clicked for me. Believe you me, I have tried to get into them, and like I said, I enjoy a few albums from them, but they’re the bigger albums, such as American Idiot and Dookie. I’ve tried to listen to other albums, and it just doesn’t click for me. I never even listened to their last album, because I heard it was pretty bad, even by their standards, but in all fairness, Green Day is a band that’s almost 40 years old, so this is their late career era. A lot of bands get there and either end up making music with diminishing returns, or they just end up not making anything new at all and lean into being a legacy act. If they have more to say, good for them, but for the longest time, I didn’t think they did.

I’m not sure what compelled me to take a look at their new album, Saviors, but the singles they had put out before its release had people saying good things. I figured I’d wait to check out the whole album, since it was only just a couple months away, but here it is. I was ready to write this album off after a couple of listens as a solid Green Day album, but that’s about it, and my original review was going to reflect that, but something told me to give the album another listen. After giving the album a couple more listens, I gotta admit something — this is the first time in a long time that I’ve enjoyed a Green Day album. Saviors isn’t a perfect album, but it’s awfully close. There’s a lot to like, even love, on this album. I won’t pretend this album is the best thing I’ve ever heard, but if you’ve been disappointed with Green Day’s output for the last decade (hell, maybe the last two decades), this is a solid return to form. It’s no frills pop-punk and alternative with some other influences and ideas thrown in that don’t feel forced or weird for the sake of it.

Opening track “The American Dream Is Killing Me” sets the tone pretty well, as this song is on the political spectrum, but it does that thing they do with being political but not very specific. They throw a few barbs and punches in obviously the “right” direction, if you know what I mean, but it’s never too explicit. Even on American Idiot, they weren’t too pointed with their critiques of the government at the time, just saying President Bush sucks, but I appreciate the sentiment. The album is mainly focused on relationships, rock and roll, and typical stuff from these guys, but some songs deal with nostalgia and looking back, such as one of my favorite cuts from the album, “1981,” or “Corvette Summer.” A few songs have a classic rock feel to them, but a lot of this record is firmly planted in pop-punk and alt-rock, and a lot of the riffs and melodies are pretty good. Billie Joe Armstrong sounds pretty good, although he doesn’t sound as strong as he used to, but that’s what age does to you. He still has a strong voice and he makes these hooks work, and the instrumentation is the same. I won’t pretend that I’m blown away here, but this is some solid stuff that I’ve been coming back to quite a lot, and I never thought I’d say that about a Green Day record.

Saviors may not be the best Green Day album of all time, but like with a lot bands releasing albums these days, it’s their best in years (how many years depends on how much you enjoy these guys), but the new Metallica and Fall Out Boy albums were the same way, at least for me. Those albums were the best things they’ve done in years, even though I enjoy a lot of their newer material, and the same can be said here. Saviors is a lot of fun, and I’m always surprised when the album is over, because it feels like I just started it. I’d listen to this if you want to hear what Green Day’s been up to in the last few years, or you want a good pop-punk album (although another album I’m going to review that came out the same day is admittedly better), you’ll enjoy this quite a lot. I’m having a lot of fun with this, and who knows, it may be one of the best of the year, or at least, an honorable mention. Green Day is a “classic rock” band at this point, so it’s cool they’re coming back with swinging with Saviors, and it’s worth hearing.

[louisupdates]

Louis Tomlinson's Silver Tongues: Exclusive first listen to latest Faith In The Future single

On Silver Tongues, Louis breaks new ground sonically while embracing more abstract approaches to songwriting

By Carl Smith

When Louis Tomlinson spoke of his latest single Silver Tongues earlier this year, he had a certain sparkle in his eye. Explaining it's his 'favourite' song on upcoming album Faith In The Future, released this Friday, Louis told us it's a piece of work he's 'immensely proud of.'

Today, Silver Tongues finally becomes yours.

At 2PM GMT, Louis will release the song that, in his own words, made him 'really confident in what's to come.' And he was kind enough to give us an exclusive first listen of the single.

Written alongside Hurts' Theo Hutchcraft, The Courteeners' Joe Cross and David Sneddon, Silver Tongues is a soaring statement of self-expression; but that isn't necessarily apparent from the outset.

Some lyric spoilers ahead, just FYI.

The track begins with Louis' vocals atop a sparse piano melody, not too far removed from that of Walls album track Fearless. Delivering a vocal drenched in confidence, the unlikely subject of the song soon becomes apparent.

"Air Maxes with silver tongues, settle in for another heavy one," Louis sings; the lyrical content a sharp contrast to the instrumental.

Louis' incredible growth as an artist is already noticeable here. He's taking risks, avoiding the obvious and embracing more abstract approaches to songwriting.

Then, 30 seconds in, Silver Tongues takes a complete 180.

Shifting sharply from ballad-esque chords to an arresting, upbeat guitar riff, Silver Tongues sees Louis break boundaries sonically. While pop-rock sensibilities are certainly synonymous with his solo music, this track steps that sound up a gear. Or five.

"You know it’s times like these we’re so much happier. Nights like these, we’ll remember those stupid jokes, only we know..."

Now we're in proper, stadium rock territory.

"You know when I’m with you, I’m so much happier. Nights like these, we’ll remember those songs we wrote, only we know...You smile at me and say ‘it’s time to go,’ but I don’t feel like going home."

Not entirely dissimilar to a football chant, Silver Tongues' chorus is truly anthemic; akin to that of his 2017 single Miss You. It's safe to say this song will shine in a live setting and prove a standout on Louis' 2023 tour.

What follows post-chorus is a raucous piano and electric guitar-led instrumental that's perhaps one of the most euphoric moments across Louis' entire discography. This isn't where we saw the song going based on the opening verse, but we're certainly not mad about it.

As we enter verse two, Louis' inimitable Doncaster inflection comes out to play.

"You said grass was a dirty drug, you like to preach with vodka in your mug. I love other things, you know, but I’m king on a 50-metre rope."

Louis' artistic development is clear once again; something he attributes in part to Silver Tongues co-writers Theo, Joe and David.

Speaking to OfficialCharts.com, Louis explained: "Me, Theo, Joe Cross and David Sneddon did a writing camp together, and what was great about that was that – from the off – we were all on the same page.

"Theo is vastly intelligent and an incredible writer. Even just being around these people, getting into their brains and taking on their different ideas; I’ve learnt so much more making this record than I did the first. That’s purely from being around the right kind of people.

"I'm a massive fan of both Hurts and The Courteeners. Even the fact they were willing to work with me, I was buzzing about that. We’ve got some really great songs out of it."

On his love of Silver Tongues, Louis elaborated: "It’s one of the first times that I’ve written a song that I could definitely imagine myself listening to, had I not written it.

"The track’s very much in line with what I listen to and love musically anyway. Writing that made me feel really confident that I was writing the album I wanted to write. I feel really confident in what’s to come."

Louis Tomlinson's Silver Tongues is released at 2PM GMT, November 9. His new album Faith In The Future is out this Friday, November 11 via BMG.

[hermitologist]

My Favorite Records of 2022

Hi. I made another list.

First thing’s first. I apologize for the lack of music recommendations and runs on my Instagram this year. Thrice had a pretty busy touring schedule, and with the kids back in school the local virus carousel was BRUTAL. Seemed like we got to sample a new strain of the crud literally every other week. It’d rip its way through the house, we’d send the kids back to school, they’d bring a new batch of snot home a few days later, and it’d start up all over again. Rinse and repeat. It was hard to get out there and run with all that going on. Also: Blame where blame is due ... I got a little lazy when I wasn’t picking up goopy Kleenex or horking up some crud of my own. I”ll be back next year. (Hopefully.)

An-y-waaaaay ... 

I did manage to listen to a lot of new music despite "the circumstances”, and I have compiled all of my favorites for you here. There's a pretty clear cut Top 5 this year based on play counts, but the rest of the list didn’t really make sense to rank because this shit’s really all subjective anyway. I broke the list into categories that made sense to me, at the time, for organization’s sake. Each record has link to the band/label’s Bandcamp or website, so please please PLEASE support the artists you love beyond just streaming their music.

Playlists with a song from each record are below. I know it’s a lot of music. I know it’s all over the place. I know you don’t have time to listen to five-and-a-half hours of music. At the very least, I’d suggest at needle-dropping through the entire thing and earmarking some stuff to check out. That’s how I find a good chunk of this stuff. 

And please let me know what you dug this year and think I should check out!

Hope you all have a safe and happy holiday season. See you next year!

PLAYLISTS

My Favorites of 2022 Playlist (Spotify)

My Favorites of 2022 Playlist (Apple Music)

My Favorites of 2022 Playlist (Tidal)

THE TOP 5

Elder - Innate Passage

No contest here. This is a clear cut #1 for me. Fifty-four minutes of absolutely glorious, wholly transcendental, life-affirming, dreamy/heavy metal-adjacent prog. As a musician, I can tell you firsthand how hard it is to write a long song that doesn’t *feel* long. These fellas routinely crank out high-quality 10-minute-plus jams that you’ll hope never end. Queue this up and take it for a run, a long walk, or a long drive and you’ll see what I mean. It’s magical. And yes, it came out late in the year, but I haven’t been able to stop listening to it or thinking about it since, and I don’t see that changing for a long while.

Meshuggah - Immutable

It’s damn near impossible to find the right words for this band, let alone this record, but this is absolute wizardry, yet again, from the best metal band that has ever existed. Pure face-melting heaviness. They routinely reset the bar for what heavy music can and should be, and Immutable is no exception. It might even be my favorite Meshuggah record ever.

Museum of Light - Horizon

Ultra-heavy, sludgy, dynamic, meditative, push vs. pull, melody vs. dissonance post-rock in the vein of Kowloon Walled City, Shiner, Traindodge, and Torche. The songwriting is so clean and efficient, and the record as a whole is just a gorgeous, perfectly crafted arc. It’s perfect.

Holy Fawn - Dimensional Bleed

The heaviest, prettiest, most infectious batch of post-rock/metal I’ve heard in a long while. Dynamic shifts that are pure catharsis. A band that has the ability to give you euphoric chills one minute, and bring you to tears the next, headbanging all the while. Their first LP blew me away, and I wasn’t sure they could top it, but they totally have.

The Beths - Expert In A Dying Field

This record was an instant pick-me-up this year. A much-needed salve amidst all the stress and anxiety and depression the world can throw your way these days. Twelve preposterously hooky jams, that will put a smile on your face and a bounce in your step (even when the lyrical content dips into darker themes). It totally rules.

15 OTHER RECORDS THAT STAYED IN HEAVY ROTATION (in no order)

PLOSIVS - S/T

Drug Church - HYGIENE

Tvivler - Kilogram

Birds In Row - Gris Klein

gospel - The Loser

Cult of Luna - The Long Road North

Russian Circles - Gnosis

Conjurer - Pathos

Anxious - Green House

SPICE - Viv

PUP - The Unraveling of PUP The Band

The Smile - A Light For Attracting Attention

Pianos Become The Teeth - Drift 

Cloakroom - Dissolution Wave

Stray From The Path - Euthanasia

OTHER RECORDS I ENJOYED (also in no order)

Architects - the classic symptoms of a broken spirit Pedro the Lion - Havasu And So I Watch You From Afar - Jettison Mass Worship - Portal Tombs Rival Consoles - Now Is  Fleshwater - We’re Not Here To Be Loved Abraham - Debris de Mondes Perdus Norna - Star is way way is Eye Dan Mayo - Greenhouse Silvan Strauss - FACING Vein - This World is Going to Ruin You Author & Punisher - Krüller Black Thought/Dangermouse - Cheat Codes Cave In - Heavy Pendulum Square Peg Round Hole - Reservoir  Kendrick Lamar - Mr. Morale and The Big Steppers Pete Rock - Petestrumentals 4 Pet Fox - A Face In Your Life Swami John Reis - Ride the Wild Night Heriot - Profound Morality  Bastions - Majestic Desolation Wake - Thought Form Descent Inclination - Unaltered Perspective Momma - Household Name Hot Water Music - Feel The Void KEN Mode - NULL Animals As Leaders - Parrhesia Mark Giuliana - the sound of listening Meat Wave - Malign Hex Haunted Shores - Void Blessed - Circuitous Celeste - Assassine(s) Louis Cole - Quality Over Opinion Grivo - Omit Wonder Years - The Hum Goes on Forever A Hope For Home - Years Of Silicon Mountaineer - Giving Up The Ghost Norma Jean - Deathrattle Sing for Me Lamb Of God - Omens Psychonaut - Violate Consensus Reality Callous Daoboys - Celebrity Therapist Easy Prey - Unrest 84 Tigers - Time in the Lighthouse  Codespeaker - S/T Colonial Wound - Easy Laugh Thousandaire - Ideal Conditions

THE NEW BOTCH SONG I LISTENED TO LIKE 247 TIMES IN 3 DAYS

Botch - One Twenty Two

10 FAVORITE EPs

Downward - The Brass Tax  Cult Leader/End - Gather & Mourn  Irist - Gloria  Gleemer - Here at All  GoGo Penguin - Between Two Waves Lockstep - Lockstep 2  Portico Quartet - Next Stop  Be Well - Hello Sun  Chamber - Carved In Stone  Waldo’s Gift - Improvisations Vol. 2 

1 RECORD FROM 2019 THAT DIDN’T “CLICK” UNTIL 2022

Car Bomb - Mordial

2 RECORDS THAT DIDN’T COME OUT IN 2022 BUT GOT A LOTTA SPINS

Low - Double Negative Pile - Green and Gray

3 PODCASTS THAT I COULDN’T LIVE WITHOUT

Office Hours - humor, music, pure joy The Distraction - sports and social commentary/humor Effectively Wild - baseball analysis/humor

[newmusickarl]

Top 10 EPs of 2023

As we have seen, 2023 has been a mega year for new albums with LIES being named as my Album of the Year earlier this week. You can read why I was such a fan of that record, along with more on the rest of my Top 50 picks by scrolling below or simply flicking through the New Music Weekly archives for December.

However, as many great longplayers we received in 2023, there was an equal abundance of great shortplayers too. In today’s hectic world where the demand for “snackable” (shout out Andrew Belt for my word of 2023) content has risen, the humble Extended Play has seen a big resurgence. So I’ve looked back over the last 12 months and picked out my ten favourites of the year. As always, I’ve gone for an eclectic selection that pulls from various genres including pop, rock, electronic, R&B, and indie. So depending on your taste, hopefully you’ll find something to enjoy on this list.

Here we go then, my Top 10 EPs of 2023…

Honourable mentions

Forever Means by Angel Olsen

White Magnolia by Bear’s Den

The Rest by Boygenius

Heady Metal by Divorce

Julie Byrne with Laugh Cry Laugh by Julie Byrne & Laugh Cry Laugh

Alaska Sadness by Katie Keddie

That Sweet Breath by Lowmello

My Eyes, Brother! by Opus Kink

Not The Baby by Prima Queen

See You In The Dark by Softcult

10. Modern Day by Bloxx

Kicking off the list with London-based indie quartet Bloxx, who have had a bit of a tough time recently. With multiple shows in recent memory cancelled, it was great to see them make a welcome return in 2023, with Modern Day their first new EP since 2021’s Pop Culture Radio.

Much like their output till now, it is a collection of five songs that showcases the band’s talent for writing catchy hooks and memorable riffs, with the strong opening trio of Modern Day, Television Promises and Runaway helping it secure a spot on this year’s list.

Listen here

9. Not As I by George FitzGerald

It was also a great year for synth-driven shortplayers as one of my favourite electronic musicians of recent times, George FitzGerald, released a new four track effort - Not As I.

Opener Mother is worth the price of admission alone, a beautifully ambient groove featuring American musician SYML on vocal duties. That said, the mind-melting synths of Venera, the spacey chimes of the title track and the pulsating soundscapes of All Roads make this one well worth 15 minutes of your time.

Listen here

8. More Truth by Daniel Avery

Sticking with 2023’s best electronic releases, DJ and producer Dan Avery also released a companion EP to his acclaimed 2022 album, Ultra Truth.

Featuring seven excellent new tracks that didn’t quite make the final cut originally, including trippy Georgia collaboration Going So Low and the accurately titled Bliss, it’s another absorbing collection from the Bournemouth musician who seems incapable of putting a foot wrong.

Listen here

7. Freak Show by ALT BLK ERA

As you can probably tell if you’ve made it this far onto my blog, I am a big champion of new music. On top of that, I am also a big champion of new music emerging out of my world-class local scene in Nottingham. And of all the fantastic Nottingham acts who had a breakout 2023, ALT BLK ERA are the ones leading the charge.

Word is finally getting out about this alt-rock sister duo, who fuse mind-melting electronica, heavy rock and razor-sharp bars for a sound that is entirely of their own making. This was highlighted this week when the pair received a prestigious MOBO award nomination for Best Alternative Act, nominated alongside the likes of Arlo Parks, Skindred and Young Fathers.

So, with ALT BLK ERA seemingly right on the cusp of blowing up in popularity, now is the time to get yourself acquainted with their hypnotic genre-defying sound. Debut EP Freak Show released back in August is the perfect introduction for those not already familiar, with the opening trio of I’m Normally Like This, Misfits: SOLAR and the horn-backed title track all well worth checking out, alongside fan favourite Oggy. I promise you, it’ll be unlike anything else you’ve heard in 2023.

Listen here

6. Homospace by Mickey Callisto

When I was first introduced to Liverpudlian pop sensation Mickey Callisto at Dot-to-Dot Festival earlier this year, it was obvious from the get-go he was a natural-born showman destined for big things. An enigmatic, commanding presence on stage, it was an utterly captivating performance that made for one of the highlights of the day and left me eager to see where his career would go next.

Well, this November saw Mickey releases his first EP titled Homospace and I’m pleased to say it’s a star-making debut release - in more ways than one. Here’s what I said in my review for 5-9 last month:

“Loosely inspired by Arctic Monkeys’ Tranquility Base Hotel & Casino, Mickey’s debut EP sees him transport the listener into outer space for a visit to “a gay nightclub on the moon”. The sounds that welcome you upon entry are a mesmerising blend of disco, psych-rock and 80s-inspired synth-pop, with Mickey lyrically jumping between personal stories and cosmic metaphors. The result is a joyful, imaginative orbit around some ambitious planetary pop. This is a fantastic, high-concept debut EP from Mickey; one that is not just a lot of fun to experience, but also offers the perfect introduction and showcase for his talent. Offering a welcome escape into some vivid musical nebulas, once you’ve taken the trip to the outer limits, you’ll be reluctant to return back down to Earth.”

Read my full review for 5-9 here

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5. The High Life by Bloc Party

2022 was the year Bloc Party got their mojo back. Whilst the band’s 2016 album Hymns still had its moments, it very much reflected a band going through a transition. Indeed, Alpha Games was still far from a perfect record, but if you had ever been a fan of Bloc Party then there was plenty of familiar pleasures on offer. Following on from that effort then, and this year the indie icons released a new four-track EP where they sound even more rejuvenated.

It’s a fun collection, with summery indie belter High Life kicking things off, before brilliant KennyHoopla collab Keep It Rolling flourishes with that classic Bloc Party sound. Similarly Blue sees Kele finally get back in touch with his younger self, with the song presenting some of his most sincere lyrics in years. Final track The Blood Moon is then my pick of the bunch, with shades of Bigmouth Strikes Again by The Smiths early doors, before it then transforms into that vintage Bloc Party of old by the end, thanks to Russell Lissack’s signature riffing.

Even if you weren’t quite on board with Alpha Games, Bloc Party fans will find plenty of resemblance to that band they fell in love with all those years ago on Silent Alarm and Weekend In The City here on The High Life. Another positive step in the right direction for one of my all-time favourites.

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4. A Little Lost, A Little Found by Grace Carter

It can sometimes be lost on us as listeners just how derailing the pandemic was for new artists breaking out during that time. After discovering Grace Carter at Live At Leeds fest in 2018, it was evidently clear she was heading for superstardom. The following year cemented this prediction, as the London-based singer-songwriter made the BBC Sound of 2019 list and she set off supporting mainstream heavyweights like Dua Lipa and Lewis Capaldi on tour. However ever since the pandemic struck, Grace has been lost in the wilderness unable to further shine a spotlight on her evolving talent – until now.

Her incredible 2023 EP is Grace getting back to basics, releasing a collection of heartfelt pop ballads that explore identity, family, love and racial injustice. From the exquisitely produced groove of Pick Your Tears Up, the gospel-influenced Riot, the atmospheric tribal cries of Mother and the quirky vocal inflections of Hope, it is littered with moments that quickly remind us of Grace’s songwriting talent.

This is the mesmerising sound of Grace Carter finding herself again and getting things back on track – hopefully she has a clear run this time around.

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3. Welcome To My House by Yonaka

It doesn’t feel like too long ago I was stood watching Brighton rockers Yonaka perform in the 1am graveyard shift at Dot-to-Dot festival back in 2017. With a then long-haired Theresa Jarvis jumping off the stage to sing her lungs out amidst the modest, onlooking crowd, I was instantly entranced by the band’s energetic songs and performance. Fast forward to now and the band are now a prominent name within the British rock scene, with their songs constantly making their way into TV show, game and movie soundtracks. Returning in 2023 with another release packed with addictive commercial rock anthems, you get the feeling this new seven-track mini-album - which comes complete with a music video for every track - will only catapult them further up the chain of popularity.

With each song representing a feeling, memory or emotion within Theresa Jarvis, the trio blaze through each concisely constructed track, with most hovering around the two-to-three-minute mark. Propelled by anthemic choruses, polished production and Theresa’s ever-impressive vocal acrobatics, it’s another tour de force project from the band.

From rousing opener By The Time You’re Reading This to the anxiety-induced PANIC, through to the colossal confidence of Welcome To My House and the full-throttled punk of Hands Off My Money, it’s just an absolute blast from beginning to end. However, the EP’s best moment is arguably reserved for one of the band’s softest, most heartfelt songs to date – Give Me My Halo. Noticeably stripped back compared to the rest of the tracks here, it allows Theresa’s vocals to soar with her raw, passionate cries driving home the song’s uplifting message.

Across their early releases, their 2019 debut Don’t Wait ‘Til Tomorrow, 2021 mini-album Seize The Power and now this EP, Yonaka have built themselves an arsenal of bangers that would put most other British rock bands to shame. A seismic collection of anthems that will no doubt go down a storm when they take it on tour in 2024.

Experience the visual mini-album through the music video playlist here

Listen to the EP here

2. MANHOOD by ROB GREEN

From one visual EP to another then, however you arguably couldn’t find two more different in sound.

During my first visit to Hockley Hustle festival in 2022, an all-dayer around the cultural heartbeat of Nottingham, soul-pop sensation Rob Green’s acoustic set was such an undisputed highlight, I was wondering how he could possibly top it this year. Well, he managed it.

Performing in the corner of Broadway Cinema’s café with the Rob Rosa String Quartet accompanying him, people were literally queueing at the door to catch even the smallest glimpse of his incredible thirty-minute set. And rightfully so, as the enigmatic performer proved once again his unrivalled ability to bring immeasurable positive energy to a room and leave the audience joyously radiant by the end. I always thought if he could bottle that energy and transfer it to his studio output, he would be unstoppable. Based on his MANHOOD project released at the start of November, it looks like he had the same idea.  

Unlike any other shortplayer released in 2023, MANHOOD is a stunning new visual EP that explores masculinity, self-love and racial identity. Centred around his heartfelt recent singles I’ll Be Around and What Are We Waiting For, the other parts are short vignettes made up of beautiful gospel harmonies, catchy hooks, conversation recordings and deep spoken word passages. With the film version impressively shot in a single take too, it all makes for a powerful 10-minute experience.

A special project by a very special talent, MANHOOD gives the perfect insight into Rob’s unrivalled charm and heart as both an artist and performer. Due to take the project on a UK tour next year, I implore you to go out of your way to see his life-affirming live show if you can – I guarantee you’ll want to capture the positivity in the air and bring it home with you.

Watch the MANHOOD short film here

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1. Sucker by bexx

“Sometimes falling in love feels like the most important thing in the world, especially when you’re not doing it.” – bexx, 2023

For me, the very best shortplayers should be all killer no filler – with most at four to six tracks long, there really is no excuse on that front. Additionally for me though, they should also take you on a conceptual journey or tell you a story in the same way any great album would. Enter Notts-hailing, synthpop superstar bexx, with her banger-filled debut EP that guides the listener through the highs and lows of her hapless love life.

Ever since discovering bexx through a support slot for Fickle Friends at the start of 2022, she has been on a roll. From her incredible breakout single Hard To Love complete with soaring 80s-tinged guitar solo, to more recent efforts like the extremely catchy One More Night and body positive, rock anthem Prettier, bexx has shown her knack for writing addictive, resonant pop songs is as good as anybody in the genre right now. Taking her first big step forward in 2023, she finally released this her debut EP and it is just the perfect showcase for her talent.

Sucker presents five songs about the eternal search for human connection and the stumbling blocks along the way. It is an EP filled with irresistible tongue-in-cheek humour and packed wall-to-wall with cathartic, anti-love songs with which any amiable cynic can relate. This is “unserious, heartbreak pop” of the highest order and it makes for the most joyously fun EP of the year.

The opening title track is the perfect tone-setter, as bexx describes the urge to text back a former lover, with her wry lyricism firmly at the fore on lines like “I still wonder, do you wonder, how I’m doing, who I’m under – I’m not lonely, I’m just going through the motions.” It’s this light-hearted take on these common melancholic feelings that makes bexx so refreshing and the song itself is one of her most instantly gratifying yet, thanks to its hooky chorus.

Inescapably catchy single I’m Disgusting follows, where bexx describes becoming that hopelessly lovesick romantic she’s always despised (“The lovey-dovey shit belongs on the TV, I’d rather die”). However, the honeymoon period of the relationship quickly ends, as bexx then throws us listeners into the brutal break-up on excellent single, Stupid. Culminating in the frustration-fuelled refrain “I hate this song, ‘cause it’s about you”, it is tailor-made for heartbroken festival crowds to sing back with angst.

Recent single Bad For Each Other is then undoubtedly the EP’s best moment, with bexx found unravelling a toxic friends-with-benefits relationship (“Steal a kiss, 3AM, just a secret between friends – even though I don’t feel used, still a little bit confused”). Once again channelling some palpable rock energy with a guitar-driven chorus, it is mixed seamlessly with a brilliantly produced electronic beat on the quieter, almost whispered verses.

After taking this wild journey with bexx through her romantic life, navigating attraction, sex, heartbreak and all the mixed emotions found along the way, the EP’s climatic song Haha, I’m dying alone can’t help but feel brutally poignant. This is the moment where bexx finally lifts that shield of humour that she’s carried throughout just a little bit, but enough to show the vulnerability hiding underneath - acknowledging that making a joke out of these feelings is her way of coping with the strain of it all. It’s another special, brilliantly written pop song and it’ll have you reaching through your headphones to give bexx a big comforting hug at the end of it.

For a first outing, bexx really couldn’t have crafted a better shortplayer to introduce new listeners into her world. A collection that has been cohesively pulled together and is simply beaming with the catchy, singalong choruses and witty takes that have made her music such a joy to behold. She has really knocked it out of the park with this batch of songs and it is no surprise that it has held on throughout the year to remain my favourite EP of 2023.

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Thanks for reading – I’ll be back next week with final year-end awards, including my favourite live shows and Top 100 songs of 2023!