#can this song be like 10 minutes long to fit more scenes?

[lock-my-feelings-in-a-jar]

[moonpedri]

does he know.

summary: you love gavi and you're happy in your relationship with him. but for some reason you're the moth and pedri, his best friend, is the flame that pulls you in.

pairing: pedri x reader

genre: angst, smut and a sprinkle of fluff

warnings: cheating (we do not support!), phone s*x, masturbating, mentions of genitals lmao, cursing

word count: 3.3k

a/n: this idea came to me months ago when i heard the song 'moth to a flame' by the weeknd while working lmao. and when you work in retail, you have a lot of time to think :D. i do not condone cheating in any way, i think it's vile and disgusting, but 🫣😵‍💫 i couldn't help myself with this one. enjoy!!<3

────────────

"Hey, everything alright, sugar?"

You hiccup, "N-no. Can you come over?"

"Be there in 10." He hangs up immediately, giving you no time to even thank him. You take a look at your phone again. Your vision is blurry with tears in your eyes.

The call lasted a record time of 7 seconds. That's how long it took for you to convince him to come over. The occasion was usually a different one, but you needed his comfort more than anything right now.

You look at the contact picture, Pedri was smiling at the camera. No, he was smiling at you. The thought alone puts a smile on your face as well, but the events only hours ago catch up to you and you almost break out into tears again.

You and Pablo fought, and you normally never do. Dating Pablo Gavi was no easy task, but you loved the challenge. You loved how easy it was with him sometimes and how difficult it could get too. That's what made a relationship a relationship.

He treats you right and you feel incredibly loved by him. Maybe that's why it irked you the wrong way when one of his female friends got a little too close to him today, when your mutual friend group went mini-golfing. It only got worse when he reciprocated her actions.

"It's actually super easy, just hold the handle this way.", he explained to her, all the while you stood behind them, seeing red. She was shamelessly oggling at his biceps in front of you. In a fit of jealousy, you decided to just ignore him the entire rest of the day. Looking back at it, you may have spoiled the mood for everyone but you didn't care. You could have made a scene as well and ruined the fun straight upc but you decided to do it silently instead. Which again, was absolutely stupid, because just telling Pablo would have done the job.

He's a sweetheart, you know he never meant it that way. He never looses his temper with you either, he just calmly listens to you and talks to you; both of you finding a compromise to the problem - that's just how things between you two worked.

And that makes everything so much worse, because today he did lose his temper with you. He screamed at you, and you screamed back. Mean things where exchanged inside the car. You really don't want to know what a sight you two made.

It ended with him pulling over, after you yelled at him to stop the car. You slammed the door shut and stormed off, expecting him to follow you. He never did. Instead he raced off, leaving you in the dust.

In retrospect, you did it to yourself. Doesn't mean it didn't hurt though.

The way home took you a little more than 30 minutes and once you were inside, the tears began flooding down your face.

You hated feeling like this and you hated the fact that it was your own fault even more. You tried calling Gavi multiple times, but he didn't answer. And after an hour, you decided to stop, it was hopeless anyways. You would have to spend this awful night alone tonight, you thought.

And if God wasn't on your side that evening, the Devil definitely was. It was as if he was right by your sight, whispering sinful words into your ear. And foolishly, you listened to him.

You decided to call Pedri.

It sounds wrong, and maybe it is, but it certainly never felt that way with him. Risqué, you would describe the relationship you two have. At least that's what you always told Pedri; you liked the way the word sounded. A little french, no?

He's your boyfriend's best friend. They're teammates and Pablo told you multiple times that he even considers him a brother.

A brother you secretly slept with.

In your defense, you met him and slept with him before you and Pablo were even talking to each other. It was useless though, because you continued.

You didn't mean for it to happen, but like bananas turn to the sun and moths to a flame, you turned to Pedri.

If you're the moth, then Pedri is the flame that pulls you in and burns you. But he never lets it come so far, because he always pulls back before you can burst into flames.

This thing between you and Pedri started about a year ago, months before you even knew Pablo.

You met coincidentally one day at a match of his. Your little brother was a huge FC Barcelona fan and you gifted him front-row tickets for his 12th birthday.

They won that day and some of the players decided to sign autographs and take pictures with their loyal Culers.

Pedri was one of them.

Your brother squealed when the 19 year old football player was near you. He signed his jersey with a chuckle. "You're my idol, Pedri! Thank you so much.", your brother said politely, the excitement in his voice very evident.

"Thank you, big man. Your support helped a lot today.", Pedri said gratefully.

He looked at you then and you had admit that in person he looked even better. His big brown eyes worked like hypnosis on you and the sun did nothing to hide his beautiful tan either.

It seemed like he wanted to sign your shirt as well. You wanted to decline, you didn't need his sign but your brother beat you to it.

"My sister thinks you're handsome."

To this very day you don't know if you should thank him for introducing Pedri into your life or be angry at him for humiliating you like that in front of him.

Pedri's eyes widened. He turned to your brother mischievously, "Oh, is that so? Is she a fan as well or...does she just like my face?"

"Yes, but not as big as me of course. She and her friend talked about you on the phone sometimes. It's sooo annoying." Your brother complains nonchalantly, like Pedri was his best-bud and they just catch up with each other.

You grab your around your little brother's head and pull it close to your side, hushing him, "Anyways, good game.", you tell Pedri with a wide smile. You make a move to just leave, when Pedri holds up his pen.

"Let me sign your shirt."

You press your lips together but give in eventually, hoping that he'll just quickly move on to his other fans. He bids you goodbye with a wink and a ruffle to your brothers head.

It's only later at home that you realized that he left his phone number on your shirt. You still have it stowed away in the safety of your closet. And it will probably stay there forever.

You texted Pedri the next day. After all you couldn't come off as too easy, right?

Talking with him came easy. Conversations flowed like water and the topics just never stopped. It felt good to be with him, you felt like yourself. He listened to your every word and he made you feel special.

The two of you dated around for 5 months. You would lie if you said that these months weren't one of the most beautiful times of your life so far, but also the most hurtful ones.

Pedri travelled a lot with you, spoiled you rotten to no end and the sex(!!!). You genuinely liked his presence.

You wore your heart on your sleeve, you practically gave it to him. You two acted like a couple, like you were utterly and completely in love.

Maybe you were. Maybe it was just your imagination, because a guy showed so much interest in you for the first time.

But you two were never officially together.

Pedri never asked you to be his girlfriend. He always brought you everywhere, yet he never introduced you as his special someone.

You still wonder if Pedri never felt anything for you. Why he hesitated so much. It broke your heart, when you told him one day that you had enough. Of course he immediately understood what you meant. And the little hope you had of him finally making the last step, diffused when he said nothing more. He didn't fight for you, he let you go.

It hurt you, but for some reason it didn't break you like you initially thought it would. In fact, you and Pedri still stayed in contact. You befriended some of his friends in the time you two dated, it would've been awkward. And like you mentioned, being with Pedri was easy.

If you two could be lovers, then you definitely can be friends as well.

Things between you ended in September. In November you met Gavi.

It came a bit to a surprise to you, the wound didn't completely heal yet and Gavi was a year younger than you; you didn't go for younger guys. But Pablo was gentle, he put a band-aid over it and in January the two of you started dating.

That's also when things between you and Pedri started to become...different. In the time between the break-up and the start of your new relationship, he treated you like a good friend would. Pedri made you feel at ease and less hurt over the whole ordeal. He never hinted at anything more. The moment your relationship became public though, he started acting odd.

Suddenly he was everywhere. He stood and sat next to you whenever your little group of friends met. When you were at the beach, his eyes practically undressed you behind his shades. When you watched their training sessions, he lingered by your side too long.

No one noticed because you and Pedri always got along. You were friends. Only some knew that there may have been more, but no one knew for sure - especially not Gavi.

The real culprit however was you. Because all the while, you never said anything. You never rejected Pedri, you did nothing to push him away. It was just not in you to do that. Like it was coded in your DNA.

The cheating however started with a call one night. In a state of boredom you decided to browse through your gallery and organize it, when you stumbled across old pictures of you and Pedri.

In one you were cuddling, in the next one you were kissing. The pictures got gradually more indecent and you couldn't help but think back to when you took them. You laid on your back, naked cleavage only slightly visible. Sweat collected itself on your hairline. Next to you was Pedri, sucking on your neck, only the back of of his head visible.

You swiped right. Another intimate picture, but this time it was a mirror selfie. Not much was visible thanks to the curtains that dimmed the room, but you sat on top of him. Your nipples perked up. Pedri's hands grabbed onto your hips harshly, his head was tilted back.

You remember taking this picture very well. Pedri always said he didn't like taking them, he complained when you took this very one. In hindsight you believe he did. He posed so well on camera, you know he must have enjoyed it secretly.

You also remember how good he felt inside of you. He always managed to find the right spot to make you squeal and squirm around, stretching your cervix in all the right ways.

Heat began building up in your lower area and you couldn't help but lower your hands under your pants. The moment you cupped your vulva, goosebumps spread all over your body. It's been a long time since you touched yourself.

Being horny alters something in your brain. All at once, you can't think rationally. Essentially, you just think with your fucking dick. It just overcomes you - like a switch.

Rationally thinking you should have called your boyfriend. One look at the picture on your phone told you that that wasn't what you wanted.

A few taps later and the phone rings.

"__. It's one in the morning, is everything okay?", he answers the phone. The sleepiness in his voice was evident.

"Yeah, I just-.", a sigh escapes your mouth. Your ring finger touched around the entrance of your vagina and you can't even formulate a proper sentence. Nothing that you did right now was morally right, it was absolutely impromper. You didn't know how you were going to explain your late night call to Pedri either.

But he knew you so well. He recognized the tone in your voice immediately.

"__", his voice was hoarse. It did nothing to ease your pleasure, no, it only worsened it. "I think you got the wrong number."

"No, I don't.", you retorted.

He sounded troubled, "You should call Pablo. You shouldn't hav-"

"No, I wanted you.", you say as you add another finger to circle around your vagina. You're so wet already and so sensitive. A moment of silence passes and you press your thighs together. You didn't have the time to argue around.

Something needed to be done.

"I just found an old picture of us in my phone. You know, the ones in bed you didn't like. And I just remembered,", you closed your eyes, "I just, Pedro please do something."

You heard him shuffle on the other end.

"Fuck, what are you doing right now?"

And so he joins your little spiel.

You opened your legs and started rubbing your clitoris, "Touching myself."

"Where?"

Pedri's voice, now a lot more demanding, was still raspy from sleep and you began rubbing a bit faster. "My clit. Wish it was you", you croaked out. You started getting louder.

Pedri curses, "M'getting hard. Fuck."

You imagined what he must look like right now, lying in his bed, pants pulled down and stroking his dick desperately. You whimpered at the thought.

You loved his dick.

Honestly penises never really appealed to you objectively; they're ugly. They definitely felt better than they looked and if someone asked, you wouldn't say they were a man's nicest body part. You still liked them though.

Pedri, however, had one of the prettiest ones you have ever seen (not that you saw many). Everything from his girth to his tip to his color was so perfect. You loved sitting between his legs, crawling at his muscular thighs, while his dick was in your mouth.

A moan escaped your mouth, "Your cock always felt so good. So pretty."

You wondered if Pedri imagined you naked as well. If his thoughts were as filthy as yours were. Surely, they must have been. "Fuck, baby, I thought about your pussy so much."

"Yeah?"

"Hmm, always so good for me. No one compares."

You could here the slick sound of him pumping his dick through the phone, it was lewd. So dirty and so wrong, but you never felt better.

Rubbing your clit was not enough anymore, you needed your fingers inside of you. The sound filled your entire bedroom and you held the phone closer between your legs. "Pedro.", you moan his name. You wanted him know how he made you feel, how your body reacted just at the thought of him.

"You sound so wet, princess, just for me?"

"Yes, only you." You started kneading your boob too, imagining it to be his hand instead. "Ahh.", you cry as you hit that special spot. Pedri always managed to find it. May it be with his dick, his fingers or, your favorite, his tongue - hot and wet. He made you feel things you didn't think a human could feel.

The call didn't go on for long. You taunted and teased each other for only a little longer. Words became more slurred until the only thing left was the lewd sounds of you two moaning and whimpering into each other's ears.

You were close. Your fingers were still rapidly pushing back and forth, until everything came to a halt. You couldn’t breathe.

Your back archs backwards and your fingers were clutching at the sheets, as heat overcame your body and your orgasm washed over you. You're vaguely aware of Pedri grunting into the phone as well - too lost in your own pleasure.

And then it slowly fades away.

Suddenly you're hyper-aware of everything, as your consciousness trickled back. Your chest heaves up and down heavily.

You stared at the ceiling, guilt starting to consume you all of a sudden. You felt horrible, to say the least.

Pedri must have felt the same way, you believed. Heavy breathing was the only thing you heard on his end, when you spoke up, "Don't get me wrong. This was...amazing.", you started, searching for words. "But Pablo can't know. This shouldn't have happened, I'm sorry, I don't know what overcame me."

It took Pedri a moment to answer your word-vomit. "It's fine,__. There are always two involved, right? Let's just forget about it." The guilt in his voice was evident too, Gavi was his best friend after all.

You thought that settled it. A one-time mistake.

One time turned to two times and two times turned to multiple more calls at night, sometimes while Pablo slept next to you.

You kept the pictures of you two, and your boyfriend's bed was not the only bed you have spent your night at anymore. And he wasn't the only one spending his nights in yours either.

Just like right now.

The ringing of the doorbell rips you out of your thoughts. Pedri actually manages to be at your door in 8 minutes.

He engulfes you in a hug the moment he sees your tear-struck face. "Talk to me, what happened?", he mumbles against your hair.

You sit on your bed when you tell him of your fight with Pablo. Your stupidity that ruined everything. Pedri sits and listens intently to your worries. Occasionally he caresses your hand or hair.

"I didn't think he would get so angry with me.", you sob.

Pedri smiles at you with warm eyes. In a moment of weakness you think about what would have happened if you stayed with Pedri. Would Pedri have acted the same way?

"W-Would you have done the same?"

The question lingers in the air for a moment. You can't blame yourself for asking. Not right now, when you feel so powerless. And you can't blame Pedri for his silence either. After all, the lines are blurred already, he has to be careful with his words.

"I don't know. Probably not.", he says.

Pedri knows you good enough by now. The look in your eyes tells him everything he needs to. You were like an open book to him.

You insinuated at more, at something possible in the future. One word and you'll be his. But he shuts you down. "He's good for you.", he says then. "I see the way he makes you feel, he truly loves you,__. You deserve that. Don't worry."

He tells to you stay with Gavi; he looks you dead in the eye, while saying it. It annoys you a bit that after all this time, he still behaves the same. But he is aware of that. Because when you need him, he's always just one call away. That's all he is and may ever be.

And Pedri knows, that you are loyal to him. Your heart lies with him; in his arms.

He looks at your vulnerable state, at your glossy eyes watching him. Oh yes, your heart truly lies with him.

Like a moth to a flame, he pulls you in. And like a flame, he's fickle but destructive. And once the moth gets too close to him, it burst into flames.

────────────

© moonpedri - DO NOT copy, translate or post my work anywhere without my permission!

[sadhornydemons]

Rapid-Spoiler-Season-Speculation: Full Moon Edition

Following the lead, but hopefully not completely on the coattails of many great theories, I'll throw my ideas into the wind and hopefully only end up half wrong.

Stolas's bed curtains can be seen, this appears to be his magic displaying the day's info.

Stolas still has his bandaged arm. Cue panic, then duet song.

Afterwards, IMP returns from a mission, Loona has the book.

Time is 10 minutes until 6pm, clock out time! At least for Blitz who has removed his jacket.

Get in bitch, we're going shopping at the Asmodues private reserve safe, emphasis on privates.

(Fizz, unless Stolas is in full demon mode, that thing will murder his cloaca and not in a good way)

Meanwhile, waiting, worrying.

(Blitz, isn't not gonna fit!)

"Stolas, you don't have to turn on that red light." ♪

And as everyone and their second cousin predicted, Blitz freaks out. As to how long the talk went, or what exactly was stated, we'll have to wait and see. But we get a taste of Blitz cursing Stolas out.

Stolas is roughly still in the same place, as the earlier scene, as he gives what seems to be a closing goodbye. Although dialogue can easily be mixed in a trailer.

And at some point we get this moment of Blitz, with a sad expression(?), seemingly reaching for Stolas in what appears to be inside.

Then being teleported outside (by magic)?

Also referenced in a fantasy sequence here:

Did Blitz say some very terrible things to Stolas before the full details of the Asmodean crystal and Stola's intentions for their relationship were made clear to him? And then regretfully try to make amends? That's full speculation on my part, but considering what we get in what appears to be a follow up scene between these two:

The most common theory I've seen and can still believe myself is that this scene will take place in the Apology Tour, but I think it's actually taking place in Full Moon. This entire episode will probably be focused on these two and the preceded scenes (even with missing parts) aren't enough to fill a full (and heavily anticipated) one.

On a commentary note, and not to pick sides, but Blitzø Buckzo, what DID you do?! That bird didn't balk when you were torching his beloved Loo Loo Land to the ground and now he looks like he's 2 seconds away from releasing the hellhounds on your ass.

But on a positive note, he's at least outside, drinking wine and reading a romance novel. Not knocking down absinthe with the houseplants or burning all of Blitz's horse drawings in effigy. It's more of the 'My lovelife is in the shitter, Gabriella' vs 'He'll never love me and I'll die alone next the ice cubes' mood of earlier. But either way, dude looks PISSED.

A mocking angry bow. Blitz has a smile, but maybe it's just because they're talking instead of Stolas ignoring him.

(book is still in hand) "Do you have any kind of remorse for what you do?" matches the mouth movements. Yeah, I'm pretty sure this is directed at Blitz. Unless Stella happened to drop by at a bad time to pick up her mail (what happened?!!)

Judging by the sky, it now appears to be morning.

(note the roof and curtains behind Stolas, they're now under/inside a fancy canopied tent) Owl is still angry.

Blitz has kicked back his feet, making himself at home. Stolas's pose is familiar but possibly still mocking, based on his earlier expression. Does Blitz want to solve their problem the usual way and Stolas may not bite this time?

End of my speculated/confirmed sceencaps from this episode, save maybe for this:

Granted, this could be a scene from any of the Blitzø-Conga-Line-Trauma-Storyarc of this season, but I'm thinking it may end this particular one. Leaving Stoltiz in a not great, but possibly getting things out into the open place.

Leading into the Apology Tour!

[rokurookajima]

help i need to know why you hate season 3 of mtl. it’s my personal fave however i know it’s very divisive amongst fans (s2 is literally perfect though agreed on that)

SEASON 2 IS PERFECT NO ONE CAN DENY THAT

ok so many issues..and i’ll say i’m not counting the first episode or obviously doublebookedklok bc those two are SO good, match the normal tone, AND are so important to the plot.. they are fully excempt from my critique

but some of the biggest issues i take:

there is a very weird vibe shift in season 3 to me, it feels overall so much mean spirited? idk there is a feeling of so much love and care in the first two seasons—in the writing from the creators and within the band themselves (in their very stupid Them way ofc). season 3 just. doesn’t feel that way? i wonder if the team was going through shit with adult swim at the time that manifested in a more spiteful tone overall? idk the band just doesn’t feel like the dysfunctional family they usually are in a lot of the episodes in season 3 and personally… it just feels like a loss. murderface is treated so much stupider than before to where it genuinely feels like they all dislike him, skwisgaar is lowkey forgotten as a character other than Guy Who Fucks (except ofc fatherklok which i also enjoy). rehabklok is undeniably also very good bc the music SLAPS and it’s fun to see brendon go full on theater kid with it, but even still — the band’s treatment of pickles is SO out of character too?? in season one they all lost their minds at the thought of losing pickles even temporarily to snakes n barrels, had to get wasted to watch him perform with them? but now he’s in rehab and they don’t give a fuck and replace him with a robot? HELLO??? i choose to interpret that episode as actually just a manifestation of pickles’ personal worst nightmare

THE PLOT.. WHERE DID THE PLOT GO? obv it’s a show where the overarching storyline is always the backbone and not the fronting part of the story line, but we had episodes twice as long as usual, and there’s barely any tribunal? we could’ve done soooo much more with that time was salacia just on vacation? in the same vein, i feel like the pacing within episodes is.. off?? the writers are SO good at fitting soooo much into 10 minutes, it almost felt like they didn’t know how to fill time, and scenes linger longer than they should, the comedic timing is not quite right, it’s just OFF

the two episodes i reeeeally hate are fertilityklok and dethsiduals…. they both just like epitomize the tone shift that doesn’t work for me. there’s something profoundly uncomfortable about fertilityklok to me that i can’t place, it’s just so unpleasant imo like everything about it lmaoo. i also .. don’t like that being back to back with fatherklok for skwisgaar it just feels like we got really good character insight and growth for him, and then.. COMPLETE shutdown. guy who fucks, that’s all (i’m also obv very very partial to skwis so biased haha). dethsiduals feels like THE most hateful toned?? i don’t like how anyone behaves in that episode lmaooo it’s just so OFF, all i can say can be summarized in vibes are OFF

i also do actually like the rockzo episode as well tho uh… y’know some things could be different (14???? come on man) but i actually enjoy all the rockzo episodes bc they always bring out interesting parts of toki. i love that we got more childhood toki insight!! a highlight for sure. and then uhhh dethhealth is one of the better ones as well - i think it suffers from the off pacing, but it still feels more like the past seasons AND toki’s cat song is a certified banger that gets stuck in my head all the time STILL

ok that was fr so many words that didn’t necessarily need to go this long BUT obv i have been needing to talk about this for years lmaooo tldr i wish they’d stayed truer to the tone and characterization set in the first two seasons, and REALLY wish they’d utilized the time better for the actual plot

[basil-does-arttt]

I listen to a LOT of music, right? mostly the DMC soundtrack. so heres some shit i just found interesting while listening and noticing stuff, in no particular order:

In Nevan's theme, if you listen really closely from about 1:15 - 1:27, you can hear a background track really similar to 0:31 - 0:44 in Ultra Violet. Its not exactly the same but it was similar enough to make me pause for a minute and go back to listen again. Similar to above, in The Duel, if you listen closely throughout the song you'll notice that guitar riff sounds traumatically familiar to 0:37 - 0:48 in ASSAULT from DMC 2 (aka, that stupid fucking helicopter.) Intentional? Probably not, but i cant listen to that track the same way again lol The choir in Vergil 3 and Devils Never Cry are actually the same, just in Vergil 3 the pacing of it has been shifted a little, and in Devils Never Cry its a little slower also. It has the same notes in the same order otherwise. Also in Vergil 3, have you ever noticed how playful the track seems in parts? Most notably, the beginning? I plan to write a full analysis of all 3 of Vergil's themes in DMC 3, but i just found this interesting to note considering how otherwise serious the fight is. And also in Devils Never Cry, ive noticed the beginning sounds eerily like what you'd hear at a funeral, especially with that church organ in the background. Fitting, for a scene right after Vergil lets himself fall into hell. this one is probably obvious but can go unrealized, but DMC 5's Divinity Statue theme is the only DV statue theme in the series that isn't primarily a chior track. The track "Public Enemy", as it's named in DMC 5, is named "Pubic Enemy" on Spotify. Actually all of DMC 1's soundtrack on Spotify is a long sex joke. (Pubic Enemy, Red Hot Juice, Final Penetration, IM COMING!, and Blue Orgasm)

DMC 3's Mission 4 theme is actually saying all the deadly sins, which took me an embarassingly long time to realize. that squeaky noise heard in the background of EYE OF THE WIND in DMC 2 is actually first heard in ST-07 in DMC 1. For some reason i thought that squeaky noise was a DMC 2 exclusive thing because its just that annoying. Yamato 2 in DMC 4 from 0:15 - 0:50 uses the same kind of violin track that's used in most - if not all - of Arkham's scenes in DMC 3 (a good example being this track from 0:10 - 0:40), which i also find interesting considering how much of a story point Vergil was in that game, and how Yamato in a way represents him in DMC 4. anyway thats all for now i may reblog in the future with more discoveries if i find them :]

[fromtenthousandfeet]

Smells Like Steady Vocals and Perfect Pitch

Part 1.

I wrote this on April 5th, 2024 in a fit of rage/inspiration. I wasn't going to post it but I've decided to anyway because I'd like to give a little perspective about why Jimin, out of all the members of BTS, is popular in the US, and why I think he has amazing potential as a solo artist if he's given the right team and tools.

*******

Today is the 30th anniversary of Kurt Cobain's death, so it feels like a sign from the heavens that it's time to write a post I've been composing in my head for months.

So often when I'm on Twitter/X looking for information about Jimin, I see one nasty comment after another downplaying his singing, his artistry, and his talent in general. The phrase repeated the absolute most by the fandom of a particular member is that the reason HYBE invests in one above all the others is because he has the most stable singing voice. And perfect pitch. And the perfect tone for pop music.

Frankly, I get so sick of reading those comments, but I also have to laugh, because it shows such a fundamental misunderstanding of what appeals to music fans in the US/Western countries.

If you open Spotify right now and search for Nirvana, you will see 31.1 million monthly listeners! As a reminder, their last album was released 30 years ago and they only put out 3 major label albums over a 3 year period. Meanwhile, BTS has 28.6 monthly listeners and has a discography a mile long and a career spanning more than 10 years.

Do you honestly think that Nirvana has enjoyed so much popularity over the years because Kurt Cobain had perfect pitch and could sing live? Yeah, no.

I remember where I was the first time I heard "Smells Like Teen Spirit." I couldn't decide if I loved it or hated it, but the song held a strange grip on me. It was sooo different than all the other popular music at the time, even in the alternative scene. It wasn't quite punk, wasn't quite heavy metal. The song was angry and raw, but also oddly charming. But mostly, it was refreshingly different from all the highly produced music that was on radio stations' rotations at the time. Don't believe me? Here's a link to the Billboard Top 100 on the week "Smells Like Teen Spirit" was initially released:

Check out the list and tell me how many of these songs you know. Probably a few, but not many have withstood the test of time (shout out to 3 a.m. Eternal by The KLF, though. That was a fun song).

This was the #1 song that week:

Didn't like it then. Don't like it now.

Now compare that to Smells Like Teen Spirit:

Look at the Billboard list again. Lots R&B (love), dance tracks, a smattering of college radio/alternative tunes, and a whole lot of what we would call easy listening/adult contemporary music. A snooze fest. Nirvana came along at the right time when the American music audience was in desperate need of something more authentic and not so over produced.

Sorry for this long-winded pop music history lesson. Believe it or not, I have a point to make. Americans like a huge range of music styles (as can be seen on the current Billboard charts). We get bored easily. We don't demand a steady voice or perfect pitch. What we want is something new. Something innovative. Something authentic. The biggest western pop stars who have enjoyed long careers in North America know that they must push boundaries and release new, unexpected material in order to stay relevant.

Be it BTS' English trilogy, songs that blatantly emulate American pop singers, or the conveyor belt of 2 minute TikTok-ready tunes sung by Korean girls, so far it doesn't seem like we should expect anything terribly innovative or cutting edge now that Big Hit has morphed into HYBE with its many labels/subsidiaries. Fickle American audiences will move on quickly, in my humble opinion.

One last thing. The US is a huge country with very diverse cultures based upon geographical location. Gender, age, ethnicity, urban vs. rural, and region of the US all influence what people are listening to. What's popular in Atlanta isn't necessarily popular in Salt Lake City, for example. Americans are not a homogenous group and neither is our taste in music.

[powerfultenderness]

listen. what am i thinking about?

not könig, for once!

but writing a 2nd part to [Simon Sees You]

(i ranted too long, so dropping a read more. 😅 and idk, spoilers for a potential 2nd chap 🤷‍♀️)

but only bc i let youtube play in the background too long and it started recommending old songs. Sonta Arctica's Don't Say a Word just fits too perfectly. And then I remembered like 10 years back, Xandria made a cover from the reverse perspective and i think it might fit even better!

"Open your blue eyes, tell me, do you love me? No Make me believe it, I know you lied You broke the vow I thought you made Settling the score, we pass the twilight"

I can call it: "We had it all so sweet" (bc ofc the title will be a lyric) and then i can tell the story in disconnected scenes of Reader trying to save their marriage, of Soap cheating, of her revenge fucking Ghost, her playing sweet wife again before Soap is deployed. Then once Soap is like a month into deployment, she sends pics and a vid of her and Ghost 😱. Except he can't see that it's ghost, cuz in the pics/vid he can only see the man's arms and dick. And while Soap is ranting and raving about how he's gonna find the man and kill him, Ghost rests his arms on the table, sleeves rolled up, and Soap suddenly freezes as he sees Ghost's tattoos, bc he's seen those particular tattoos very very recently. "Well? You'll find this bloke and what?"

-

it's not that i particularly hc soap as a cheater, but bc of this unfinished project of mine, i still look at soap and see a no good dirty cheater lol i'll see a cute soap fic/hc and be like 'aww! he's so loving!' and then five minutes later be like, "too bad he's a cheater! 😡"

also another thing holding me back is i don't think i quite have a grasp on the voices of the main (141) cod guys. like könig is a little easier since he doesn't actually have much of a canon story, there's so much room to work with.

should i go true old school and make it a song fic? with the lyrics as scene breaks lol

[meonlyred]

Finally got around to look into DAV, all I say I don't want to step foot into the tag again. DA fandom, never change

Braving than any US marine. I will never go into the tags. I get enough that leaks into my dash as it is.

I have blocked more DA fans in the past month than I have tumblr bots. I knew this was coming. I was joking with my friends on discord that I couldn't wait to block most of the DA fans. That the 17 of us on that server are the DA fandom to me.

I am going to use this opportunity to rant a bit. Sorry. I have been very good at trying to keep it all contained to private conversations. I deserve to take people to task as a treat. (And threat.)

I am trying to be as light one spoilers as I can. This also ended up being a fucking shit load longer than I meant. I just have a lot of bitching to say.

I have criticism for the DAV but they really come down to very personal tastes. For example, I miss DAI's tinting station for armor. I miss the Golden Nug so I can just have all the armor looks I want right off the bat. (But that was added in later DAI patches. I can't recall if the tinting station was too. It been too long. There might be hope for that.) I was also upset at how long the bug that kept resetting my Rook's appearance took to get fixed. That really sucked.

Besides that, there is nothing that takes substantially away from my enjoyment of DAV. It was another Bioware game that did that to me.

I thought the pacing at the beginning of DAV was way too quick but then I remembered how Bioware games usually go. Ostagar, Haven, the Citadel, and the Nexus is what I liked to call my Bioware graveyards. Its where all of my new characters go to die. The plot comes to a screeching halt at these areas. Bioware has always does good with their openings; action, intrigue! Let's go! But once you get through the flash opening... now wander around for a few hours picking up fetch quests and talking to 30 people all with so much dialogue to dump on you. Some of it is not bad dialogue but some of it is wholly unnecessary or way too much in one go. Like Varric's 10 minutes of "remember what you did in the last game?" Its bad when I dread talking to Varric of all people or just skip through his dialogue.

I appreciate the quick pacing much more on subsequent play throughs. It keeps me moving until well after recruiting Lucanis. By then its even out into a steady pace that keeps me engaged.

As for the fandom, which I hesitate to even call them that, because I don't think they even like Bioware games, has some of the most bizarre criticism. Again, I excepted it going in, but the subjects of their ire has me so confused and disappointed.

I have seen people saying that Hans fucking Zimmer's soundtrack for the game is bad. Which?????? No???????? Its not?

This song playing while fighting dragons with Taash has me so pumped. I want it in my veins.

The romance theme (that also plays at other moments) is beautiful and heart aching. Which fits the tone of the scene when it plays. The saddest banging ever.

And those Inquisition leitmotifs really got me good. Never thought DAI nostalgia would hit me so hard but here we are.

I have also seen people mad about the ending credits song. And I can't say that I'm not EXTREMELY fucking suspicious as to why they don't like the ending credits song. Is it because its R&B performed by a black woman and not sad indie white woman????

(But thanks Bioware for introducing me to another amazing artist to add to my collection.)

Another thing that sticks out to me is the polarizing topic of Mary Kirby writing Lucanis with the intent for him to be pansexual/demisexual. Which she didn't need to say that for me to pick up on it when I was playing through his romance. One of my most beloved OCs is demi. (And I kind of think I might be too. But labeling my own sexuality is something I really don't bother with.) Detractors seem to bad for ????? I don't understand know why. Because demi doesn't mean his romance with Rook or Neve is a chaste, no sex/little sex, relationship. They clearly fucked in the romance scene. The best way I can explain demisexuality is sexual attraction might not happen until a strong emotional bond it formed. Which is exactly how it plays out for his romance. It also explains why he won't romance Rook if a certain game choice is made. I know demisexual falls under the ace umbrella but I know a lot of people who have been wanting a strictly no sexual ace romance. So when the dev said there wasn't an ace romances, I think they weren't lying.

However, I also despise are the people who were asking Mary Kirby if Lucanis was a virgin. And I am seeing "Virgin Lucanis" tags on Ao3. And let me preface this by saying I visceral hate anything concerning the virginity of characters or people. Because I have never not seen it used as a way the track someone's purity or as a way to disparage them. Making them out to be a naive clown. Virginity such an arbitrary thing, a made up concept that people hang a lot of hats on. It triggers an immediate flight or fight instinct in me.

In my experience and the experience of other queer people I know, your journey to understanding yourself is not always a clear defined path. You experiment, you do things that you realize afterwards don't fit with who you are. Sometimes you know from the beginning, and yay, good for you. I am sure you are very proud you got it in one.

But sometimes you aren't sure you're a lesbian until you have sex with a guy and realize nope, definitely lesbian. Sometimes you think you are cis and try to live that way and realize you hate it. And sometimes you are ace and had sex and realized it wasn't for you. These journeys are just as valid an any other and there are myriad of reasons you make decisions that you do. My point being Lucanis can be demi but also not a virgin. It doesn't fucking matter. Running to his writer on Bluesky to have her tell you point blank that he is a virgin is weird and inappropriate. Stop it.

The handing out of "good stars" pisses me off. It screams the same kind of homophobia I got when people found out I dated a bisexual guy and "ew, aren't you disgusted he sucked dick before? Aren't you afraid he'll cheat on you with a guy?" This being said to my face when in the back of my mind I was thinking "I like guys and girls too. But you will never know that about me because now I know I can't trust you."

So why does anyone care if an ace/demi character had sex before? Why do you really care? Hm?? All I hear with people asking if Lucanis is a virgin is "ew, he hasn't had SEX before, right?! I don't want to touch him if he has!!"

This is an extremely sore topic for me because I additionally I grew up being told that my worth was directly tied to me not having sex. Spoiled goods and all that.

Virginity is not a real thing, fuck off about it.

And then also that Lucanis and Neve can start a relationship if Rook doesn't romance either of them. I have see the most vile shit about Neve because of it. She isn't stealing your man. No, Lucanis does in fact care for Neve as much as he does Rook if they are in a relationship. There is no such things as soulmates, there is no such things as people being "meant" for each other. Rook and Lucanis' relationship is different than Neve and Lucanis' relationship because shock/horror they are different characters.

As much as I do ship some BG3 together, this is exactly why I am glad Larian didn't do this. Not because I don't like companion entering relationships together. I love when they do actually. I just knew people could not be fucking normal about it.

Speaking of Neve, I never unfollowed and blocked someone faster than "Bioware is wrong Neve only likes women." Queer characters in media are only barely starting to catch up with varying levels of blink and you'll miss them quality. Neve is already a queer woman, she already is queer representation in media. This fandom is just so fucking mask off biphobic.

As for romances being "too short" in general. I know I am ruined forever by BG3's romances. I knew I would be, I curved my expectation accordingly. It also helped that I went back and replayed DAI right before DAV's launch. Replaying, I remember just how short the romances were. DA2 more so. DAO, y'all don't remember DAO's unmodded romances.

Okay I am being unfair with the DAO dig. The talking part of the DAO romances were nice. Just those cutscenes, oof. ME1 came out just 2 years before DAO and it's romance scene wasn't this rough. More fade to black was the right call actually. Bioware you need to hire Larian's intimacy coordinators please.

But it is true we have had 10 to 15 years to make up in our heads how these romances played out. Years of art and fanfiction to make us make it more than it was.

I was privately streaming my DAI with some friends. We got to the part in DAI where Morrigan reveals herself to the Inquisitor. One of my friends who was watching is younger than us. He was too young to play DAI when it first came out and made fun of who jerky the animation of Morrigan descending the stairs was. Another friend and I explained about how rewatching it now, we were both caught off-guard by it too. Because in our heads we remember Morrigan floating gracefully down the stairs. When in reality that wasn't the case and it was all in our heads. Nostalgia is a hell of a drug.

Continuing, I have seen some people mad about a character from the books who is in the game. A character who is corrupted by the Blight. Who does bad things. People are mad they "did this character dirty." You mean the character corrupted by the evil Blight does things that are corrupted and evil?! Did they expect being horrifically Blighted would make them good????????? Man, DAO/DAA ruined Tamlen and the Mother too, huh?

And this is super fucking controversial, I think having only 3 imported choices was the right call. I would have like maybe a couple more choices carrying over but that is neither here nor there. The choices in Dragon Age Keep were so fucking bloated is was not funny.

Quick without looking her up: who was Ginnis and why was there a flag option in for whether or not she was alive? Who was Ghyslain and why did it matter if he was told his wife was dead or not? Why was blackmailing Ser Thrask a thing? Has getting Cammen and Gheyna together ever come up? What about Athras' wife? What about Zerlinda and her kid? I don't see anyone upset that Ignacio didn't show up in the DAV Crow story line. Why were any of these flags there in the first place? Did the writers think it was ever going to be brought up again if you feed the prisoner the guard's lunch? Even looking at Dragon Age Keep and the wiki I barely remember these characters. There was no reason to have these flags at all.

Speaking of killing your darlings. No we were not robbed when we saw the concept art. Its concept. Putting all of it in DAV would have been bad. Sometimes you have to leave things on the cutting room floor because including is not worth it in the end. And use as players will never know why it didn't work out. Use the concept art the same way as the devs did. Its there for inspiration. Now go draw it or write fanfiction about it.

People like to say that choices in DA used to matter, no they did not and never did. How was DAI actually different if Hawke chose to support the Mages over the Templars? You know, the crowning choice in DA2? Was the mages stronger in DAI? No, Fiona tells you that they are losing the war. The mages didn't have bigger numbers. You don't get any kind of stat or narrative boost. All choices in all the games are a net zero gain. Aside for some dialogue flare. The world state does not change crossing from game to game.

I do like that call back as much as anyone. I liked Hawke talking about their love interest in DAI. But if I wanted to truly experience that romance I have to go back to DA2 and play it again.

I have also seen people bitching about Taash's gender journey realizing they are non-binary. I am sorry I have a hard time caring about stranger's negative opinions about it, when I have loved non-binary friends talking about how they were deep touched and got emotional over Taash's story. Maybe Taash's story isn't your story but it is someone's.

We don't have the token trans character this time. We have three non-binary character. One a companion, one an ally healer, and one who turns out to be a bad guy. Which is in fact okay to have villain queer characters when you have many more queer good guys. We also have two trans characters who play more than passing roles.

Speaking of "trans" is "too modern" of a term. Trans is a Latin word. Tevinter speaks pseudo Latin. Next.

I just do not understand. If year after year you get so fucking upset about Bioware games, please just stop playing them. You don't have to buy them, you don't have to buy them at full price. Just go do literally anything else.

There are games I was going to play this year then saw something I didn't like about them and went, I'll pass. I didn't make hating that game my entirely personality.

Edit: Oh I forgot "DAV isn't dark fantasy like the others." No you are thinking about DAI. DAI was pretty much high fantasy with a couple kind of dark parts. DAV has too much body horror and bio horror to not be horror. Giant cysts and boils of blight organic matter that infects people and turns them into corrupted zombie like creatures. How much corrupted tentacles, human centipede trees, people getting ripped apart, eye teeth, and literal bloodbaths do you need until "dark fantasy"?

[watchingblsnowandforever]

Let's Talk BL: My Love Mix Up Th

Ep. 2

Hello!! =D

Welcome back! (I'm the one from the long We Are posts hehe-)

A little spoiler warning for those who haven't watched the original Kieta Hatsukoi, will reference it a little, but it won't be any great big reveals, just small comparisons here and there. This is for the show only, since I haven't read the manga.

Firstly, I'd noticed this in the first ep itself, but forgot to mention, Atom and Kongthap use rao/nai. It's a little old fashioned and often used between lovers. So I'm yet to understand why it's replacing the usual guu/mueng among classmates and friends in thai BL. To make it more polite? To make more Japanese? Hmm...

That look (when they were practicing the show scene) really backfired on poor Atom 😭 Also, Kongthap's oblivious "How do you know? Have I ever smiled at you?" cracked me up right down the middle 😭😂

When he came down the stairs in the traditional scene, Atom was totally, definitely, 100% checking him out.

If it's one thing that Thai BL never fails at is making anything and everything a musical 😭 I mean, yeah, Cinderella is originally a musical, but three (3) whole songs in the span of 10 minutes is to much, even for GMMTV.

I did really love that dance scene though. I mean... the cinematography, the choreography, the chemistry, they all fit just right.

Now, a small little... it's not a critique exactly, just an observation and entirely a personal observation. Please feel free to ignore this.

In Kieta, it was decided at the rehearsal itself that Aoki would play Cinderella. In MLMU, they changed it, and Atom jumping in at the last moment was a little more impromptu and showed how far he'd go for his friend someone he likes. But, I didn't really like how everyone shot him down when he offered to take Mudmee's place.

And after the show was over, when those boys tried to tease Aoki, he got flustered and himself said "how can it be possible-" and went offensive in order to defend himself, even after Ida shot the idiots (derogatory) down. Here, Atom kept denying until Kongthap stepped in, and then reassured Thap that he wasn't uncomfortable, or angry at him. I liked this.

So... one for one, I guess. They changed a scene I already liked in Kieta to one that makes squint my eyes and something that bugged me a little into something I like now.

[patricksmusicblog]

2024 Album Reviews

My thoughts on some of the albums I listened to last year in real-time as they were released.

Elcamino & Black Soprano Family - Here Ya Go: This is the latest project from El Camino a Griselda affiliate. This is the first project I'm listening to from him from front to back. It's soulful, dark, and gloomy as Buffalo and Griselda's projects tend to be. El Camino sounds closest to Westside Gunn so much so it can be easy to confuse the two one big distinction is that Westside is more freewheeling and has more range with vocals El Camino is a bit more reigned in and measured with his flow. This project is emotive with tracks dedicated to the late DJ Shay and the late legend Kobe Bryant. It's solid and probably would've been better had the songs not been short. 7.5/10

Benny The Butcher-Everybody Can't Go: This is Benny The Butcher's fourth studio album and major label debut(Def Jam). The album is largely produced by Alchemist and Hit-Boy two of the best producers of this decade. Everybody Can't Go I'd say is while still being true to who Benny is and that Griselda sound is more in line with what we got on Burdon of Proof Benny doing his thing next to legends and superstars etc I love the menacing and descriptive opener in "Jermaine's Gradution". Also, love the triumphant banger that is "Bron". "Big Dog" finds Benny Holding his own next to Wayne. "TMVTL" Speaks to issues that come with dealing with people on the streets. "Pillow Talk and Slander" ft Jadakiss is similar in that it speaks to not surrounding yourself with the wrong people. "Griselda Express" is quintessential Griselda Benny's on it, Conway's on it, Westside's on it. Benny and Conway are coming in with stand-out verses. There were times on the album when I thought songs could've been more fleshed out, and times when I thought hooks might be teetering on clunky like "One Foot In.." but these are small grips on what I think is a great project. 8/10

Schoolboy Q-Blue Lips: Blue Lips is the 6th studio LP from TDE veteran Schoolboy Q. Schoolboy's always been my second favorite out of TDE, with great projects such as Oxymoron and Blank Face. This album is interesting in that it's probably Q's most experimental album made with different sounds whether it'd be delicate piano chords or guitars, there are beat switches and flow switches. While I think this album has some instantly enjoyable sounds and songs, I don't believe this is an immediate album, this is more of a grower than a shower. It's an album that'll reward with more listens. It's gangsta, but introspective fit for the new era and old. You have earworms like "Yeern" but you have the Alchemist-assisted "Lost Times" and the avant-garde banger "Thank God 4 Me". "Blueslides" is beautiful. Then you have traditional hip-hop with "oHio" ft Freddie Gibbs and Foux ft Ab-Soul. There's a little something for multiple types of hip-hop heads here. A great LP 8.5/10

Tierra Whack-World Wide Whack: Tierra Whack first burst onto the scene in 2018 with her eccentric and creative style with Whack World. A short project with many short songs displaying different skills from rapping to singing all one minute long. Here we get that same bundle of charisma coming through on World Wide Whack. Tierra's command of rhythm and flow is to be commended she can get on any beat and never be out of pocket or range. "Chanel Pit" is a great example she has a great way of finding pockets in the beat and wraps her vocals around it whether singing or rapping without ever sounding off. "Difficult" is not only one of the sadder songs on the project but also shows her vocal range from normal and downtrodden to hurt and delicate. "Living is Difficult" is a relatable line. "Shower Song" is unbelievably funky as she speaks to the freedom of singing in the shower. Themeatically this album is really about growing pains and the mental challenge of going through those going through those growing pains in front of the public. "Two Night" and "27 Club" respectively are the two most important tracks on the album as she speaks to contemplating suicide and the dark feelings coming from that. While there's fun to be had on this album and as elastic as her style is there are a lot of relatable and grounding moments on this effort. Also for those looking for some straightforward rap, "Snake Eyes" is the track it's a gritty banger. Great project. 8/10

Future & Metro Boomin- We Don't Trust You: Future and Metro released one of their best projects since the mid-2010s. This for me is up there with the Beast modes, Monsters, 56 Nights, DS2, etc. Metro's beats are bigger more cathedral and lush. Future's flows and vocals are fluid, and his confidence and swagger are amazing on record. Themematically the album is about being the best and not trusting or rocking with Drake. Kendrick adds to this with his scene-stealing verse on "Like That" where he disses Drake and takes jabs at J. Cole. If you're a Future fan this album is a nice project that shows Future doing what he's always been great at while still challenging himself production-wise. 8/10

Roc Marciano-Marciology: Roc Marciano returns with his 11th studio LP. The God Father of Griselda's style if you like drumless airy atmospheric but dark beats Roc is right up your alley. Possessing a fly & menacing aura, an aged street weariness, and a seen it all done it-all demeanor, you'll never ever hear Roc phased, out of place or, out of pocket. He's always in pocket or making the beat fit his pocket. He has a measured but intricate flow that can be quietly technical at times. At his best there can be something mesmerizing about how calm and surgically he can ride a beat, sound cool, and, make everyone else sound like a lame. It's great. The production here is quality, with dark off-kilter piano keys at times, lush strings at others, and a soulful bluesy at others all of it having a dark undertone. All the features are great and add a good deal to the sound and cohesion of the project. I think it's another great piece to add to Roc Marciano's already great catalog. 8/10

J. Cole- Might Delete Later: Might Delete Later is the fourth Mix-tape in J. Cole's catalog and a top gap release before the main event "The Fall Off" is released presumably later this year. The tape is excellent, and J. Cole is operating in rare form. Every verse he does is packed with bars, his schemes and internals are tight, and his pace change-ups, and flows are fluid. Sonically there are a lot of chill beats and light soul samples. "Pi ft Daylyt and Ab-Soul" finds Cole at his most clever, precise, and exercising his lyricism to its maximum potential. "Sticks and Stonez" is laid back instrumentally which gives Cole a runway to bite back at haters, he sounds crisp, he's never been this skilled. "Pricey" feat. Young Dro and Gucci will sound great in your system or car but also J. Cole will sound great as he's lost his mind on the mic. There's tons of mention of being hungry and ripping everyone to shreds on features. He also sends some jabs Kendrick's way on "7-minute Drill" a 3-minute track putting Kendrick in his place taking shots at his discography, his authenticity, his work ethic, etc. It's nowhere near scathing in fact it's friendly.. still, he got in the ring. You can't be running around calling yourself the top dawg, have a major player diss you, and, proceed to do nothing, obligations that come with the throne. At this point, we're just waiting for Cole's official album release. 8.5/10 Side Note: Cole has since retracted 7 Minute Drill, a fascinatingly mature choice. Didn't play well with a lot of the public but doesn't change the level Cole's been operating at.

Green Day-Saviors: Green Day returns with their 14th studio LP. This one is a major improvement from their critically panned album "Father of all Mother F*ckers" album released in early 2020. This time around the band recaptures a little bit of the magic they had in their heyday roughly 94-04. Particularly in the 90s, with tracks like "Ma, No Brains!" and "1981" bringing good punk energy the guitars are packing the right kind of punch and that speed and restless energy punk is supposed to have is there. Then there are the alt-rock tunes that are well written like "Suzie Chapstick" or "Father to a Son". A condensed version of the album with about 10 songs may push this into the great category. There are songs here that are a bit too bland, safe, and, generic for my taste. Ironically the title cut rings somewhat stale to me, tracks 7-9 sound nondiscript. At their age, I guess they lack the energy to consistently generate punk ferocity, which is fine. I wasn't sure they had an album this good left in them something I'm happy to get from one of my favorite bands. 7.5/10

Rapsody-Please Don't Cry: Please Don't Cry is North Carolina's own Rapsody's fourth official album not counting mixtapes and eps. Rapsody's been a great rapper since her debut Idea of Beautiful(2012) and has only grown as an MC. Lailia's Wisdom(2017) was better than that, and Eve(2019) was even better than that but I believe this is her best project to date. It's easily her most personal/vulnerable and we get to see exactly where Rapsody's head is at on this album while still dazingly on the mic with her skill set. "Marlena" is a great tone setter as she raps aggressively but ultimately is trying to figure out who she is under all the bells and whistles that come with being a rapper. "Asteroids" with Hitboy is amazing and sounds like something I'll be listening to for years to come as she speaks to her greatness going underappreciated due to sexism and hate on both sides. I have a personal connection with DND(It's Not Personal) as someone who needs days where they don't interact with anyone and needs alone time I get it, if you're Rapsody I imagine that time is even more precious and special. "That One Time" is deep, personal reflective as she speaks to doing things that go against the morals she grew up with personally, experimenting sexually, seeking validation, and, love she feels she may have never gotten as a youth. It feels almost too personal but it also lets you into the human side of the artist, this is Rapsody, the type of things that make her tic, what she's going through. "Loose Rocks" is a tear-jerker, as Rapsody speaks to dealing with a family member struggling with dementia making their day and dealing with the heartbreaking reality that she may wake up one day and not remember who she is. It's devastating but again shows vulnerability and speaks to a mental health topic not discussed in rap all that much. Special. Elsewhere Rapsody shows she can go with the best of them I love her track with Wayne almost has a lo-fi sound production-wise. Both of them go crazy on the track, particularly Rapsody, I also love "He Shot Me" speaking to the pain and trauma we go through with police brutality in this country. "Back in My Bag" is a straight banger of a track and a much-needed one on the album. This album is deep, and personal and shows a lot of range as a writer for Rapsody. It's a long 22 tracks long but she carries it, her talent warrants the run time. 9/10

Vince Staples-Dark Times: Dark Times is the 6th studio LP from Vince Staples. While none of his albums have been bad, he's definitely been on the run from the self-titled LP he released in 21' moving forward Rohmona Park Broke My Heart may have been even better but it wasn't played as much for me. Dark Times is a little more similar to the self-titled album, it's tighter at around 10 tracks discounting skits, intros, and outros. It finds Vince Staples really struggling between his most morbid thoughts and feelings of hopelessness and his desire to see those around him escape the traps and hellscapes they think they need to participate in. "Government Cheese" finds Vince dealing with some survivor remorse, dealing with being the only one who made it. "Shame on The Devil" is a track where you can see Vince dealing with temptation and recognizing the wrong but still falling weak at times. "Etouffee" findshim dealing with fans of his old music or his more street tales and criticizing that while giving it to them with this very track. "Little Homies" speaks to the youth and warns them about crashing out speaking to the idea there's value in long life. The album is personal, thoughtful, and subdued. 8/10

Tha Dogg Pound-W.A.W.G(We All We Got: This is a fun one, full of nostalgia and music to ride to. Tha Dogg Pound is back with Snoop, Rage, RBX, etc with a new album that features that classic g-funk sound. While their angst has smoothed over, it's not nearly as hardcore as Dogg Food, there are definitely bangers on here. I love the first track "Smoke Up" Daz and Kurupt come off on that well. The title cut has some of the best production on the whole album, definitely, a track I can see myself going to and returning to. There are a lot of feel-good chill tracks on this album, to relax to on a Sunday afternoon. Still, I'm inclined to tracks with more to say I enjoy the track "Grown Up" which speaks to being too old for the violence of being active, I also appreciate "Always on My Mind" in dedication to those loved and lost. "Who Da Hardest" Ft Lady of Rage, RBX, and Snoop may be the crown jewel of the album, love the beat, and, each member of DPC went hard on the track. On the whole, I think this is a well-produced album from some veterans that know what they're supposed to sound like. DP May not blow anyone away but it's worth a listen. 8/10

Little Simz-Drop 7: Little Simz comes through with a short 7-track EP that sees her experimenting with glitch-hop sounds. Skittering percussion, jittering beats, and Simz earnest vocals on these tracks. This is nothing I'd say that's particularly special compared to the previous two Little Simz projects. I enjoy the smooth swagger of I Ain't Feeling It" I also enjoy "Far Away" for its Electro&B sound. It's quick ideas that involve her experimenting and trying something new but at 14 minutes it's just a stop-gap release I think this sound could be interesting more fleshed out and powerfully produced I think Simz could do a lot with it. 7/10

Mach-Hommy-Richaxxhatian: Mach-Hommy is a New Jersey rapper of Haitian descent under the Griselda umbrella and takes cues from that sound. The beats here are dark, gritty atmospheric beats, a lot of melancholic pianos, and, off-kilter beats that make me think of grey skies and cracks in the sidewalk. A lot of the beats are lush, not uncommon for a flute or horn to come in a give it a full body feel. His style is also somewhat reminiscent of Roc Marciano's who's featured on the first tracks on the album. Mach-Hommy raps with conviction and has a nimble and fluid flow. He's a dense rhymer known for stacking internals and multi-syllabic rhymes on a beat. Most all the tracks here are great and I think thus far it's the best album I've heard not only from the Griselda camp this year but in this vein this year. I can see myself returning to this throughout the year. 8.5/10

Megan Thee Stallion- Megan: This is Megan Thee Stallion's 3rd LP. It's another great project filled with unbridled charisma, a tight flow of hunger, and unapologetic raunchiness. The album starts with "Hiss" one of the hardest songs on the project and there's a certain energy and tenacity Megan can reach on record that when hit can be some of the most entertaining in music. She comes right behind that with "Rattle" a catchy tune with a solid hook. There's a lot of talk about dominating despite haters and coming through triumphant despite that. There are times when Meg can fall victim to some of the same types of songs and beats and flows to the point where things can be generic. "Otako Hot Girl" is a point where Meg challenges that and leans on her love of anime, the beat is effervescent and I think it takes her to a different place flow-wise. I feel similarly bout the Yuki Chiba-assisted "Mamushi" a J-Rap bop as Megan goes for something a little different. "Accent" ft Glorilla finds Meg & Glo embracing their southern accents and style, it's a great track, and Glo's vocals cut through differently. "Paper Together" ft UGK is great Meg gets into her Tina Snow bag as she, the late Pimp C, and Bun B wax poetically about pimpin'. "Down Stairs DJ" is Megan in her bag, it's confident and sexual, authentic to who she is. Megan can give you layers and though it's not all over the place on the album, "Worthy" and "Moody" especially let you behind the curtain see the woman behind the looks, and partying to some of the things she struggles with on a day to day. I think it's a worthwhile album. Is it a little long yeah but I think ultimately you get what you want from Megan if you're into her as an artist. 8/10

Lupe Fiasco-Samurai: Lupe's ninth Studio LP, this album has a jazzy sound to it, and a lot of melancholic piano chords to it. As for Lupe similar to Nas, you don't worry about Lupe lyrically, he's mostly always sharp. I love the authenticity and sound of "Palaces". "Cake" showcases not only skill but braggadocios rhymes. The album while leaning dense lyrically because that's just who Lupe is is a more easy listening than some of his past projects. Samurai is only but 8 tracks 31 minutes long neat and concise a quality addition to Lupe's catalog with a good amount of replay value.

Eminem-The Death of Slim Shady: Rap legend Eminem comes through with his 12th studio LP. It's a concept album that details the struggle between Eminem and the Slim Shady persona he created back in the late 90s. In some ways, it's an excuse for Eminem to delve into the Slim Shady character at 51 years of age and not seem corny although there's no way to avoid that. I was highly worried going into this album. There's tons of nostalgia for 99-02 Eminem on this project but as long as you don't hold him to that standard I think what you have here is honestly the best Em project since 09's Relapse. "Renaissance" may be the closest he gets vocally and flow-wise to truly sounding like young Em he finds a great pocket on that beat. "Evil" is the next highlight I think the chorus is solid, I really like the tone of the Em-produced track sort of reminds me of "Evil Twin" off The Marshall Mathers LP 2. My only gripe with that one is I think he could've gone a little crazier flow-wise. "Lucifer" with Dr. Dre on production is a banger, is it one of their best collaborations? No, but I think it'll sound nice in your ride if one decides to play it there, the rhyme schemes are a little too deliberate at times and I think he's off base with how edgy he thinks he is but on the whole, I think the song is good. "Fuel" Featuring J.I.D. isn't just great for recent Eminem it's just great, mainly because of J.I.D.'s youthful vigor and rapid-fire flows that push Marshall to make some of his best rhymes on the project. "Guilty Conscious 2" while not nearly as good as the original is important I think in Eminem's catalog where the first one delved into the consciousness of others with the darkest of humor. This one is about Eminem's conscious as he battles with the Slim Shady persona and whether or not it's time to put him down for good. As Em kind of uses the song as a vehicle to show some of the reasons why he created the character in the first place and why he hadn't been able to tap into the character in the same way he did as a youth. Ultimately Em wins out and you don't get the craziness of Slim for the duration of the LP. "Temporary" is essentially the "Mockingbird" of the album but more sentimental and morbid it's a sweet song for his daughter Hailie. "Somebody Save Me" Reminds me of Relapse's "Deja Vu" Em delves into his drug addiction and apologizes for not being the parent he could be because he wasn't present enough. I'm impressed with this album mainly because there isn't anything too cringe-worthy or awful here. Is he genuinely as controversial as he's making himself out to be? Well, hell no, Em is not nearly close enough to the center of the cultural zeitgeist to gin up that sort of outrage and backlash. These aren't the times when presidents/vice called for rappers' albums to be taken off shelves, or when Time Warner dropped Ice T, or when C Delores Tucker, Calvn Butts, and, Bob Doyle were railing against gangsta Rap. Those Days are as over as Em's prime is. For what I think Em is capable of at 51 years old I think this album is great, particularly for an album mostly produced by him with a couple nods from Dr. Dre, there's no Hit-boy here, no Alchemist, no Madlib, no Pete Rock, and no Metro Boomin, DJ Premier is only on the bonus cut(sigh) which is to say most of the games top tier producers who I think would push Em to do something truly special are not here and we still got some well produced hip-hop here. Really good effort and I can see myself returning to this here and there. 8/10

Common & Pete Rock-Auditorioum Vol.1: The Auditorium is Common's 15th studio LP and the latest effort from producer Pete Rock. This album is an up-and-down mix of 90's nostalgic hip-hop but with maturity, thoughtfulness, and consciousness of Common. Common sounds in tune with life, grounded but happy. Love the lush piano-driven sound of Chi-Town as Common shows love to Chicago. Really enjoy "Fortunate" as well as Common speaking to being fortunate to have all the people he needed in his life and for everything that has fallen into place in his life to fall in place. My absolute favorite cut on the album though is "Stellar" The production is great and Common gets on his braggadocious vibe. "All Kind of Ideas" is another straight boom-bap record that's nice and Pete Rock and Common speak to staying in a creative space. There are very few lows on the album and at 15 cuts the album is a cohesive blend of Common showing he can rap while being appreciative of where he's at and doing some reflection. Great project with room to improve on future Volumes. 8/10

JT-City Cinderella: City Cinderella is the debut solo mix-tape from one half of the Miami-based group City Girls JT. JT by general consensus has always been the better MC of the two and the one more musically driven. Street weary and gutter while still keeping a sense of sex appeal and raunch in her music, we get to see what a full project from her is. And what it is is solid. I enjoy the intro it feels both triumphant and vulnerable as she speaks about the youthful trauma she deals with and how far she's come. "Brick Talk" a trap banger finds her digging into her street knowledge. "Lemon Pepper" features one of her better performances on the album, full of charisma and the production is great on this one. "Swang" follows that up with a glossy yet upbeat track that finds JT talking her sht and not ducking any smoke "You better swang when you see me he". "Sideways" released as a single before the tape is probably still the best track on the project. She finds the pocket on the beat perfectly her flow is regal but matter of fact, I can only hear her on the track. "OKAY" is catchy as well has some decent wordplay and of course, it's a track that'll bang. Ultimately some underwhelming cuts keep this project from being exceptional but this is a good start for JT who I can see making great music in the future. 7/10

Ice Spice-Y2K!: This is NYC rapper Ice Spice's debut album and follow-up to her EP she released last year in Like…?. It's a tough listen even at a mere 23 minutes. It's an album made of short bursts of energy, catchphrase choruses that she's trying desperately to get to stick on social media, particularly tik tok. 2 Minute songs, of Spice boasting miscellaneous punchlines, basic rhyme patterns, and Ice Spice's silly persona. "Phatt Butt" and "Plenty Sun" are the most reputable bangers on the project. None of them match her initial hit "Munch". Tracks 7-10 are amongst the worst most lazily recorded music I've heard this year. There's too much quality out here in music to spend any time listening to this. 4/10

Latto-Sugar Honey Iced Tea: Sugar Honey Iced Tea is the third studio LP from Atlanta rapper Latto. Latto has a lot of what you want out of MC is charismatic, clear in her vocal delivery, and confidence on 10 and not surface level. The project is 17 cuts long and the first 10 are the strongest. "Settle Down" has a great beat that feels pristine and luxurious but also hard at the same time, she sounds great on it. This is similarly the case on the smooth Shrimp & Grits". Latto throughout the album is bringing braggadocious energy, and sexual energy and showing she's not afraid of any competition on the mic. She also shows the propensity to sing hooks, she sounds great on "Copper Cove" and her melodic flow is an easy listen. I also enjoy the relationship tracks where she gets vulnerable and shows she can get into the nuances of a committed relationship on songs like "Good 2 You" and "Look What You Did". Of course one of the best cuts on the album is the closing salvo in "S/O to Me" a track showing her pride in her progress, talking to whoever wants it, and saying she's not running. I think if shortened the album is in the 8-8.5 range but it does slow down for me, particularly toward the middle of the project. Still, Latto is great on this album and she makes it seem effortless in her approach she also has a good ear for production. I'll definitely be on the lookout for what she does next. 7.5/10

Larry June- Doing it For Me: Doing it For Me is the latest LP from Larry June of San Fransico. Larry June has a smooth yet monotone delivery that echoes the likes of Roc Marciano with less lyrical dexterity and ferocity but maybe even more swagger and style. This album is all about lifestyle and the finner things without sacrificing anything that makes him the man that he is. "Morning Calculations" finds Larry running through things he thinks about through a given day whether it'd be streets, not messing with phonies, etc. Larry has solid hooks throughout the album(Real Talk pt 2, A Little While, etc) but it's really the production that carries this album for me, a nice blend of funk, soul, and lush beats to ride to that provide an aesthetic that allows you set a background to think about your own issues or you can focus and tap into what Larry really talking about. "Breakfast in Gold Coast" has such a great instrumental, it's easy to visualize being in the ride on the West Coast as the sun is setting. I think his album with Alchemist was a little better lyrically this one is better riding music. 7.5/10

Charli XCX- Brat: This is the sixth album from acclaimed pop artist Charli XCX and this album much like her last project Crash, is a blend of fun, vibrant, and at times hyperpop/dance-pop/electro-pop etc. If you love Bass gotta listen to this album there's tons of deep-driving bass, to go along with glossy at times pristine production and catchy hooks. "Sympathy is like a knife" is the first banger to catch my ear a tune seemingly about questioning the authenticity of sympathetic nature. "Talk Talk" has a simple hook and neon-tinted winter vibe to it. It's the sort of song I imagine hearing on a winter-themed ride at a fair. "Rewind" taps into nostalgia for a specific time in her life a time when she was less judgemental of herself. That's the thing about this album, Charli is very personal and vulnerable through this project but in a way, that doesn't take away from the fact you're supposed to bobbing your head at the least and full-on dancing at most throughout the project. The album is a snapshot of where she is in life at the moment. "Girl, So Confusing" has an excellent beat sound right now yet futuristic at the same time. The last three songs on the album are amongst the best with "I Think about All the Time" being the most personal finding Charli at a point of truly thinking about settling down and starting a family. "365" Ends the album properly it's catchy and bangs. I'll always keep an eye out for what Charli comes with next. 8/10

Ducks LTD-Harms Way: The second LP from Ducks and indie-rock/pop duo from Toronto. The album's a nine-track LP of mid-tempo power pop/jangle pop built for easy listening. Dusk rides to the beach, brisk autumn days, and late summer Sunday afternoons, are the settings I see when listening to this music. Nothing is gripping but nothing is bothersome either. Just some solid pop-rock. 7/10

Yard Act-Where is My Utopia: Where is My Utopia is the second LP from four-piece British post-punk band Yard Act. The band released on the best post-punk LP's of 2022 and this album follows that up well. It's as sublime in its art-punk vibe but this one goes more in a dance-rock direction. "We Make Hits" has a great bounce and groove to it and I like the authenticity of the lyrics. "Down The Stream" almost sounds hip-hop it has a very layered sound instrumentally. "Undertow" is another with a great groove while also talking about trying to be accountable and turning your bad behavior into good. The album peaks in my opinion with "Dream Job" a catchy tune that's party-ready. Great hook on that one. The album as a whole is great in turns of the quality of sound and in terms of the lyrics and their depth. Definitely worth listening to. 8.5/10

Doja Cat-Scarlett(2023 backlog)- This is the fourth album from rapper/singer Doja Cat. Doja Cat has always had a big somewhat eccentric personality and a knack for rhyming and making catchy tunes. Her LP Woman wasn't necessarily my cup of tea though. This album I think is much better, from track one Doja comes off great, and "Paint the Town Red" has a great beat along with a soul sample in the background. "Gun" is another sexually charged track that has a sharp hook and a tight flow. "Agora Hills" has an ethereal dream pop vibe to it production-wise and Doja heightens her voice giving it a preppy youthful vibe. "Can't Wait" is a love song with The Honey Drippers sample used for percussion on the track. "Love Life" has a beautiful chorus and finds Doja Cat speaking about everything she loves about her life and showing appreciation for where she's at. "Balut" has a great beat, and features a great flow from her it's the most straightforward hip-hop track on the album and one of my favorites. There are points on the album where she could be static in terms of flow in my opinion and doesn't give me enough to chew on lyrically especially on the first few tracks right after the opener. Still, I think this is a really good project that I can see myself returning to here and there. 7.5/10

Doechii-Alligator Bites Never Heal: Alligator Bites Never Heal is the third mixtape from TDE Artist Doechii out of Tampa FL. Doechii is a rapper/singer who has an elastic flow, a quirky and charismatic persona, and, knowledge of blending sounds and creating a soundscape. This project sounds like it takes things from both the '90s and early '00s while also being influenced by current rap and R&B. "Denial is a River" showcases her storytelling ability and big personality. Love the aggression of "Catfish" It goes hard. "Wait" speaks to not waiting for things to happen for you, putting the work in and making them go. "Death Roll" follows that up perfectly as she's introspective again on her inner thoughts and motives, letting you into what makes her tic these days. Her performance and presence on the mic are great on that track. "Nissan Altima" is amongst the best bangers on the album. Doechii dives into a double-time flow, the beat is high energy but a bit glossy. It's just a well-put-together project there are moments when I'm reminded of something Missy & Timberland would cook up, and other times when I'm reminded of something SZA or Doja Cat would do. Even a little Kendrick sneaks in there on "Hide N Seek". She has a bright future ahead of her. 8/10

Big Sean- Better Me Than You: Better Me Than You is the sixth LP from Detroit Rapper Big Sean. Sean is a rapper I have a lot of respect for as he's done nothing but improve since his early days of corny lines, songs, and, lackluster depth. Big Sean here has matured and grown up while still giving you tunes that bang more and are meant for different environments. "On Up" is one of my favorite songs on the album speaking to having a son and all the emotions that come with it from things you want to pass down and don't to the realization that life is a cycle and a finite experience. I enjoy the introspection of "Break The Cycle" speaking on breaking bad habits and generational curses. I love Sean's flow on "This N That" is very nimble on that track. "Precision" is another banger, has a catchy fun vibe that won't be for everyone but is definitely enjoyable. Not every track stands out some are a bit generic but I think it's a quality effort from Sean. 7.5/10

LL Cool J- The Force: This is LL Cool J's fourteenth album and the first one since 2013. The Force entirely produced by Q-Tip is a return to form for LL, who throughout the album is lyrically and vocal sharp throughout. His vocals pack the same punch and power they've always had and he's only grown more lyrically dexterous and sharp with time. Tracks like "Murdergram Deux" and "Praise Him" find him keeping pace with premier lyricists in Nas and Eminem. Other highlights include the boom bap of "Passion" the fun and light-hearted "Proclivities" and the updated 80's sound of "Post Modern". I don't always love Q-Tip's production on this I don't always feel the busyness of Q-Tip's mix on some of these fit with Cool J's sound and there are times when I think he hits the mark. Overall, I think this is a good project LL is someone with classic albums so it's hard to live up to that but he does show he still got it at a high level here. 7.5/10

Ransom & Conway The Machine-Chaos is my Ladder 2: A collaboration album from two premier underground MCs Ransom & Conway the Machine produced by V Don. The album features the kind of production you'd expect gritty with a dark atmosphere. "Limitless" has a great beat perfect canvas for Conway and Ransom to go off on. "Shell Fish" is another bright spot on the project, as they flow over pensive strings and bass, Ransom in particular has a great verse on that one. The album plays like a Ransom album featuring Conway so he has most of the stand-out verses. Conway brings most of the street rhetoric and braggadocio while Ransom's verse tends to be a little more technically proficient and deeper. One of the best tracks is the melancholic solo track "Midlife Crisis" speaking to how he growing old and better in this game. "Born Again" speaks to the pain, anxiety, and depression even though people may not /475 see that from the outside. Both Conway and Ransom are strong on that one. This is a great project, mature grown man rap music. Enough street talk for those who want to hear that and enough real life for those who want something grounded and relatable. 8.5/10

MGMT-Loss of Life: Loss of Life is the fifth studio LP from Neo-psych rock band MGMT. Their last album Little Dark Age was a bit of a return to form for me. I think they follow that up well with this psych-rock/indie-rock effort. Acoustic guitars, bass, synths even some windwood and horns make the soundbed for this album. It's an album that essentially takes you on a melancholic trip through themes of loss. I love the lush and full sound of "Mother Nature" The track builds and you get some great guitar riffs coming in on it. "Dancing in Babylon" ft Christine and the Queens is notable in that it really feels like an 80's dream pop duet. It has a nice and whimsical feel. "People In The Streets" may be my favorite track on the project though, if features these great acoustic guitar sounds blended with the wall of synths that are beautiful. The song seemingly shows the dichotomy between someone in a higher place in life and the everyday person on the streets. "Nothing Changes" has a somber tone to it and the lyrics are a bit morbid and contemplative. The album, I think it's another strong album from MGMT who never come with the same sound twice but continue to sound like they've always had at the same time. 8/10

Glorilla-Glorious: Glorious is the debut album from Memphis rapper Glorilla, Street but soulful, hard with a booming voice that cuts through any beat. Glorilla's done nothing but slowly get better and better since she burst on the scene in 2022 with singles like FNF and 2morrow. Her Mixtape Errthang Errthang was a quality tape, a buzz builder that featured "Yeah! Glo!" a catchy yet tough, anthemic song that's everything you need to know about Glo stylistically. Her album is more of what has come to be expected from Glorilla but on a higher level. "Hollon" is a Yeah Glo type of banger confrontational and aggressive with a chant-along chorus. "Procedure" ft Latto is another highlight of the project the beat is smooth and pristine as Glo and Latto go back and forth about how these dudes aren't on their level. "Rain Down On Me" is a gospel rap song that speaks to Glorilla's roots as a youth in the church choir. It's definitely a differentiating factor in her music. "I Ain't Going" is an anti-abuse/domestic violence track." Let Her Cook" is a true banger love the chorus and big bass, horns, and, light piano on the beat. I think it's a quality debut album. There's room for improvement but Glo has solid charisma and voice that should take her far with more time to hone her skills. 7.5/10

Rome Streetz & Daringer-Hatton Garden Hold Up: Griselda artist Rome Streetz is an underground veteran at this point, known for gritty street-orientated rhymes. Also known for stacking internal rhymes and multisyllabic rhymes which is on great display here on top of Daringers grimy but detailed grey-tinted production. "Starbuxxz" starts things off nicely in that I love how Rome catches the pocket on that one. "Drive By" has a cold wintery lo-fi vibe, great rhymes, and similes on this one. Then there's the "Black Widow" which is a great piano-laden beat that features Westside Gunn who does his thing on that one. "Weight of The World" ft Cormega, is great you get the younger rawer energy one that one from Rome and the thoughtful more conscious seen-it-all done-it-all vibe from Cormega. "Space X" features one of his best flows on the project. There's a lot of great music on this project and it has that patented Griselda shadowy grimy vibe(Daringer) Rome is an exceptional rhymer which adds up to a really good album. 7.5/10

Che Noir-The Lotus Child: Che Noir has been on her grind and honing her skills for a long time. Food For Thought(2022) was when I got wind of her through one of my favorite projects of that year. Che's done nothing but grind and hone her craft, a buffalo Griselda affiliate you know you're going to get hard bars and shadowy beats. "Shadow Puppet" starts things off nicely with a soulful beat that features some soft yet emotive vocals over the beat. Che Noir speaks to having to hustle and grind to get where she's at and to where she's going. "Black Girl" Ft Rapsody, is amazing both come on the track and do their thing Che sounds strong as ever and Rapsody is just one of the best rappers in the game period, and has a standout verse. "Sister Act" is a boom-bap beat that finds Che in her bag. I love the Daria reference with "Jodie Landon" as Che Noir raps about being black and ambitious and having a hustler mentality even though she's growing to realize the industry isn't exactly everything it's cracked up to be. "Wis Love" has beautiful a smooth beat and it's more of a hip-hop/r&b introspective track about falling in love, it's very sweet. "Angels" is the most personal as she touches on losing a close friend in death, moving end to really a great project. A Short 8 track project that shows the diversity in what Che Noir can do. She gives you the hard bars, the introspection, some consciousness and pain. The sound which largely produced by Che Noir is of high quality throughout. So it is definitely worth giving a listen to. 8.5/10

7xvethegenius-Death of Deuce: 7xvethegenius is one of the most talented MCs on Griselda's affiliate label Drumwork. She's been grinding in the underground for years and on this project, she showcases why she's one of the best. 7xve is a technically skilled wordsmith with a strong command of rhythm and flow, as she displays different flows, cadences, and, rhyme schemes throughout the project. This tone is set properly with the Boom Bap of "A Lesson" The track has a nice autumn tone to it that permeates the album. "Triangle" ft Papoose is great in that they both go off on the track. 7xve speaks to her humble beginnings in the song. "Psalm" ft Jae Skees has a melancholic vibe that brings out cathartic bars from both artists. "MoMa" may be the most lushly produced track on the project and probably my favorite on the album. On the whole, it's a great project that rewards more with a focused listen where 7xve's passion and skill can be soaked in because on the move the production can make the album feel a bit understated but this is worthy of giving a listen. 8/10

Tyler The Creator-Chromakopia: Chromakopia is Tyler The Creator's 8th album. This one is coming following his acclaimed project Call Me if You Get Lost a more traditional hip-hop album hosted by DJ Drama that found him showcasing his ability as an MC and challenging his pen. It was a pretty solid project. Chromakopia is more in line with his more eccentric taste as a songwriter and aligns with his love of artists like the Neptunes, Nerd, and Kanye West. So while he's still rapping well on this there's more melody and a sonic canvas that's a bit more avant-garde. "Rah Rah Tah" has a full busy city sound to it. It's a banger and something I can see doing well at a concert. "Noid" speaks to the paranoia that comes with being a rapper in this world of cameras, clout chasers, and the access to things that lead to a rapper's demise. "Darling, I" is a track about Tyler not wanting to be monogamous and not wanting to choose a woman over his love of music. This flows nicely into "Hey Jane" some of his best writing on the project as he speaks to the fear and weariness that comes with an unexpected pregnancy but also wants to be accountable and responsible about the situation. Then he speaks from the woman's perspective on the matter showing her fear and vulnerability but also her willingness to step up and take care of the situation. "I Killed You" finds Tyler touching on the self-hatred that's passed down in regard to black hair textures. "Sticky" ft Lil Wayne, Sexxy Red, and, Glorrilla is a banger meant to be played at high volume. "Take Your Mask Off" is the last great song on the project as Tyler breaks down those who he feels are fugazi and fraudulent in hopes of bringing them to being real to themselves. Past tracks 2-9 there are good songs but I think the album meanders a bit and doesn't keep the same momentum it's good enough that it's worth putting your ears to. It won't be for everyone but it's quality work regardless. 8/10

Freddie Gibbs-You Only Die 1nce: You Only Die Once is a 6 solo Freddie Gibbs album but it's really his 10th counting collaborative work. The Gary, Indiana legend has been on a serious run since 2014's Pinata with Madlib and really got into a zone in 2019 when he released Bandana every album since then has been great. With Bandanna and Alfredo being top-tier. His last effort Soul Sold Separately was great as well. This is another to add to what's already a hell of a discography. The album finds Freddie Gibbs coming off a low point in the media with a fallout from beef he's had in the rap game and personal relationship debacles going public. Freddie Gibbs has received a lot of hate warranted or not and some of it has even spilled over into the way some have judged his music. On You Only Die Once you follow Freddie as he takes you through his typical grim street tales while also being transparent about where he is in his life. Throughout the album, there are skits where the devil is trying to tempt Freddie with every temptation possible from illicit drug use to money, chains women, the streets, etc. Freddie throughout the album sounds like someone who knows better but still struggles with vices, struggles to handle fame and access. Struggles dealing with beef constructively etc. I love the track "Wolverine" as Freddie Gibbs gives you gangsterism and consciousness in speaking to how a faction of the black community can be too busy fighting and killing each other to see how systematic racism affected them and still is affecting them. "It's Your Anniversary" is classic Gibbs over a classic sample but instead of it being the anniversary of their marriage it's their anniversary of them getting hit. So many of the beats on the project are chill, "Steel Doors" features a smooth airy beat but Freddie sounds hard as reinforced steel as Freddie wonders where the love is with all the hate he's been getting. "Ruthless" features a great flow from Freddie and a simple but catchy hook and it's a song about how he's made mistakes and slipped up in the game, particularly with the women he's dealt with which has made him more guarded in that regard. Freddie Gibbs has a kind voice and flow where you could sort of let it play in the background and enjoy it but if you pay attention it can be transfixing. He's detailed, personal, and actually more vulnerable, soulful really than you'd expect. It exhibits this perfectly in "Origami". The album concept comes into focus on "On The Set" where he eulogizes fallen rappers and speaks on the stress of possibly losing his own life but getting into film is a sign of him doing the right thing. It's another great album from Freddie Gibbs. 8.5/10

Westside Gunn-Still Praying: This is a new mixtape from prolific artist and curator Westside Gunn largely produced by Statik Selektah. Westside Gunn has never been the best MC in Griselda but he's always been great. Has great charisma, and a sense of humor and knows what production he sounds best over and how to put together a project. "Beer Bar" is the first highlight of the project, the track has fluttering keys, deep bass, and dusty percussion it's a mixture of street and opulence that Westside is known for. "Duran Duran" has a dark shadowy piano-laden sound to it, it's hard quintessential Griselda. The tape reaches its apex on the title cut which features Stove God Crooks, Benny The Butcher, Conway The Machine, and, Boldy James. An all-star list of MCs who come through with great verses. The track has a serious and dark meditative tone to it, and everybody did their thing on it. Rome Streetz loses his mind on the mic on "Underground King" not to mention Westside floats on that track flow-wise and Stove sounds great on this. Great tape from Westside Gunn here. 8/10

Kendrick Lamar-GNX: Kendrick Lamar has had a prolific year which pretty much started with him getting into a lyrical spar with often compared rapper Drake. He had a great showing between his verse on "Like That", lyrical salvo on Euphoria, the cerebral 6:16 in LA, the forever banger That is "Not Like Us", and the serious "Watch the Party Die" I'd say Kendrick hasn't missed this year. GNX is his latest project, coming with much hype and intrigue. Tonally I think the best way to put is that Kendrick is unapologetic, unwavering, and unforgiving. "Wacced Out Mural" references his literal mural being defaced in LA and the lack of support industry-wide. Kendrick doesn't care and sees things in black and white his side or the other side. The track to start is cinematic, and builds both his flow and the beat switches nicely on the track also love the hook on the track. "Squabble Up" is another early highlight a straight West Coast dance banger that's fun, a little silly but also layered production-wise. "Man at the Garden" has a Nas "One Mic"-like build as Kendrick embraces his ego, his greatness and, his willingness not to play about himself and his family, I like it's one of the cuts that sneak up on you how good it is. "Hey Now" is excellent the track is sonically layered has these dark yet majestic synths, very catchy. "Reincarnated" finds him channeling his inner Tupac paying homage to him over the "Made Niggaz" sample, Dot knocks this one out of the park as far as I was concerned as he tells a detailed story about being reincarnated multiple times. "TV Off" may be the best tune on the project, a banger from start to finish, and has a great beat switch, and great hooks. It's elite. I'd say the Heart part 6 is the next special cut on the album, a smooth beat as Dot reminisces on his and TDE's come up from humble beginnings, it's a great tune paying hommage to what made him the artist he is now, and he also speaks to why Black Hippy didn't go as far as maybe it could've. Lastly "Gloria" is another concept song that on first listen sounds like it's bout his girl Whitney but is about his relation with his pen and more broadly writing and how at times his writing can be negative and at times positive but he loves it. It's gotten him this far. There are a couple holes on the album GNX has a beat that's a bit clunky and the local LA features on there aren't exactly great."Dodger Blue" is a bit short and nondiscript and "Peekaboo" while fun and silly isn't one I'll always go back too. Still, this is a great body of work, there are cuts on this album that are among some of his best work, and it's also maybe the most fun I've ever heard Kendrick have on an album. This is also the most West Coast-sounding album Kendrick has ever released. A lot to love about this project. 8.5/10

Ice Cube-Man Down: Adding to an already great year in West Coast hip-hop Ice Cube adds to it with Man Down his 11th solo album. Ice Cube is a legendary MC but it's safe to say his fastball has slowed a bit from his late 80s to early 90s output the urgency, and riotous flow isn't quite as potent, still, there are some great tunes on here. Most of all of them are on the front half of the album. "Rollin at Twilight" has a smooth beat and flow, and has a nighttime drive feel to it. "It's My Ego" follows that and has a great bounce and basslines that give the track a true West Coast banger vibe. "So Sensitive" for my money is the best track on the album, the track is soaked in West Coast funk and Ice Cube sounds right at home on it. "5150" isn't bad either as Cube as it find Cube rhyming about dealing with a women who's off her rocker. After around track 8, the album is a little less consistent but "Fighting for My Life in Paradise" ft Kurupt is great, the beat is excellent, it's chill and breezy, and has a sunburnt afternoon vibe to it. "Break The Mirror ft Xzibit is a hard collaboration as well. It's a 19-track album and I think coiled down to about 12 would've been great for the effort but at about 1 hour the run time on this isn't too demanding. It's a solid outing from Cube that has definite highlights worth checking out particularly if you want to hear that West Coast sound. 7.5/10

MC Lyte- 1 of 1: 1 of 1 is the ninth studio LP for the legendary MC Lyte. MC Lyte's skillset has largely stayed intact one of the strongest voices ever in rap, consistently boastful and charismatic. "King King" Ft Queen Latifah is one of the best tracks on the album, a track celebrating men particularly those who settle down and find a queen by his side. Transversely, "Woman" ft Big Daddy Kane, Salt(of Salt and Pepper) is a great track about woman empowerment. On "1-5" Lyte gives you the rules to the game in life and in the music business. "All Day All Night" is a romantic story about young love, another strong tune. There are 14 tracks on here aside from skits and there are about 3 tracks that are a bit lackluster but for the most part, there are some great and substantial tunes on here. "Change Your Ways with Stevie Wonder and Common features a strong performance from all parties. MC Lyte's still got it and still has the knowledge and wisdom to drop. 7.5/10

Snoop Dogg- Missionary{Produced by Dr. Dre}: Missionary is the Twentieth album by Long Beach legend/Icon Snoop Dogg and his second with Dr Dre at the helm production-wise. The project is meant to be a sequel to the legendary album Doggystyle but I don't think it should be compared to that album or any of the great work they did during Death Row's initial run which contained some of the best rap albums, singles, and moments to ever exist in hip-hop. You have to take them where they're at and where they're at is a more a more matured place. Dr Dre's production on this project is solid, you get some beats that sound West Coast with the basslines and sparse sonics but these days more lush and wide-ranging. I love the sound of "Hard Knocks" The track has a nice sparse bounce and the beat switches nicely. "Out the Blue" has a big world music sound, meant to be played loud in your car. I like "Gorgeous" with Jhene Aiko it's grown and sexy in a way they would never be 1993 song has a bit of that funk to it but has a classy R&B feel to the chorus. "Skyscrapers" has a hard yet cinematic beat with horns, Dre's always been good about background details as well. This isn't in the lexicon of the best Dr Dre production but it's quality there's replay value. As for Snoop, it's actually a shame Dr Dre is just good because Snoop is stellar. He sounds crisp, clear, and sharp. Snoop raps on this album like he has something to prove, he's the best part about this album. From top to bottom, I often find myself saying damn Snoop went crazy on that. He sounds great on all the aforementioned tracks. His verse stands out on the Method Man-assisted "Skyscrapers". Snoop also leaves with the best verse on the Eminem and 50 Cent-assisted Gunz N Smoke. Gotta commend Snoop because to my ears he came out and showed out. There are moments on the album like "Last Dance with Mary Jane" and "Another Part of Me" that to me are a bit of a reach I'm just not going to listen to those. Still, I think it deserves to be put in the great category I think there are a lot of standout tracks and I think the project is largely cohesive. 8/10

By : Patrick Griffin II

[goatsincrediblysillymusiccorner]

Late Night Ramble About Long Ass Songs

I think it's fair to say songs have to earn their length. At the very least, that's how I feel. If a song is 15+ minutes long, it'll likely live and/or die by its intrigue alone. If a song is 45 seconds, it better make each and every one of those seconds count.

I think a phenomenal example of a short song is Vildhjarta's "Måsstadens Nationalsång", coming in at an incredibly brief 47 seconds. This track is punchy as hell, and it only gets more satisfying the longer you listen. It presents itself in its entirety; completely identifiable and unique from the rest of the album, then it effortlessly transitions into the next song like it's nothing. It's genuinely great.

But on the other end of the spectrum, you have songs that will likely absolutely dwarf the others in your playlist with their sheer size. It can be a bit intimidating when you go to check out a new album you've never heard and all of the tracks are upwards of 10 minutes. That is a lot of time to dedicate to the same artist—especially if you have other things you want to do with your time. But, man, the musicians that pull it off really hit it out of the park for me.

I fuckin' love long songs. For me, they're some of the most replayable tracks in any given artist's discography. Obviously, that's just personal taste. It doesn't necessarily mean that I inherently prefer one style over the other, but I do find myself gravitating towards a lot of bands who, indeed, do this.

If I had to summarize what was so appealing about it to me personally, I would say listening to a long track is akin to reading an engaging story. They share a lot more in common than you might think: consistent theming, a lot of them actively tell a story of some kind (especially if it's a concept album LOL), the contrasting usage of high points juxtaposed against dulcet lows, they typically feature a climax somewhere ... it all kind of fits into a similar shape. Told through a completely different medium, sure, but the appeal is identical to me at least.

Take Opeth's titular "Blackwater Park". This track comes in at 12 minutes, 8 seconds.

The entire song is a perfect blend of everything that makes the album so phenomenal. The first two minutes are spent building expectation. Those deep, tridgy guitar riffs completely immerse you inside this garden-esque soundscape of pure atmosphere and progressive death metal beauty. When the growls are finally added to the mix the sound becomes full and complete; but it's shortlived as we're soon thrown backwards into another heavenly verse, devoid now of both vocals and distortion. It's different, but you know it's still Opeth. After this abrupt switch-up, you're constantly left on edge, wondering what could be next. Every little decision has a payoff. I genuinely think this song is one of the finest masterpieces in death metal history. And I think without all of this room to breathe, it likely wouldn't have been.

Another one I instantly think of when it comes to long songs is Periphery's "Reptile". It's quite the monster of a track, boasting an impressive 16 minutes and 43 seconds.

Honestly, I've listened to this song hundreds of times and it still flies by like an instant. I don't even feel time pass when I'm listening to it. This is one of those songs where, if someone asks where to start with Periphery, I recommend it immediately. It showcases virtually everything that makes their music appealing to me. When it wants to hit hard, it hits hard. When it wants to build atmosphere, you better believe it's going to have the best payoff it physically could have had. Spencer's screams and powerful cleans are showcased in crystalline clarity, as are Misha's incredible compositional abilities and absolutely absurd technicality. Matt's drumming is the icing on the cake; matching the mood and tone of any musical scene it needs to. I could go on and on. It's a nearly 17-minute-long flex of a song where every moment is just as exciting as the last.

But that's my ramble over. I've recently been listening to this band called "Haken", and wouldn't you know, the song that got me initially interested in their stuff was long as fuck. And it was awesome. You should check it out.

[fleshsigil]

census designated - review

//content warning: discussion of depression/suicide/self-harm/dysphoria

census designated is in my top 3 albums of all time. i would give it a 10/10, but i think that rating music with numbers is stupid.

census designated is the sophomore album of jane remover, an artist who had originally broken into the music scene in 2021 with the seminal hyperpop EP, teen week. she then proceeded to release frailty later that year, a face-melting and depressing emo/hyperpop/edm fusion, which is another one of my favorite albums of all time.

needless to say, census designated is a pretty large departure from her source material, but one of the most positive changes i've seen in an artist's material ever. it trades in frailty's twinkly, edm-inspired vibe for a more acoustic and shoegazey style, while still retaining all of the things that made jane's music amazing in the first place. it features crackling, wailing walls of noise and basslines interlaced with screams and similar digital glitching effects to frailty; the hip-hop style drums used in frailty are swapped out for more acoustic, natural-sounding drums and the synths are much more warm and organic, fitting perfectly into the atmosphere of the rest of the album.

the tracks on census designated are on the longer side, ranging from 4 and a half minutes to almost 9. normally, seeing lots of long tracks on an album worries me as sometimes it can result in a lack of substance; this was most certainly not the case for this album. the long playtime makes room for bleaker, quieter moments building up into ear-splitting, astronomically cathartic breakdowns and climaxes. census designated effortlessly weaves together bedroom pop, shoegaze, and harsh noise into a varied and oppressive but beautifully blended soundscape for the entirety of the album. walls of warm synths and glitchy audio makes way for droning, feedback-riddled guitar melodies and minimal basslines.

the way that this album is able to convey the bitterness, desperation, anger, and hopelessness that are present in mental illness and dysphoria is something that i have seen in few other pieces of media. akin to uboa's the origin of my depression and giles corey's self-titled, census designated paints a visceral and vivid picture of depression, suicidal ideation, and struggling with one's identity, through both its lyrical content and sound. as someone who personally has struggled and is struggling with these things, this album has been unbelievably cathartic for me. all of the desperation and anger that jane funneled into this album is made into this palpable, dreamily vivid experience. a great example of this is the first ~20 seconds of video, a deafening wall of guitar, screams, frantic drums, and synths. during moments like this, jane also used a noisy sort of glitching effect to convey this complete collapse, this almost inability for the music to even stay within its bounds, breaking down into a messy, roiling sea of noise; a feeling that a lot of people who struggle with mental illness can relate to. this is then followed up with a bleak and soulful buildup until the eventual climax towards the end. despite this being a common song structure and theme throughout the album, it's re-engineered and done in a different way in each song, fully different from all the others; each song also discusses different topics, such as toxic relationships, going unnoticed in life, self-harm, hopelessness, the music industry, among other things. the lyrical content is vague enough for the listener to project their experiences onto it, but still personal enough for them to relate to jane's own experiences. there's this dark twinge of body-horror/cannibalism-themed metaphors for intimacy/sex/attraction ("biting chunks out of my face", "arm candy falling into his lap / take a bite") which jane herself said was inspired by horror movies that she had been watching at the time. anyone who has ever been in love, in a shitty relationship, or been ignored by the people around them will find the lyrics immediately relatable and impactful, although it's still enjoyable regardless.

the fact that jane remover was able to transition from terminally- online, attention-deficit digicore and hyperpop (which i still love, don't get me wrong) to one of the best shoegaze/noise rock projects i've heard in years is amazing and really shows her unfettered creativity, musical ability, and capacity to blend together multiple genres into a beautiful, cohesive project.

overall, i highly recommend that anyone who enjoys this style of music gives this album a listen. in my opinion, it's a masterpiece, and if you give it a try, you might think so too.

LINKS TO ALBUM ON BANDCAMP AND SPOTIFY BELOW

(i post music reviews sometimes, if you want more of that kind of thing, you should follow me)

[dustedmagazine]

Arthur Russell — Picture of Bunny Rabbit (Audika)

Picture of Bunny Rabbit by Arthur Russell

It had to happen eventually. Arthur Russell passed away in April of 1992, but through the dedicated sifting and sorting and careful consideration and meticulous preparation of his former partner, Tom Lee, and Audika Records founder and custodian of Russell’s musical estate, Steve Knutson, the man’s reputation has been burnished by a steadily growing posthumous back catalog over nearly 20 years — a span longer, in fact, than Russell’s original period of recording. But the well had to dry up at some point, and with Picture of Bunny Rabbit, Knutson himself says it may be Audika’s last “major” release. It is a beautifully fitting way to wind down the endeavor.

One of the reasons Russell remains such a guiding light for modern pop music is his boundless curiosity for genre; in that sense, he’s as contemporary as anyone working today — whenever today is as you read this. You have the dance-oriented Arthur that attracted acolytes of the “Springfield” DFA remix to stuff on Calling Out of Context as much as it did names like Larry Levan or Nicky Siano the first time around; you have his deep interest in theater and dance manifest themselves in scores like Tower of Meaning that Julius Eastman ended up conducting; you have the heartland singer-songwriting of stuff like Iowa Dream that showcased how plainly good he could be at conventional, Oskaloosa-infused coal town folk songs; you have all of it on what remains his masterpiece, World of Echo (though it’s worth a word here to mention the curious absence of Another Thought from Audika’s catalog).

Weaving in and out of all of these is an Arthur Russell I’d call the nocturnal, an artist interested in texture more than songcraft, moods more than discernible lyrics, often foregrounding long pulls on the cello and lower-register vocals on the mic. A less charitable way of putting it might be that it’s the version of Russell that haunts most, but you could just as easily say it’s the one that most completely taps into his ethereal skill, that otherworld of echo. However you want to look at it, that’s the Arthur Russell you get as the framework for Picture of Bunny Rabbit. There are noisy experiments and electronic wobbles afoot in these productions, but the bones of it are what I’d like to believe are the closest we come to his unconscious.

“Fuzzbuster #10” sets the scene with a gentle, contemplative instrumental of swooping cello and keys, and there are two more “Fuzzbusters” that lend color and scene-setting to this album that are well sequenced. “Not Checking Up” (which first appeared in 2019) makes its first appearance on record. The gorgeous “Telling No One” is virtually impenetrable lyrically in part because of the echo and in part because Russell jumps notes and rushes in closer to the mic, then backs away, emphasizing the dynamics and homespun nature that so many of his songs showcase. The album’s eponymous eight-minute noise experiment is the only clear outlier, but even in context, its continual manipulation of the cello into an increasingly weirder and ultimately almost guitar-shredding raga feels oddly welcome, a jolt of energy to an otherwise quiet, sedately restrained record that ends with another beauty from the archives. You can feel the same synth burblings from “The Boy With a Smile” in the bass if you turn “In the Light of a Miracle” up loud enough, but it’s almost a distraction to the after-hours love song Russell plucks to life. “Dancing in the light, holding in the light, reaching in the light …” he repeats as the song nears its conclusion.

That is how I suspect most fans of Arthur Russell would like to imagine themselves: dancing, holding, reaching in the light of his tremendous gift. Much like his ironically titled “Losing My Taste for the Nightlife” (which is his most touching song, and which I don’t think I’ve ever played before dusk or after dawn), Picture of Bunny Rabbit acts as a missive from beyond the beaming moon, a distant lover’s planet transmitting messages of hope and heart to those back here who need to hear it — for which there will always be a handful. The album may be the last major project Audika puts out, but just think of the people hearing this for the first time who weren’t even alive for Calling Out of Context, never mind World of Echo. There will be new followers forever even when there is no more new music. Arthur Russell passed away in April of 1992; Arthur Russell is eternal. The picture never faded.

Patrick Masterson

[rilshock]

Milestones - Miles Davis (1958 Review)

One of the three Miles Davis albums I have heard, we'll get to another one of those albums much later, Milestones was a transitional album for Davis in 1958. It was still showing him in his Bebop and Hard Bop phase, but he was also showing hints of his newfound knowledge of "modal jazz", where you Improvise not over chord changes, but modes. Davis would perfect this album on his seminal album Kind of Blue a year later, but since that's not part of the "10s" Revisited series it's gonna be a while before I review that album. Though the one time I did hear the album back in 2021, it has a really good stereo mix for 1959. Anyways, the album case in point. We start off with the opening track. Dr. Jackle, which I thought was just fairly average fast bebop. A rare moment other than the 1984 New Edition self-titled where I though that the opening track was the weakest on the whole album. But back to the song, all I can say about this song is that the double bass, played by Paul Chambers, sounds like the strings are being bowed rather than fingerpicked when played really fast. Much like on Sonny Rollins' Saxophone Colossus, the second track is a complete contrast from the previous in terms of speed, this case being the song Sid's Ahead. This is the longest song on the album at 13 minutes. Because it's at a slower speed, the improvisation is much more noticeably melodic, and I like how much minimalism the backbeat of the bass and drums are backing the horn solos before the piano, played by Red Garland, joins in during the second half of the song. The speed picks back up with track 3, Two Bass Hits, for some reason I can see the melodic intro and outro of this song somewhat fitting as background music in the scene of an 90s or very early 2000s anime. Unlike Dr. Jackle I actually enjoyed the Improvisation here a lot more, It's not as in your face and all over the place, but there are some melodic elements still there. Not a bad song for the side one closer. Side 2 is the golden run of this album, back to back home runs. It starts off with the albums title track, Milestones(originally called Miles). What I said about the background music in an anime applies here a lot more. This song is also one of the earliest noticeable hints showing Davis's experimentation with Model Jazz that he would later perfect on albums like Kind of Blue a year later. Moving from between G Dorian or A Aoliean. The next song, Billy Boy, is a beautiful sounding song with Red Gardland fronting in the song. Just a piano, bass and drums, no horns. The album closes with Straight No Chaser, another long song at almost 11 minutes long, which is also my favorite "long song" on this album. With each member giving time to improvise in their solos, everyone sounds remarkable. The only other similarity this album has to Saxophone Colossus, is that both albums are exactly 9 out of 10s

Listen to the album here

[maxwellpaws]

A review of Farrah Abraham My teenage dream ended (Album)

Hello everybody and welcome to my review (I'll come up with a punchy name later) of Farrah Abraham's my teenage dream ended.

Now I'm not going to go too in depth about her history all you need to know she was on 16 and pregnant and made this album and it's infamous for sounding like..that some people have criticized it for it and some people have defended it claiming it's great outsider art and can be seen as a prototype of hyperpop, which I can see the argument for both and it also peaked my curiosity which is why I went out of my way to listen to it and it inspired me to make this post.

Lets get started!

(note I recommend to listen to the songs I’m talking about while reading links will be provided)

Song 01: The Phone call that changed my life.

I quite like the instrumental to this song it sounds like the final level of a winter themed DS platformer, Farrah's vocals on the other hand, the fact there overly auto tuned isn't that much of an issue to me it's the fact that I don't think she's a good singer.

At least I think she is singing because the beginning of the song she is speaking and that's also auto tuned as hell.

Also I hate the lyric "I can only put so much in a song" it's up there with "this is my song I'm singing it now" line from the Snow white and the seven clever boys in being a stupid opening.

5/10

Song 02: After prom

I quite like the instrumental for this too and the shh! don't tell part. Farrah's vocals on here are good mostly because they are muted.

tough the second verse it sounds like she's kinda tumbling I don't know how to explain it, also this is prime animation meme material.

definitely the highlight of the album.

9.5/10

Song 03: Caught in the act.

Like the fist two songs I enjoy the instrumental (mostly the drum beat in the beginning) it too sounds like a level in a DS platformer (a mini boss perhaps?) At first Farrah's vocals weren't that bad.. but then she started rapping I don't like it.

6.5/10

Song 04: Without his ring.

The instrumental is okay it's a mostly piano piece I like the guitar and especially the chorus

 Farrah sounds really out of place here until the drums kick in epically in that middle part were the guitars disappear, so far this is the most fitting she has sounded with the music.

but overall not my favorite and the "I keep making mistakes I need to make more mistakes"

Is also just as dumb as "this is my song I am singing it now"

3/10

Song 04: Liar liar

I like the instrumental especially the choir and the synth (tough the guitar loop is kinda annoying) Farrah's vocals are there.

sadly this is a vocal heavy song, and again she barely fits in, and I would actually would be surprised if she could actually sing at all.

I was originally going to give this a 8/10 because I like the instrumental but I hate the vocals here, plus I think it went on a bit longer than it should have.

And a later song is basically a better version of this.

7/10

song 05: Unplanned parenthood.

Okay so with the other songs I didn't really care about the  title but with this one just makes me think of Myspace scene furry breakcore type stuff.

Kinda wish it was like that.

The instrumental I quite like especially the beat and synth, And Farrah's vocals are there.

one of my favorite things about the instrumental of this is the little high pitch celestial synths, and the long synth at the end.

7/10

Song 08: Searching for closure

I like the instrumental for this, especially the cho-hey wait a minute!

This is a better version of Liar liar I was talking about earlier which makes sense thematically, in liar liar she was mad at the dad of her child and I guess she moved on in this song (I think IDK he's dead)

I believe the song takes place at his funeral which if that's the case the instrumental is very fitting.

Uh anyways this is better version of Liar liar and Farrah's vocals are there.

8.5/10

song 09: On my own

I like the instrumental and in general this has my favorite instrumental in this album.

sadly this is the song were Farrah's vocals are a bit more distracting and keep going back and forth between actually fitting and not fitting.

I'd rate this a 10/10 if it wasn't for the vocals.

9.5/10

Song 10: The sunshine state.

I love the sad computer game at night PRS  synths at the beginning and the beginning beat is good until the drop

after that it becomes the following:

Sonic the hedgehog getting shot

Barbie fashion show for the wii

Dubstep

Is that spongebob music?

I think they sampled spongebob background music.

The only thing keeping this from being a 0/10 is the begging.

2/10

Song 11: Finally getting up from rock bottom

Were finally at the end, will this albulm end on a bang or a whimper?

This song is the "best" one on the album in the sense that she actually fits in with the song and isn't either being distracting or being drowned out,

The instrumental is okay not exactly my favorite but is has it moments (specifically in the middle)

but in my opinion it ended on a whimper.

FINAL THOUGHTS

I like certain aspects of it but over all it's just there, honestly part of me feels like it's kinda over hated like I wasn't really aware of music discourse in 20012 but from little I know of it I suspect  that  it acquired that a bit of it's infamy is the result of the backlash to auto tuning.

DO I RECOMMEND IT?

As a weird novelty to show your friends yes, but for actual listening unless you can find a vocaless version no.

Instead I recommend you go to the Youtube channel Phillip J. Fry II and listen the OSTs for DS and PC games they have uploaded.

My recommend pick would Garfield's nightmare (DS), My Little Pony; Friendship Gardens (PC), Barbie; 12 Dancing Princesses (DS) and Bibi Blocksberg; Der Verhexte Schloss-Schatz (DS)

Tune in next time to see me talk about the OST for the creatures PSX/PS port!

[dearthinkingoutloud]

"I wish I was a normal girl." (Pt. 2)

Pre-reading: Listen to "Normal Girl" by SZA

I was almost disappointed that I couldn't think of a song that felt with with this phenomenon written by a person of colour. Someone who would be even more relatable to me on this subject. And then, Viola! I remembered this song 10 minutes later. In "Normal Girl", SZA perfectly dictates how it feels to be dating as a black woman especially outside of your own race. Though it is definitely not always better to date within the race, there are specific experiences that seem to be universal to many black women interested in relationships.

Almost every young girl fantasizes about their crush liking them back, getting a confession, and finally, getting into a perfect, happy relationship and a happily ever after. This fantasy, however, is unfortunately not a common occurrence for black women and girls in the dating scene. As a young black woman who grew up in predominately white environments, I remember watching all my friends getting into relationships and experiencing real romantic romantic attention from others. Of course, I awaited the day that this wonderful daydream became reality for me, but that day did not come for me.

In the first verse, SZA sings...

"you love the way I pop my top Or how I lose my cool"

and

"Love the way I pump my fist or how I bust my hip For your affection, tryna be down"

This verse highlights the things about her that her partner loves. He loves when she "over-the-top" and when she preforms to be hyper-sexual and to get his attention. They loved when she fit the stereotypical behavior of black women. Outspoken. Aggressive. Seductive. Because her partners love when she behaves this way, she plays the part hoping to garner their approval. In the midst of this, she wonders if they would stick around if she didn't go out out of her way to act this way. The uniqueness that her partners enjoy so much is unlike her and this breed insecurity in the realness of her relationship.

As I observed my friends enjoying the pleasures of genuine love (at that age), the attention I received disappointed me. Instead of the sweet, puppy love experienced by my peers, the little attention I received was in sexualizing me. Slowly, I stopped hoping for the affections given to my peers when I noticed the the people that were receive the attention I longed for never looked like me. Like SZA, I desperately wished to break free of the stereotypes and be loved for who I genuinely was.

In the pre-chorus, SZA sings about this sentiment saying...

"Wish I was the type of girl that you take over to mama"

"The type of girl, I know your fellas they'd be proud of"

and after, in the chorus...

"how do I be your baby?"

"I wish I was a normal girl I'll never be, no, never be a-, oh"

She wishes she could be a "normal girl."

To be treated like a "normal girl."

To be loved like a "normal girl."

Unfortunately, it is not uncommon for minority women to experience fetishization especially in predominately white areas. These women are often objectified and reduced to mere stereotypes. They are are looked at as a "hot commodity" but not relationship worthy. Worth a try, but not worth it to stay and be serious. Since many minority women don't fit the ridiculous beauty standard amongst men, they are not treated with proper respect, thus reducing the chance of human connection to a "notch on a belt."

In Speak Okinawa, we are given Elizabeth Miki Brina's real encounter with this disgusting phenomenon as she begins to be interested in dating. When Brina was fourteen, she developed a crush on this boy and as he gave her any kind of attention, she obliged. When he said she would look better with her natural hair that was then blonde, she dyed it back. Eventually, he tells her that he will let her give him a blowjob.

He doesn't say: "Hey, you're so pretty!"

He doesn't say: "Can I take you on a date sometime?"

He doesn't even say: "I want you"

Which... would be awful anyway. He said, I will let you give me a blowjob, implying that it would be a pleasure to get this kind of request from him; and, because she had never received any kind of romantic advances before, she took this as "a token of kindness... [of] want and want means value," (77). Sadly, she learned the hard way that the opposite is true when the real romance did not follow this sexual request. There was not holding hands, dates, long phone calls, cuddles, or kisses. He did not really want her. He simply wanted to exploit her for who she is "one of the only Asians in a ninety-nine percent white town," and this is confirmed through the last sentence on page 78.

"The cute boy who let me give him a blowjob ends up dating a blonde anyway."

In that moment, Brina didn't know yet that she was being fetishized.

That there was nothing wrong with her.

That it was their "[entitlement]," and her so-called foreign uniqueness that made her, "undateable," to others (79).

That she would not be treated like a "normal girl."

♡ dearthinkingoutloud