#composer credits on 4/6 + lyric credits on 5/6 we LOVE TO SEE IT

[dreamaze]

[REASON] Preview

[bisluthq]

Hello, I found you blog this morning after what you said about Harry and Stevie. I love their relationship, and Harry seems to have a lot of support from legends in music, like Paul McCartney was the first person to interview him solo, and I just think that's so cool. I just checked out your "nat talks harry" tag. You can ignore this because it's a topic from 2 years ago. I'm just really interested in Harry's songwriting because he doesn't talk a lot about it. I think he might have a bit of imposter syndrome, especially when it comes to writing. He doesn't give himself enough credit, and casual fans might not be aware of everything his collaborators have said. Annoyingly, Harry doesn't take production credit even though he would be well within his right to take significant credit because if you listen to Harry, you would think he does hardly anything, but listening to his collaborators, they are saying Harry is really producing and he his telling them every note to make. Then you have the songwriting credits which he seems to be very generous with even Tobias Jesso Jr. saying he was completely shocked by the credit because section he contributed is barely on the song because Harry changed it. That being said for people to start giving him credit he needs to put lyrics at the forefront because, although I don't think this way, people think songwriting=lyrics (like the other day I saw two Swifties who I would consider to be pretty intelligent say Aaron Dessner isn't a good songwriter because the lyrics for the national aren't like Taylor’s). So Harry needs to start listening to the songwriters he has worked with him telling him he is an excellent composer and start believing it, and also he needs to stop being so generous with the credit because although they are very minimal to start with people like to inflate the number, saying he has a team of 4, 5, 6 and some even saying 10 people on every song when he actually has 2 like Taylor. Sorry this sounds like a huge Harry stan rant hyping him up for something not there, but Harry Styles as a songwriter is so interesting because it seems like people within the songwriting space are of the opinion that Harry is a great songwriter and really talented, but critics seem to think he sits in the studio and says “write something that sounds like this song”.

I think he absolutely does have bad imposter syndrome and I do think he needs to believe in his songwriting a bit more and take more credit for the production/even the level of engagement he takes in terms of curating collaborators. I said a few days ago that Bey never writes solo and has HUGE teams of collaborators and Swifties for example often use that to shit on Bey but (I’m a big Bey fan) I think what people don’t understand is she changes those collaborators depending on her vision for the album/era (which she very much curates herself). Getting in people who can help you put together what you’ve imagined doesn’t make you less talented, it just means you recognize that this person has something valuable to contribute to what you’re trying to make. She also (and Harry sometimes and I can see him doing it more) finds people who are very much not mainstream and includes them in the process because she likes their stuff and it’s a HUGE opportunity for them but also useful to her because she gets in people who… can help create and execute her vision. That’s also a skill. Harry is good at his job. Aaron D is great at his job and lmao @ Swifties saying he’s not a good songwriter when we KNOW he wrote most of Tay’s folkmore tracks himself and she added in lyrics like they worked together? Her lyrics wouldn’t work without his tracks and fwiw his tracks inspired her lyrics? Bizarre attack on him tbh but Swifties often behave in bizarre ways and say bizarre things lmao.

[chuuuvi]

Cyn’s Top 10 Kpop B-sides of 2023!

The sequel no one asked for but I couldn’t help myself. I love ranking things!

10. Melting Point by ZB1 - It basically interpolates Hush by Miss A which is just absolutely iconic. I applaud them for that. Keeping 2nd gen kpop alive. It’s a great song. I’m going to be telling you that with every one of these explanations lol. I love how it’s so light and fluffy sounding but then the chorus comes in so hard only to go back to the sweet sounding “touch touch blush blush” post-chorus.

9. Wonderland by TRI.BE - Ya’ll are sleeping on these girls! To be fair though so was I. I only knew them for that blow a little blow a little kissss song but I learned this year that they’re one of those groups with really good b-sides. I was so sad when I realized that In The Air (777) came out in 2022 instead of 2023 bc it was going to top this list. Instead though we have Wonderland which is almost as good! It’s just a super fun poppy song and the english version is great too.

8. Blue Wave by NCT Dream - This song is so easy breezy wonderful. It’s light and refreshing. Random comparison but it reminds me of that snapple rain drink? Have y’all had those? They taste like what this song sounds like to me. Lol I should rank my gas station beverage picks next. Got a little sidetracked there but yeah I love this song!

7. Eve, Psyche, & The Bluebeard’s Wife by Lesserafim - Absolutely iconic. Theres a reason this song got like a thousand remixes. Theres a reason it went viral! It’s really really good! I don’t know how to explain why it just slays. It’s cunty as the kids say. I will in fact be getting it like boom boom boom.

6. Tape by Kep1er - Potentially the most Kep1er-y sounding song they’ve ever made despite the fact that it’s a subunit song. Like it’s just the perfect encapsulation of their charm. It’s fun and quirky and catchy and I love it. One of my favorite songs for walking around campus. It just puts me in a good mood!

5. Next Page by IVE - I don’t have any complicated reason for liked this so much. It’s just a pretty and sweet sounding song! The chorus is so cute!! Baby, 난 이 다음이, 다음이 궁금 해 Oh, I love you so, l love you so ♡♡

4. Enhanced Flower by tripleS EVOLution - I admit this is a weird one to put so high because its more of an outro than anything. I love the atmosphere of the song though. It’s so peaceful and dreamy but also vaguely menacing? It’s just so captivating to listen to. Also I was pleasantly surprised to find out that Bae Shannon (Sungyeon of Pristin) has a writing and composing credit! Of course the song she worked on would be my favorite. Once a HIgh always a HIgh ^_^

3. Will I Ever See You Again by Red Velvet - I loved this song from the first moment. That little piano part is so lovely and then when it came back in the chorus with the synths I ascended! The vocals are insane too! The whole thing is so beautiful. It manages to feel gentle and dreamy but it also has so much forward momentum the whole way through.

2. Here We Go Again by JINI - Imma be honest I don’t stan NMIXX so I had no familiarity with Jini before this. I was drawn in though by the badass album title (An Iron Hand In A Velvet Glove) and ended up absolutely loving this solo debut. I really would have made HWGA the title track though. The lyrics are so perfect for her situation, like it’s practically a song about her redebut after leaving her former group. It’s almost too on the nose but I love that! Plus it’s just super fun and punchy and danceable.

1. Back To The City by Kep1er - I’m so glad that people are giving this song attention now because I knew as soon as I heard it that was THE Kep1er song. When they disband this is the one we’ll be crying to. (Well this one and tOgether fOrever and I’ll be getting emotional to Daisy too.. okay so lots of tears lol). This song is just nostalgic feeling. It feels like running in a field catching fireflies with your best friends. Just pure innocent joy.

Also heres a tangent, despite the fact that she has like 3 lines, back to the city BELONGS to Yujin in my book. She brings such earnest emotion into every performance. The fancam of her dancing to it with a big smile and visible TEARS in her eyes?! I love her so much T-T

Honorable Mentions Time!! - Lemonade by BBGIRLS (formerly Brave Girls), Kill Shot by Itzy, nevertheless by Billlie, agit by Purple Kiss, Cool As by KEY, The Feeling by Shinee, New Jeans by New Jeans, Touch by tripleS, New Kidz On The Block by ZB1, Ludid by Odd Eye Circle, Addicted by Heejin, Newtopia by Loosemble, Attitude by fromis_9, Chaconne by Enhypen

[thenightling]

My top thirteen favorite Christmas songs. My favorite Christmas and Halloween songs tend to change based on my mood but one thing is consistent. The majority of Christmas songs that I love were composed by Danny Elfman for Tim Burton's The Nightmare before Christmas. I promise that not all the songs on this list are from Nightmare before Christmas but admittedly many of them are. 14. (Bonus) God Bless us everyone from A Christmas Carol the musical (the stage version performed at Madison Square Garden every year.) 13. Welcome Christmas (reprise) from how The Grinch stole Christmas. 12. Noel (Also called The first Noel) - One of my favorite old Christmas Carols. Noell is an old Middle English word for Christmas and Noel is still the French word for Christmas. 11. Carol of the Bells - Originally a Norwegian folk song with its lyrics modified to be more Christmasy, this is probably one of the most "Metal" Christmas carols and I love rock instrumental covers of it. 10. Come Wayward Souls - To the tune of O' Holy Night this song is from Over the Garden Wall and sung by The Beast, voiced by Opera singer, Samuel Ramey.

9. Potatoes and Molasses / Potatoes et Molasses - From Over the Garden Wall, sung by the character Greg. It's more of a Thanksgiving song about what mashed potatoes and gravy look like. But it fits Christmas too. It's a homage to Shirley Temple's Animal Crackers in my Soup. 8. Monster's Holiday - From Bobby "Boris" Pickett this was supposed to be a Christmas song featuring the monsters of Monster Mash. It's cute and kind an early Nightmare before Christmas before Nightmare before Christmas. 7. Kidnap the Sandy Claws - From Nightmare before Christmas. Three ghoulish Trick or Treaters are tasked with bring Santa Claus to Halloweentown. The folks of Halloween Town (including Jack) mistakenly think his name is Sandy Claws. Trio plot how they will capture Santa. My favorite version of this is the original or perhaps the 2021 live concert version as it was the very last time Paul Reubens sang it live. 6. The Town Meeting Song - From Nightmare before Christmas. Jack (The King of Halloween) having just discovered Christmas for the first time attempts to explain it to the residents of Halloween Town with mixed results. Some of it is comical. ("Now pay attention. We pick up an over-sized sock and hang it like this on the wall." "Oh, yes, does it still have a foot?" "Let me see. Let me look. Is it rotted and covered with gook?" "There's no foot inside but there's candy or sometimes it's filled with small toys.") 5. Oogie Boogie's song - From Nightmare before Christmas this song deals with the Boogey Man (Oogie Boogie) having captured Santa Claus. Though I love Ken Page's version of the song, my favorite version is when Danny Elfman performs it live. He really hams it up and prances around on stage, pretending to be the Boogey Man. 4. Making Christmas - The folks of Halloween Town attempt to do their own version of Christmas. It's bouncy and energetic. 3. Finale (Nightmare before Christmas) - The folks of Halloweentown experience Christmas snow for the first time. And Jack professes his love for Sally. 2. This time - The never-released "bonus" song to Nightmare before Christmas. To me it sounds like an early version of "Making Christmas" only with more of a rock edge. Apparently it was originally intended for the end credits of Nightmare before Christmas but Disney nixed it and so the song was only released in 2012 for the Tim Burton / Danny Elfman music box collection, thus making it the rarest official Nightmare before Christmas recording and to my knowledge Danny Elfman has never sung it live. 1. What's This? - From Nightmare before Christmas. This was my mother's favorite song from the movie because it's bouncy and whimsical, upbeat, and fast paced. It's Jack, the King of Halloween, discovering the joy of Christmas for the first time. I wish I could have shown her the live videos of Danny Elfman performing it live. He has that same energy even now. My mother also really loved the song Santa sings to the Winter Warlock in Santa Claus is Coming to Town. "Put one Foot in front of The Other." And the Meister brother songs from The Year Without a Santa Claus. Bonus mentions for my mother's favorite Christmas song "Where are you Christmas?" from The Grinch. And my grandfather's favorite "All I want for Christmas is you" because it was from his favorite movie "Love, Actually." He'd watch that movie any time of year. He never considered it a Christmas movie. I mention these as bonuses because they are now difficult to listen to, especially "Where are you Christmas?" which already felt sad to me.

Bonus mention: Tales from the Crypt album "Have yourself a Scary little Christmas." It's mostly parody Christmas songs but there's also a cute story where The Crypt keeper actually saves / spares Santa Claus from a trap. I also like the David Bowie / Bing Crosby duet.

[youcantfiremebecauseiquit]

idk if u care but crispin gray recently had an interview about his entire career and it kind of changed my perspective of queenadreena…idk if for better or for worse lol. it was weird to see him so dismissive of a lot of his catalogue w katie except for ‘love your money’ just because that was the only remotely chart successful song. i get you want to be able to sustain yourself but jeez him and katie really had a weird back and forth relationship

Sorry i'm replying late, i've seen the interview pop up on Youtube but honestly i was too invested in university shit recently & generally not in the good mood for that but i'm planning to watch. How did it change your view on Queen Adreena, did he say something mean specifically on QA or Katie? I mean i gotta watch it but honestly? Not surprised in the slightest. A few years ago he was asked to describe fave songs he recorded throughout the years and he listed more of Daisy Chainsaw ones than anything else, with Love Your Money as number 1. The differences in their points of view are real something, Katie Jane absolutely HATED Love Your Money, same as Daisy Chainsaw. Kinda apparent he wanted bigger fame but DC dropped fast and QA failed to live up to their predictions.

i had a time when i liked to dig up old Queen Adreena interviews that are lost in the old internet & generally not available for years (which i planned to post on is-she-suffering but my investment in that site is... varied in its intensity). Also that was back in the days when i wrote Queen Adreena book during manic phase and tried to sell it but lost motivation Well since i don't do anything with that knowledge anyway i'll put what i know here as i love fan discussions

So they sure had/have odd back and forth love-hate relationship & that's the reason why their career went how it went. There's been a huge tension between them at some point. I'm sure you know she had a major mental breakdown (probably schizophrenic episode) after Daisy Chainsaw, or even beginning before her leaving, and then she went into isolation and lived with an old woman in Lake District for awhile. She left Daisy Chainsaw cause Crispin didn't want her to come up with her own songs (all of DC was by Crispin except for Lovely ugly brutal world by KJ).

They almost split up as Queen Adreena after Drink Me. The material for The Butcher and The Butterfly was written at different times, originally it was meant to be called Atom Bomb at Bikini but it was constantly delaying and they eventually recorded everything they've got live. So that's obvious right? But i was surprised to find out they were writing songs separately. Some of them (i forgot which though) were written by Katie Jane and Pete Howard's sons band (they're even credited) + some with Melanie Garside, Richard Adams + some other musician. Katie Jane didn't like it. They intended it to be their last album at the time. She also hated live at ICA show but they released it cause they were broke

But that's a digression. I just wanna say that at this point they were done with each other but kept pushing it. Katie had her own art projects and stuff, Crispin started Dogbones with Nomi and i just remember how vaguely pissed at Katie he waas in the interviews. Like he stressed that Dogbones is his number one priority and if Katie wants to do something with Queenadreena, she must wait til Dogbones have a break first or something, and it sounded oddly bitter.

RaCH and Djinn era are just so weird, they had opportunities but let them go in a way. I don't think many people know but they were huge demand in Japan. They entered album charts and were interviewed by 11 magazines and 6 (!)TV stations there (wtf happened to that material i want to know???). But they only played 5 times or less.

Katie said she considers the band dead but they decided they can try to play for a couple more months. But aside from that she 100% lost the interest in the band around Djinn. There's an interview where she says "the overall image is Crispin but the shape will change again at rehearsals". And you can hear it, it’s more blues rock than anything. IMO it's their worst production wise. Instruments are fine but Katie's voice is so badly produced that sometimes i find some songs fucking irritating, cause they didn’t cut out her breaths and the vocals are TOO LOUD, to the point of distorting. As if she stands too close to the mic. The album is fine but it feels unfinished.

And here we come back to Crispin... here's what he said after the QA split:

Why the Dogbones started? “I needed to work more than the previous band I was in was working, the previous band who shall remain nameless, haha… um… Queenadreena. I wanted to work more than the singer of Queenadreena wanted to work… so that’s why it started. Fine by me… but I really like to be in a band, I’m not a solo project kind of guy. The last album (‘Djin’) did come out in the UK, but it was so low key because Katie kind of disappeared so there was little point in promoting it. Personally it’s my favourite by far so it was a shame but there you go… So here are Dogbones, it’s not been an easy ride but we are trying very hard.

Ok so the bitterness is kinda apparent isn't it. I think there were two reasons why they argued so much, first musical differences. Katie at some point lost interest in loud rock music for some years and went the folk way in Ruby Throat. I have a theory that Taxidermy and Drink Me are more influenced by Katie Jane and Butcher and Djinn are more Crispin. During first albums i think Katie more actively took part in music composition and choosing arrangements. She wrote lyrics, melodies but also composed a lot of songs on some little electronic keyboard thing and 4 track (Heavenly Surrender, Pray for me, My Silent Undoing, all Lalleshwari +more). Plus she wanted more peaceful/dreamy sound on Taxidermy than full on rock, Crispin complained about it in some 00's interview, that he'd like it to be more rock. Then there are 2 versions of Drink Me, the original has rough and alt versions of songs (it was sold by Katie and it's leaked on FB and probably YT). Crispin Gray apparently really hated the final Drink Me. Now next album is The Butcher & The Butterfly and it's more standard blues rock, no more crazy dreamy things of previous albums etc., Djinn is even more blues rock but darker. Djinn was his favourite at some point while KJ hated Butcher, not sure about Djinn. So i think they had different views on where they should go, Katie made her weird simplistic creepy tunes (like Lalleshwari) and folk melodies adding that strange things to noise rock. Crispin probably wanted blues & rock.

Other than that, i’m convinced they are bitter exes, lol. There’s been rumours about them dating during Daisy Chainsaw for years, plus Katie had a history of dating band members. Crispin wrote X-ing off the days about her. I don’t know if they dated again in Queen Adreena. Then there’s this interview, timeline is unclear, either The butcher & the butterfly or later:

„Katie writes all the songs herself and often looks for melodies and structure with the drummer. With Crispin - her husband or ex-husband, which is not entirely clear to me - for almost three years she has no longer been in a room. "Sometimes we send him a letter with a new song and that's all we can do. All we have are our lungs and our musical talent and we have to do with it. It is repugnant difficult life, I know most of the time how I should deal with it." But Queenadreena will still remain even exist? "I think so, we are now pretty busy and I see where the ship aground.”

I always wondered what exactly happened after Djinn, i’ve seen Katie Jane say „i think they gave up on me” while others said she disappeared. Other times CG said there’s no bad blood between them but at the same time there’s been some weird tension.  As of recent i thought they reconnected somehow through the internet and had a good relation but who really knows.s

I get why Crispin gets irritated when people compare everything he does to „stealing from KJ” but honestly, he gave them good reasons, at least in the 90’s. I can believe Starsha Lee singer isn’t copying Katie cause she’s from Brazil or something and she didn’t know Queen Adreena before. But everything else… Crispin’s problem is that he doesn’t know what he wants. He spent 90’s chasing something, tried singing himself, had girl singer replacements and even one KJ copy. Dogbones was ironically his most original non-Katie band, even with all their grunge influences. In a way he wants to be a frontman and at the same time doesn’t. Idk if he’s very controlling, but Daisy Chainsaw shows he valued his songs/lyrics first & in Queen Adreena he had to step back a lot, cause Katie’s condition was she would be in charge of the lyrics. I don’t think he realizes how strongly Daisy Chainsaw issues affected Katie, i mean from her own words you can read that aside from media attention/hate, her being unable to write lyrics had a role in her breakdown. I think she now let go but for years she hated remembering Daisy Chainsaw and she felt kind of worthless cause she was only somebody else’s mouthpiece. I’m not trying to say he’s cruel or anything, but i firmly believe rock lyrics writers should sing their own songs or else there are problems.

They both were writers-composers with different vision and i have impression they struggled a lot while shaping their songs, cause they both stuck to their ideas. Hence 2 versions of Princess Carwash maybe. Katie once said that he „gets terribly upset with her” cause she writes her songs on a simple wind organ and uses a few chord buttons only. Clash of writer ways/personalities/egos and at some point they had to let go.

Maybe he prefers music/bands where he was 100% in control including lyrics (note he wrote/sang some lyrics in Dogbones too). Daisy Chainsaw achieved bigger success US and UK wise as they were offered to play Top of The Pops, and they’re more well liked/remembered by „general alt public”. Queen Adreena however is way more valued as a cult band, with cult following and admiration in UK & France. Most people think Pretty Like Drugs and other QA songs are his best work and he probably finds it irritating cause truth is, he never managed to be more successful than Daisy Chainsaw/Queenadreena. Love Your Money is ironically the least Crispin Gray/DC/QA sounding song in my opinion. I kinda find it irritating that he downplays Queen Adreena cause it was probably his best work in this band but whatever

So yeah sorry for the word spill, that’s what i can think of it right now but as i said, i haven’t watched the interview yet, it’s just this kind of treatment is in a way consistent for him

[sedregina]

无别 “No Goodbyes” – Heaven Official's Blessing Donghua Opening Song – My Translation

Since I couldn’t find a translation + pinyin of 无别 Wú Bié, I thought I’d try to translate it myself. I'd really appreciate people’s feedback in case you notice any mistakes or have any comments!

You are allowed to use this translation provided that you credit me @sedregina 

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无别 Wú Bié No Goodbyes

Singer: 张信哲 Jeff Chang / Composer: 谭旋 Tán Xuán / Lyrics: 何启弘 Hé Qǐhóng

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情丝挥剑 断了纠缠仍相恋 Qíngsī huījiàn ; duànle jiūchán réng xiāngliàn Swinging a sword at the strings of love, breaking the tangle, yet the mutual feelings remain

有谁怜 灭了明灯对残月 yǒu shéi lián ; mièle míngdēng duì cányuè Who will take pity and extinguish the bright lanterns to face the waning moon?[1]

往事化蝶 掠过花丛又离别 wǎngshì huà dié ; lüèguò huācóng yòu líbié The past turns into butterflies, fluttering through the flowers in bloom before leaving again

忍着泪 等待重遇的喜悦 rěnzhe lèi ; děngdài chóngyù de xǐyuè Holding back the tears, waiting for the joy of our next meeting

花瓣落成雪 满城游魂夜 huābàn luò chéng xuě ; mǎn chéng yóuhún yè The falling petals turn into snow, at night the city[2] is full of wandering ghosts

曾信仰的爱丝毫未冷却 céng xìnyǎng de ài sīháo wèi lěngquè The love that I believed in hasn’t cooled off in the slightest

容颜未憔悴 徒让白衣袖成灰 róngyán wèi qiáocuì ; tú ràng bái yī xiù chéng huī My face has yet to become wan and sallow, I’ve only let my white clothes[3] turn gray

和宿命不停追逐后 相会 hé sùmìng bùtíng zhuīzhú hòu ; xiāng huì We meet at the end of my ceaseless chase with fate

别后 花枯萎 眷恋盛开过的美 bié hòu ; huā kūwěi ; juànliàn shèngkāi guo de měi After our parting, the flowers wither, yearning for the beauty that once bloomed

一回眸 满眼幸福的诗篇 yī huímóu ; mǎnyǎn xìngfú de shīpiān Glancing back[4], all I see are poems of happiness

别后 花残缺 还剩绽放过的醉 bié hòu ; huā cánquē ; hái shèng zhànfàng guo de zuì After our parting, the flowers are in pieces, yet the intoxication of their blooming still lingers

错过你 尝尽酸甜都无味 cuòguò nǐ ; cháng jǐn suān tián dōu wúwèi I missed the chance to meet you, so anything I taste[5], sour or sweet, has no flavor

转身后 漫漫长路都无别 zhuǎnshēn hòu ; mànmàn cháng lù dōu wú bié After turning around, we won’t part anymore for the entire, endless road[6]

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[1] 怜 lián, pity, is the same as in Xie Lian’s name. I interpreted this line as the bright lanterns paling in comparison to the moon, so someone takes pity and extinguishes them.

[2] 城 chéng, city/town, is the same as in Hua Cheng’s name. It might be coincidental, but I find it a cool detail that both of their names are in this song.

[3] Literally “my white sleeves”, but I think “sleeves” here is a synecdoche for “clothes”. The white clothes turning gray could symbolize Xie Lian going through hardships during a long period of time.

[4] 回眸 huímóu is a literary expression usually used to describe a woman charmingly looking back over her shoulder. So I guess it’s “glancing back in a graceful way”.

[5] “Taste” is not to be taken literally here but it means “to experience in full”. I think it means any kind of happiness or sorrow is inconsequential for Hua Cheng if he can’t meet with Xie Lian.

[6] This “we won’t part anymore” is the same 无别 wú bié as the song title, that I chose to translate as “No Goodbyes” when it’s a standalone phrase. But the meaning is “no parting/separation”.

Final note: due to the nature of the Chinese language, there are practically no pronouns in this song, except for a “you” in the second last line. So, all the “I”, “we”, etc. are a result of my interpretation based on the context and what I know of the story. The language is also extremely terse yet full of visual imagery, and I tried my best to interpret it and convey it in translation, but of course my interpretation is not the only possible one.

[songsorter28]

Blackpink: The Album Review

Okay, this is the first time i’ve done this and the truth is i don’t know how, so i’ll just try my best.

First of all: I am a Jennie biased blink. That means I have no trustworthy sense of criticism when it comes to them and if you do, this is probably not the place for you. I will try to talk about this album with a sense of criticism, but sometimes, i’m just gonna like a song because it’s blackpink and y’all just gotta deal with it.

BUT, I am not afraid of saying i don’t like things that the pinks have said it to like, which is actually how i’m starting this review. So, if you guys are all about loving the girls and emotion and “think about how they must feel” this is a decision made by the girls, this place is also not for you either. I am a blink and i share a lot of love for those four women, but i am also a consumer of their work as artists. I will complain if I didn’t get something I thought was necessary as a viewer and listener for my money and attention to be spent. I will not, of course, hate on them in any way.

Ok, before anything:

1) English isn’t my first language, so I apologize for any mistakes. 2) Here, we’re gonna talk about the cover, pre-release single choices, writing credits, tracklist and my honest opinion about the album as a whole.

a) The Cover:

There’s not a lot to talk about but the fact that it’s gorgeous, but simple. I didn’t understand why a crown if the name was The Album (something unoriginal to be honest, but i’m not 100% against it) and there’s no reference to royalty throughtout the album besides maybe Jennie’s rap “didn’t want to be a princess”. I did find the cover visually pleasing tho, could be much more embarrasing.

b) Writing credits and Track List:

This one is quick. I’m extremely glad Jennie and Jisoo were credited as songwriters (Jennie as well as a composer) but Teddy gotta give Danny Chung to god. He hates rapper Jennie and he’s the reason Lisa doesn’t write. He’s always in charge of the raps so teddy gets confortable and Lisa doesn’t get a chance to write her own verses, which is something the sure thing cover showed us she can do. Also, he hates rapper Jennie to the point where she had to write her rap on the title track (wich is good, but, you know what i mean) and wasnt even given a chance to write more than 8 seconds. Melanie I hope this is the last time you were here. Loren you can stay. Tommy and Ryan yall were cute we had fun but it’s over let’s move one (seriously, these producers really made me appreciate Teddy more lmao pls sir never leave us). Okay that’s it. Now, to the track list.

I will be talking about the fact this shouldn’t even be called a full album on the My Honest Opinion About The Album As A Whole topic.

1. How You Like That

I say my opinion more detailed on the next topic but at at essence. Cute. A good opener to the album and what is to come, but too much of a bside to even be a pre release single.

6.5/10

2. Ice Cream

Again, my opinion it’s on the next topic. Cute song. Loved Chaennie’s high notes and wish i didn’t know english so the rap didnt sound that silly. Not as bad as blinks and non blinks make it out to be. 

6.12/10

3. Pretty Savage

I kinda also talked about that in the next topic lmao. It has everything a blackpink song should have. There’s been some controversy about Lisa “born skinny bitch” but Lisa was talking about herself since she has been body shamed through her whole career. She was right and she should say it. You’re entitled to feel uncomfortable but that’s just the thing she wasn’t talking about me or you. She was taking her pain and wearing like an armor. This was a diss track for the haters. Taking that away from her because of our own issues it’s kinda mistreating hers.

8.82/10

4. Bet You Wanna

Yes you guessed it right I talk more about it next topic. It’s a bop. Loved Jennie here. She has such a versatile voice I was very proud to hear her. And Cardi was also good. Just hope Lisa will get her rap part live cause she didn’t have much lines here. But I loved Jenlisa’s brigde. Rosé’s adlibs peak perfection and Jisoo’s chorus and english that’s what i’m talking about. The chorus can be a little repetitive and it kinda ends a bit suddenly but it doesnt bother me much.

8.37/10

5. Lovesick Girls

WHAT TO SAY ABOUT THIS MASTERPIECE OTHER THAN BEST BLACKPINK TITLE TRACK? Love that for me. It was so different than anything they’ve done so far, the lyrics were AMAZING, the message behind it also, the visuals in the MV, storylinne, RAPPER JENNIE OMG, she got the most memorable line “didn’t want to be a princess, i’m priceless” i love her tf the shade to the yg princess title and her scene in the car and in the mental hospital(will not touch on the controversies cause that was annoying) also Lisa’s rap/singing with a flow in the begining her voice OMG I WAS SHOOKEDT. Jisoo’s high note in the brigde? Rosé?? perfect.

10/10

6. Crazy Over You

Rapper Jennie for the last time with a 8 second rap again but LET’S BE POSITIVE. A bop. I loved the i. went. crazy. over. you. I love the lyrics. It bother a bit this much english but it’s bp’s idendity so i’m fine with it.

8.5/10

7. Love To Hate Me

This was a predictable song in the best possible way. Easily one of their best songs. There’s honestly nothing left to say. Also. Lisa’s rap. Maybe Danny Chung deserves some points. It even felt like she was a feat in the song like her flow yall just perfection.

9.4/10

8. You Never Know.

Great song I left with depression.

I like how this album talks with haters and blinks, it really shows a different side from the pinks. Only a few know the emotion Jennie starting off “but you never know unless you walk in my shoes [...] cause everybody sees what they wanna see, it’s easier to jugde it than to believe”. It was written by Loren, a close friend from the girls and the boy who’s Jenlichaeng  boyfriend in the LSG’s MV and Bekuh Boom, a producer who’s been with them for really long, but if anyone got a conspirancy theory that they were involved in the songwriting process of the song, sign me up. You don’t need proves. I believe you. ALSO JISOO GOT MOST LINE ON THIS ONE and we got singer Lisa. After a while, it become my favorite song from the album. Now, it’s my favorite song from their discography. Debate your mother.

9.62/10

c) Pre-Release single Choices: 

I can’t stress about this enough. Whoever was in charge for the single choices needs to go to jail. Not that HYLT is bad (at all) but comparing to the rest of the songs, it look MUCH more like a powerful bside than Love To Hate Me and Pretty Savage ever will. I will lecture later how Pretty Savage was the perfect choice to first release single, just wait. Now, to the controversial Ice Cream. To be honest, i found the song super cute and i think the MV was one of their best. It was different and refreshing, love that for me. But the whole sequence of events that turned out to that disasterous twitter timeline, with constant attacks to the girls especially Lisa over things they cannot control such as line distribuition and a sabotage from antis on yt comment section, was something I kinda already saw it coming. Ice Cream is Blackpink’s most successful single to date, but it was a bad choice from the start (I will talk about that in a second). For starters, YG decided not to promote the song well. While announcing the single, they gave us a poster with pictures from a summer package released months before. And each week they kept doing that, only using actual teaser photos in the release week. The hype was pretty much out. I can’t say my timeline is 100% blink because i have way too many fandoms that i’ve been following for longer than i’ve known kpop, but compared to the HYLT hype, they were pretty down and that’s on YGE. Also, ever since coachella, it’s been antecipated by fans and artists the possibility of a Blackpink x Ariana Grande (one of the most popular singes these last couple of years). The idea of an Aripink collab got blinks (who were already with an eye wide open after Blackpink was seen with Tommy Brown, Ari’s basically oficial producer, who has been producing for her ever since her second album and was reponsible for many hits of her latest project, Thank U, Next, such as 7 rings and Thank U, Next) even more hyped when YG announced (one of those old photoshoot posters. I’m sorry I will never let that go that company is so trash) that Blackpink’s second release was going to be a collaboration with a western artist, and Ariana herself like Jennie’s instagram post about the next single. I cannot put in words the reaction of my twitter timeline when YG confirmed that the collab was actually with Selena Gomez. 

Now, on a more personal note. 

You see, I actually like Selena. I like her songs, besides the critics. Perfect is pop perfection. Waverly Place is the best disney show ever since That’s So Raven. But, to a collab made to the US market, and besides the success of Rare, Selena isn’t a sales force like Adele or Taylor Swift, nor a streaming force like Ariana Grande. Nothing takes my theory that this was supposed to be an aripink collab but, for some reason, she dipped and then interscope (blackpink us label and selena’s label) picked her. Selena showed us a good time and promoted the girls more than YGE did but, it wasn’t a surprise when the song didn’t get a top 10 (a top 13 is really good tho, don’t get me wrong). 

Now back to the story telling

Selena was more than a feat, she sang the whole damn song, getting more vocal lines the the entire vocal line. She’s only a few seconds behind Lisa, who got the most lines in general. I understand that it is a collab, but this is the girls’ single. Why would they want to listen to them for only 16 seconds, the amount of time Rosé got? That set a bunch of solo stans (something that exists more in this fandom than everywhere else) to boycoitt the release, a huge fansite even taking out their funds for the full album (that was low, even for a solo account. JisooBar, you aint seeing heaven). Did i think it was a little of overeacting? As someone who’s an army that had to handle Not Today’s line distribuition, and especially since we’re talking about the main vocalist, someone who will for sure have more lines in the future (as she did), kinda. But, like i said, it was a bomb getting ready to explode at any minute. If it wasn’t that it’d be something else. That being said, NOTHING will ever justify the nastyness y’all did with Lisa and even Jennie’s comment section. Nothing. That was ridiculous even for solo stans. BUT for people who got worried about Lisa’s lack of posts after the release, don’t worry. She didn’t post a lot because Thailand is going through some stuff and I don’t think she has YGe’s permission to talk about it (when I catch the ones in power on that company istg). 

Wow, that was long. At essence, it  was a bad choice for several reasons, but i enjoyed the song a lot. Can’t wait for the live performances with chaesoo’s lines.

Now, back to HYLT. It was greatly promoted, it stopped Zico’s (huge in korea) releases and a bunch of other big artists in South Korea. Got 7 Perfect All-Kills and would’ve gotten more than 12 if the charts weren’t reforming at the time. It also broke a lot of records, and repeated Sour Candy’s position on the bb100 on #33. It’s another very Blackpink song that  I enjoyed but kinda aged. Many non blinks didn’t like it but it’s not like they were ever going to admit they liked a bp song. They’re annoying. The song’s biggest problem is probably the 2015 edm in the chorus. Like. Teddy. You gotta let that go. It’s time. He kinda heard us in the album. But, these kinds of songs are very liked by the general public, especially the korean one. An interview was made asking the general public if blackpink should change concepts and they said a bit fat no. So that tells what you need to know. And that it why i think Pretty Savage should have been the first pre release single. 

Okay, let me tell you another series of event. Back on november 2019, when we were starving because YGe does not like money, BlackpinkBar, a big fansite, payed trucks to be sent to YG building during a whole day demanding for better treatment to Blackpink. You can find all the demands online, but at essence, when it came to music related, blinks always mention: Jisoo’s lines, screen time and blackpink in your area, Main Rapper Jennie, Lisa dance break, Rosé’s high note. On HYLT, we got nothing. And everyone had to shrug it off saying it was just a pre release single, BUT it would be better hyped by blink and the hype to the second pre release would’ve lasted longe if PRETTY SAVAGE, who has basically all of that, was the pre release single. It would’ve assured us of so much. Jisoo said bp in your area twice, she RAPPED, she was singing, she could’ve had more screetime and center time especially bc she’s on all chorus. Jennie Main Rapper would go back and we wouldn’t have to be blue balled (which caused the ice cream meltdown)every single release and only having to wait till the title track and only to have a 8 SECOND RAP. I won’t talk about that now. Moving on. Rosé wouldn’t get a high note, but she would’ve gotten the brigde all to herself and the next pre release single, bet you wanna (wait for it), she would get those incredible adlibs. And Lisa’s dance break. Not only this is bp’s most danceable song and has a bunch of lisa’s raps, it also has jennie’s outro, where for a least 20 seconds lisa could’ve thrived. Yall we were robbed.

Now, real quick, back to Ice Cream. In a perfect world (or just a world where YG’s current ceo) had brains, if they wanted a collaboration to show the pink side of blackpink, with a poppy song and sassy lyrics, the artist not to be in the whole song, and to have an artist who would driven attention from the locals and is a big streaming force, THEY WOULD’VE CHOSEN BET YOU WANNA. My biggest problem with bet you wanna is Lisa’s lack of lines, which could cause stuff and well we just miss her they could have added a rap even for 8 seconds, BUT, seeing her all around pretty savage and knowing she’s gonna have Cardi’s rap during live performances would cool things down. Since we were in the middle of a pandemic, instead of a mv like ice cream where they had to do it separately, they could’ve done something like IU’s eight. A huge part in animation and a few with people. Literally YG why are you so dumb. Bye.

d)  My Honest Opinion About The Album As A Whole:

I did some math (lol) and my rank for The Album is 8.4. It’s easily one of the best releases from this year and I loved it so much, but something were left to be desired and i think i could pass everything and just turn a blind eye at things, except one: the fact we waited for 4 years, watched all ggs and yg groups getting comebacks last semester and only got 8 songs. Loona is releasing a mini album with that amount of songs. Stray Kids and BTS’s mini albums are longer than that. It was bad enough KTL had 4 songs and a remix (a joke) with 2 songs lacking raps and no rapper jennie only for them to carry YG’s dirty name after what their protected boys did. I legit hate it here they didn’t even had 30 minutes, their longest song wasn’t even 4 minutes. Also, before anyone says anything about the girl’s interview about quality over quantity. I’d like to say that i understand them having that when it comes to have one comeback a year and i’m honestly okay with that. But their first full album? 8 songs? Are you kidding me? Like I said, I’m a consumer. I refuse to receive this half assed excuse about quality over quantity when they had more than enough time to produce and write more than 8 quality songs? what, is impossible to write more than one song per moth? these songs have formulas, they can be made more than 8 times. A blackpink album its more than a thousand reals here. That 90% of a sallary. And please don’t come with the “if you don’t want it just don’t buy it” “you can just unstan them” bc that’s not the case. I love their songs. I love the girls. But I’m a consumer of their art and if they want to be takend seriously as artists, they gotta do more than 8 songs on a full album. It’s unfair to anyone that isn’t a diehard fan willing to sell out an overpriced photobook in hours. That’s not the only kind of fan blackpink needs. they need the store locals, the people who are not on twitter or tumblr or instagram. Cause those locals are gonna stay like they stayed with adele and taylor swift. stan twitter is much more likely to leave them with time.

Side note: I’m tired of commenting on rapper Jennie so I’ll just say Jennie deserves better than 8 second raps as the main rapper of the group. That doesnt mean I want Lisa to not rap or to Jisoo not to sing, as many will say bc apparently that’s what people hear when we say main rapper who trained for 6 years to be a main rapper should rap on at least most title tracks even if not on all songs.

But yeah, that’s it. Besides the unfortunate final note, I loved The Album and now Blackpink it’s my second most listened artist of all time. They were top 13 before the album.

[eldritchsurveys]

850.

1. What kinds of genres of music do you listen to? >> It’d be easier to name the genres I don’t listen to...

2. Are there any types of music that you don’t listen to at all? >> ...which would be bluegrass, polka, uh... noise... K-pop... yeah, that’s all I got right now. Honestly, K-pop is probably only here because I just haven’t gone to check out any songs, not because I actively don’t like the genre.

3. Do you own any band tees? >> Yeah, most of my t-shirts are band shirts.

4. Name some of your favorite male solo artists. >> Eddie Vedder, David Bowie, Steve Vai, Orville Peck, Sam Cooke.

5. Name some of your favorite female solo artists. >> Elle King, Sia, Beyoncé, Anita Baker, Céline Dion.

6. Name some of your favorite boy-bands. >> Okay, so are we talking boy bands, like Backstreet Boys and One Direction, or just bands with dudes in them? Because I don’t really listen to boy bands anymore (aside from songs that I remember from childhood), so.

7. Name some of your favorite all-girl bands. >> Hmm... I’m not sure I listen to any all-female bands. There’s some female-fronted bands in my library, but the rest of the members are dudes.

8. Name some of your favorite bands/groups in general. >> Oof. Here’s five: Zeal & Ardor, Coheed & Cambria, Pearl Jam, Trans-Siberian Orchestra, Volbeat.

9. Do you sing in the shower? >> Sometimes, if a song I know the lyrics to is playing. I listen to music every time I shower, it helps distract my hell brain.

10. Do you sing along with the radio in the car? >> I don’t sing along in the car because Sparrow has a thing about people singing.

11. Do you listen to music while you are cooking, filling out surveys, or cleaning the house? >> Sometimes I listen to music while taking surveys, but I don’t do it often because I find it too distracting. I do listen to music while cleaning, or taking walks, or doing any other task that mostly involves my body more than my brain.

12. What’s the name of the song that you’re listening to right now, if any? What’s the name of the band/singer? >> I’m not listening to music.

13. What kinds of music do your parents listen to? Do you think that their music taste differs greatly? Whose music taste is better, in your opinion? >> I grew up listening to soul, R&B, gospel, that sort of thing. I still listen to that stuff because I enjoy it.

14. Do you ever listen to music without any words? >> Sure.

15. Are there any famous musicians that you’ve met? Are there any that you would like to meet? >> Yeah, I’ve met uhh... Avenged Sevenfold, Coheed & Cambria, and Sevendust multiple times, as well as Halestorm, Steve Vai, three-quarters of Volbeat (lead singer wasn’t feeling great so he left the venue early)... yeah, I think that’s it. I used to be really into that kind of thing, but I’m largely over it now; I actually think it would be cool to see Sparrow meet Hozier, because she’s not had that experience.

16. What was the first concert you’ve been to, if any? How about the last/most recent? Which, out of all of the concerts you’ve attended, was the best? >> First concert was Avenged Sevenfold and Coheed & Cambria (co-headliner tour), in Asbury Park, New Jersey, in April 2006. The last concert I went to was Hozier here in Grand Rapids, last year sometime. I think it was last year. :x My time sense is all fucked up. Anyway, I’ve been to way too many concerts to start naming one as the best one ever, that’s crazy. Most of the shows I’ve been to were awesome as fuck (there were a couple ehhhh... ones, and then there was one I was way too high to enjoy lmao, but usually I have a great time).

17. Do you have a favorite movie soundtrack? What is it? >> I have a favourite movie soundtrack composer, actually, and that’s Clint Mansell. Everything he does is just... AAAAAAAAA for me. I can always tell when he’s done a score because I can just feel the music in my bones, and then I look at the credits and I’m like “OH OF COURSE IT WAS YOU.”

18. Would you want to be a band groupie? Why or why not? >> I had a phase way back when where I was obsessed with groupie culture (from like the late sixties through the eighties) and if you’d asked me then, I’d have said yes. I’ve wised up by now and I definitely would not want that.

19. What is a band/singer you would like to see but haven’t gotten a chance to yet? >> Yeah, there’s a lot of bands and singers like that. But I’d have to be really picky nowadays about who I went to see, because I just can’t deal with most concert environments as well as I used to anymore.

20. Do you care more about the beat of the music you listen to, or the lyrics? >> I mean, when it comes to the first listen, it’s going to be the melody that catches me. If that doesn’t happen, then I’m not even going to bother looking at the lyrics, so...

21. Does anyone in one of your favorite bands play an unusual instrument? >> I listen to some prog bands, so there’s definitely some unusual instruments happening in at least some songs.

22. What are some of the songs that you listen to the most frequently? >> I don’t know, probably Master Boot Record and Zeal & Ardor tracks. I’m a bit obsessed right now.

23. Could you make a playlist of songs that describes your life? What kinds of playlists do you have made? >> I don’t think so. I’ve definitely tried in the past, but when you really start thinking about the vast array of experiences and feelings that make up a life, it becomes fuckin impossible.

24. Do you remember listening to music on CDs and cassettes, not just on the internet? >> Yeah. Definitely don’t miss it, gotta say.

25. What kind of music device do you use in order to listen to music? (iPod, MP3 Player, etc.) >> I use my phone or computer, with Spotify.

26. Is there anyone in your family who is a musician? >> ---

27. Would you ever consider a career in music? >> No. I love music, but as a consumer.

28. What is a song that would describe your current mood? Who is it by? >> I’m not really in any kind of mood. If you know a song about being vaguely tired, then that’s it.

29. Are there any musicians of the past that you really admire? >> Well, sure...

30. Do you listen to Top 40 type music? >> I don’t even know what’s on the Top 40, so... maybe? Probably not, though, I haven’t really gotten into any mainstream-popular artists recently that I can think of.

31. What musical instrument would you like to learn how to play? Have you ever played an instrument before/taken lessons? What was it? >> I don’t really care to learn any instruments. It’s not something I feel passionate about, not like how I feel about listening to music. I’ve taken bass guitar lessons before, in like... 2008 or so? IDK. Years are fake.

32. Do you enjoy watching musicals on DVD or sitting through them as plays? Which method do you prefer, and which is your favorite? >> I would love to watch musicals live, but I definitely cannot afford it. I’m fine watching recordings of them (or movie adaptations, in some cases). My favourite stage musical is Phantom of the Opera (I say “stage musical” because I also have a favourite movie musical, and that’s Repo! the Genetic Opera).

33. What was the worst concert you’ve ever attended before, and what made it the worst? >> Taste of Chaos at Nassau Coliseum. It was the worst because arena shows are just the worst, period. I was right up in front (my friends and I camped out overnight) and I just got repeatedly slammed against the barricade and crowd-surfers landed on my head multiple times, et cetera. I’m surprised I didn’t leave with actual injuries (was wondering if I was gonna need a neck brace by the end), but I did feel pretty damn shitty the next day.

34. Have you ever crowd-surfed during a show or been a part of a mosh pit? >> Nope.

35. Have you ever gotten into an altercation with a drunken concert fan before? What happened? >> Nah, everyone I’ve met at shows have been pretty cool, if not downright awesome. That’s one thing I always loved about going to concerts, I seemed to make new friends every time.

36. Have you ever dated someone who was a musician? >> No, but I’ve fucked a few.

37. What are some of your favorite music videos to watch? >> Oh, man, it’s getting late and while I could go ham on this question, I don’t have the time right now lol. I’ll just say that I love nineties-era music videos, and some from the aughts as well. I feel like those were the best years for music videos, but that might just be nostalgia (and the fact that I haven’t really seen as many videos from the 2010s). As far as recent artists are concerned, I think Orville Peck makes really evocative and moody (not necessarily moody like pensive or depressive. mood-y. mood-evoking) videos that I appreciate.

38. Have you ever made a lyric video on YouTube? >> No.

39. Have you ever recorded a cover song and posted it? What kind of feedback did you receive? >> No.

40. Is there an album cover design that you really admire? >> I’ve seen so many excellent album covers, I couldn’t even begin to address this.

41. What are some of the most overplayed songs right now, in your opinion? >> I wouldn’t know, I don’t listen to radio or anything.

42. Do you watch music awards shows on television? >> No.

43. Have you ever competed in any sort of singing contest before? >> No.

44. Have you ever tried to start your own band before? >> No.

45. What’s the name of a band/singer that you recently have discovered? >> Dreamcar (yet another Davey Havok side project, because he just can’t be tamed, apparently).

46. What are some annoying/weird/funny songs that have gotten stuck in your head before? >> Barbara Ann gets stuck in my head all the time, but that’s okay because it’s fun and I love it.

47. Are there any songs that actually make you cry? What are they, and who are they by? >> There are many songs that make me cry. We ain’t got time for a list like that.

48. Do you listen to any music in another language? >> Sure. Off the top of my head, I can think of fave songs in German, Swedish, Japanese, Indian, and Italian. [a-zebra-is-a-striped-horse]

[mrsrcbinscn]

BDRPWriMo Task #28 - Closet

BDRPWriMo Task #28: Your character’s closet! Or, 15 iconic Franny Robinson outfits 

1-4. Franny’s (four) wedding dresses

Cornelius and Franny’s wedding was heavily influenced by Cambodian wedding traditions. [read here and here, later I’ll post a full HC post about what Khmer traditions they followed and how, and which ones they forwent - like obviously Neil didn’t pay a dowry for Franny] 

A traditional Cambodian wedding is comprised of many ceremonies, music, meals, gifts, and guests lasting for three days and three nights. Cambodians choose the number three because of its relation to “three jewels” of Buddhism: the Buddha, the Sangha, and the Dhamma. So Neil and Franny’s wedding ceremonies lasted three days, only family and close friends were invited to the majority of the ceremonies, with the Actual Wedding and reception happening on day three. 

Neil paid for all of her mother’s surviving (post Khmer Rogue years) siblings and extended family to fly in from Cambodia if they’d remained there, or from the other countries they’d been resettled as refugees to. For some of her siblings and cousins, the lead up to the 2002 wedding was the first time Sophea “Sophie” had seen them since before the fall of Phnom Penh in April 1975. 

They wore traditional Khmer wedding costume for all three days, but Franny changed into a Western style dress shortly after the first dance.

Day 1

Day 2 

Day 3 - The Actual Wedding

Apart from her wedding, she has four aesthetics:

Stage

#vintage

Professional pencil skirts and pantsuits

Dress to DEPRESS

5. Nature Dress

Franny wore this nature scene dress when she accepted her most recent Grammy award.

6. “Who’s This Farmer’s-Wife-Lookin’ Girl?”

... was the first thought Atlanta Jazz Festival 2005 festival goers had when Franny Robinson stepped onstage in a dress and boots straight from her closet.

“I didn’t have things like stylists or sponsored outfits back then,” said Robinson in a 2014 interview. “I’d already made a bit of splash as far as songwriting went; by then I’d had full or partial credit for writing and-or composing twenty-two songs. Mind you, I’d only graduated from NYU with my Bachelors’ in ‘02, and finished my Masters’ in England in ‘04. But as a singer, I had only released an EP and featured on other singers’ tracks. I wasn’t, you know, Franny Robinson yet. The 2005 Atlanta Jazz Festival was the first in a series of test runs.”

When asked why the Atlanta Jazz Festival when she was already living in England at the time, Robinson answered, “Atlanta is my home. The jazz festival was one of my favorite things about growin’ up here, so I wanted to launch my music career here.”

To this day, the outfit remains one of the most iconic Franny Robinson looks. Instagram captions of fans wearing similar outfits often read “channeling my inner Franny Robinson today.”

7. Baby Pink Cherries

In 2009, Franny and her lifelong friend and song-writing partner, bluegrass and folk singer and multi-instrumentalist Daniel Maitland (fc: Martin Sensmeier), formed the duo Dara & Danny. 

From an article:

Robinson and Maitland have known each other since middle school, when Maitland moved to her small town outside of Atlanta from Alaska. They started out as fiercely competitive rivals before Maitland proposed they marry their talents and begin playing music together. It was a match made in music heaven. 

Even when Franny went to NYU and Daniel went to East Tennessee State [the only university with a Bachelor of Arts degree in Bluegrass, Old Time, and Country Music Studies, which he holds], they remained in steady contact and spent their summers at home playing and writing together. The first few years of their music careers were spent breaking into their respective primary fields - jazz music for Franny, bluegrass and folk for Daniel - and coming together to write music and lyrics for each other.

It was again Maitland who proposed they perform together, this time, professionally. 

Dara & Danny, a duo made up of jazz musician and bluegrass musician, flirts with jazz music but is primarily influenced by bluegrass, folk, and indie rock a la Rilo Kiley. 

“Dara & Danny is where I get to explore the music besides jazz that made me. I grew up in rural Georgia, bluegrass, country, folk music, that was all around me. And I loved it. I love all music,” Robinson said. “Like, I love hip-hop. My husband got a crash course in Outkast and the rest of the Atlanta hip-hop legends when we started seeing each other.” 

The pink cherries dress was worn at the 2010 CMAs when Dara & Danny performed. They weren’t nominated for anything that year, but were super jazzed to have been invited to perform.

Dara & Danny, funnily enough, has been Franny’s most commercially successful project. Meaning, tracks have featured in movies, tv, and its what gets the most radio play. Her work in jazz is more highly critically acclaimed, and she is much more prolific with composing jazz music than anything else, but there are more people who first discover her through Dara & Danny that then find out she’s a world class jazz musician than the other way around.

8. Met Gala 2018

You know, the Catholic-themed one. She wore a dress depicting Adam and Eve.

9. National BIcon Franny Robinson

Franny is known for not changing gender pronouns when she sings songs originally performed by men. Prior to her coming out as bisexual in 2017, Franny dodged the questions by simply saying, “That’s how the song was written.”

In 2018 she appeared in a 1940s aesthetic music video for a song by her friend, fellow jazz singer, and out lesbian Lora Lopez. Franny starred as her love interest. There was seduction, there was making out, there was stealing from men. It was so gay. 

The ‘Making Of’ video is hilarious because Lora kept laughing every time she grabbed Franny and kissed her because the first time she grabbed Franny she was like “oh my god I’m sorry, was that too rough?” and without thinking Franny went “you’re good, I like it rough, you can make it real kinky and slap me if you want.” Because that’s the kind of jokes Franny makes. And for like five takes Lora could not stop laughing when she grabbed her and kissed her.

10. Seoul Hanoi’d at Glastonbury 2016

Franny’s second most active music project - apart from her constant solo work - after Dara & Danny is Seoul Hanoi’d, the best pun I have ever made in my life. She is a founding member and co-lead singer of the band. Seoul Hanoi’d is a genre-bending performance group entirely made up of Asian-diaspora singers and musicians whose main careers are in various genres.

[I’ll make a full hc post about Seoul Hanoi’d later, too!]

The name, a pun on ‘so annoyed’ comes from the capital of South Korea and a city in Vietnam. Seoul Hanoi’d currently consists ethnic Korean, Vietnamese, Cambodian, Malaysian, Indonesian, Mongolian, Kazakh, Chinese, Nepalese, and Thai diaspora who rotate out for live shows as their schedules permit. The "core” members are almost all at every performance. Of the core members, Franny is absent the most however, because of her wildly busy schedule. She has a hand in composing almost every original song, arranging most of the covers, writing a huge chunk of their lyrics, and is the common thread between most of the other musicians, so she is considered the leader of the group.

Franny wore this outfit during their set at Glastonbury 2016, their first year performing there.

11. Swynlake Adult Prom 2019

The Gatsby-themed one? That was Franny’s JAM. She killed it with her art deco dress!

12. Postmodern Jukebox

Franny’s been featured in a Postmodern Jukebox video, and wore this green velvet dress.

13. Twinning Pink Ao Dai at a Vietnamese Festival with a Vietnamese Friend

The co-lead singer of Seoul Hanoi’d is a Vietnamese-American named Vanessa Pham. Franny and Vanessa met when they were students at NYU through their involvement with the university’s Asian Student Union. Franny, a jazz studies and musical theater performance double major from Georgia, and Vanessa, an engineering student from Texas, found that they had a lot in common.

They were both the only daughters of war refugees who came to the United States in the 1970s. They were both from the South. Franny even spoke Vietnamese almost as well as Vanessa, as she spent her first four years living with her mother in the home of a Vietnamese couple who’d taken her mother in when she was pregnant with her. In both Franny’s hometown in Georgia and Vanessa’s in Texas, the small Vietnamese and Cambodian diaspora groups were very interconnected, so each other’s culture was almost as familiar to them as their own. 

They both liked to put bacon in their cheesy grits and put hot sauce on their rice when their moms weren’t looking. They both loved authentic Chinese food as much as the next self-respectin’ first-generation gal, but they also could put away some crab rangoons because cream cheese was truly king. They both could absolutely destroy their older brothers in a fight. They both knew all the worlds to every Dolly, Tanya Tucker, and Dixie Chicks song, but also found their parents’ old Khmer or Vietnamese music comforting.

Franny could count on one hand the number of other Cambodian students she’d met in her time at NYU, so even meeting Vietnamese Vanessa who knew how to order in hesitant, broken Khmer at the Cambodian restaurant they found was exciting. More than that, Vanessa was hilarious! And smart! And such a good, loyal friend. She had a hidden talent as a singer and wanted to do music like Franny, but her parents made her go into STEM for ‘job security.’

Vanessa graduated with her engineering degree and went on to get her masters’, but after working as an engineer for four years she quit to pursue music. It was shortly after she took the leap that Franny approached her to form Seoul Hanoi’d. 

On Franny’s Instagram, there’s a picture of her and Vanessa wearing matching pink ao dai at a Vietnamese culture festival earlier in 2019 with the caption, “Thank you for sharing your beautiful voice, laughter, and culture with me for twenty years and counting!”

“What I love the most about Asian cultures is just how many of them there are.” Robinson said in a 2019 interview. “I love when my Desi friends are like ‘hey! be my plus one at this wedding!’ and they invite me to wear their traditional clothing while celebrating with them. I love learning new Vietnamese phrases from my friends. I’m always so honored when I’m invited to participate in my friends’ cultures, because I know when I invite somebody to Cambodian New Year events, or a traditional wedding, its because I trust them to appreciate this important part of me and participate respectfully. Our cultures are so diverse, and beautiful, and vibrant!”

There’s a similar picture of Vanessa and Franny together at a Cambodian New Year celebration, where Vanessa’s wearing traditional Khmer clothing with Franny.

14. Plaid Dress

Franny wore and performed in this dress at the 2011 International Bluegrass Music Awards when Dara & Danny won the New Artist of the Year, and Song of The Year.

15. That Kickass Outfit

Franny wore this outfit when she attended and performed at the 2015 BRIT Awards, and won Best International Female Solo Artist.

[bbclesmis]

Composer John Murphy on Creating A New Musical Identity for ‘Les Miserables’

John Murphy returns from a personal hiatus to score PBS Masterpiece and BBC’s adaptation of Victor Hugo’s classic novel.

When you hear the title Les Miserables, you automatically think of the bombastic and overly played Broadway musical that came to a city near you. Or you saw the film adaptation that won Anne Hathaway her first Oscar a few years back. Since it debuted over 3 decades ago, Les Miserables has won the hearts of millions around the world. John Murphy, however, isn’t really a fan.

You’ve heard the music of John Murphy but you may not know it. I had no idea that he was the man who created that jolting music behind the opening sequence of 28 Weeks Later, and he also composed the lyrical and epic sound to Danny Boyle’s Sunshine (not only an underrated film, but an underrated score).

After taking a personal hiatus to focus on family and his personal life, Murphy wanted to jump back into scoring something completely different. If you look at his resume (you can sample his music here), there isn’t anything like Les Miserables on it. This is a classic tale of redemption with a sprawling scope and massive cast, and that wasn’t lost on Muphy. The score shows a huge amount of range, and he really digs into the minds of the characters. One moment the minds of Jean Valjean and Javert are amplified by the incessant plinking of simple piano strings and the next we are witnessing the horrors of Fantine literally selling her body for the sake of her child.

It’s a familiar story, for sure, but the execution is sophisticated and smart. The music is classic and enthralling in a way that a staged musical never could be.

You haven’t done a big project like this in a long time. Why return from your hiatus with Les Miserables?

I had enough of the movies, to be honest with you. I wanted to spend time with my kids. The spark had gone from me, and I felt that I was going through the motions. I wanted to feel like a human being again. When I decided that I was going to come back, I went in to see my agent, and we sat down to figure out what I wanted to do. I didn’t want to pick up right where I left off—with the wall of the sound, post apocalyptic sort of edgy thing I was getting known for. I wanted to do something a bit more grown up with more weight. I wanted something with gravity. A few days later, my agent said there was interest in my doing Les Miserables. I just cracked up, because, of course, I was thinking of the musical.

I do think that’s everyone’s immediate thought.

I hate musicals. I told my agent that I’d be the worst person for that—I’d mess it up. When he told me it was the book, something clicked. I remember that I read the book years ago. I used to tour a lot, and every time I was on the bus, I’d take a big stack of books. On a tour through France, I read Les Miserables. I loved it. I’ve never seen the musical, and I never want to—it’ll ruin it for me. It’s got everything. It’s got these dark characters wrestling with demons, good versus evil, death, betrayal. When I found out that it was going to be a 6 part adaptation and that it was going to be written by Andre Davies—who did the last War & Peace series—I knew I had to do it.

I had a Skype interview with the producers and the director, Tom Shankand. He was so passionate that I knew he was the real deal. He wanted to go back into the Victor Hugo book. It’s like a French Uncle Tom’s Cabin. Part of what Hugo was trying to do was let the world know of how these people were suffering. He was a brilliant man. He was trying to change legislation—he was a real champion of the poor. Tom wanted to get back to what the story was about and keep it raw. I was sold. A week later I was lucky enough to sit in a read through with the actors. Normally, I get brought onto a movie and they’ve practically finish the cut. It was interesting because they hadn’t even started filming yet.

Oh wow.

Yeah, I got to sit in and listen to their inflections the first time they were reading through it. There were ideas straight away. Lily Collins is this tiny thing, so that vulnerability was there immediately. I got to see Dominic—this huge guy. It was very inspiring. When I came onto it, I thought they weren’t going to start shooting for another 2 or 3 weeks, so I thought I’d have 6 months to wait for it. Then Tom and producers told me they wanted songs written, and I was like…hold on, what do you mean songs. There are these little songs and piano pieces in Hugo’s novel. They asked me if I wanted to do it, and I told them that I had never written anything before they started shooting ever. So I had 3 or 4 weeks writing these things.

With sitting in on that first reading, did it feel like the music could change with the characterizations or maybe that it would even help build the characters? I’ve never heard of a composer getting to see that so early.

Neither have I! With these great actors, it was amazing to see them. With David Oyelowo, you could see the posture he adopted—just reading it aloud. And I thought to myself, “That’s not natural.” There were all these different things I was watching—with him especially. When you’re composing in a medium that you already know about, you’ve got to make the distinction that you’re not scoring the book. You’re scoring this new retelling of the story. You have to be sensitive to what this new version is going to me. So, for me, watching David to his read through, he did a very quiet, controlled voice. It was different than the book. The same with Dominic. Dominic was a lot warmer with his Valjean than I remember the character being. I was putting notes in my phone and a lot of the things I felt that day helped me later on.

Once they started shooting, I just faded back to LA, and I was on my own. Just being there that day and cross referencing that with the scripts allowed me to write most of the scenes before they dropped the first episode with me. I got a real head start. I couldn’t write anything to picture, obviously, but by the time they gave me the first episode made such a big difference. I was lucky that when I agreed to do it, the read through was 5 days later. It was an amazing experience.

The miniseries has such beloved characters—whether you’re familiar with the book or the musical. Was there someone you really liked writing themes or motifs for?

It’s obviously to say the two main characters, but for them that was the biggest well. And it’s not just character scenes. I think some of my favorite things in there were the hulks scenes. I wanted to have something that felt utterly repetitive. What would be the repetitive sound of nothingness of this guy’s life? I ended up climbing inside the piano and muted some strings and was tapping one of the low piano strings with my finger to get this “dun…dun…dun…” It was this annoyingly repetitious thing that is so uncomfortable because you’re waiting for the chord to change. And it kind of doesn’t for ages. His biggest fear is getting caught. As soon as Javert sees him again at the factory you hear very quietly the “dun…dun…dun…”  I was trying to do the John Williams thing with Jaws. If he can do it with two notes, I wanted to do it with one. I thought it was a way to be effective without being necessarily musical. It’s not necessarily the character themes, but it’s the situational themes.

That repetitiveness feeds into Javert’s obsession with catching him.

You’re absolutely right. Javert’s version of it was much lower. His driving force throughout the whole story is his skewed sense of justice. In episode 3, 10 years have passed and he’s receiving the Medal of Honor, and when the camera comes to his face, it means nothing to him because this one man got away. You see him go to his room afterwards and when he starts eating his meal, you can see he does not taste it. Then you hear the lower version of the same theme and this hunger will never go away until he’s caught Valjean. It was a nice way to tie in the repetitive life of Valjean in prison with Javert’s mechanical obsession. It’s sort of Javert’s state of mind theme actually.

One of the most distinct pieces of music is when Fantine cuts her hair off and her teeth are ripped out of her mouth. The music feels like the score of a horror movie.

It was such a difficult decision to do it that way. Some people at the BBC said, “You can’t do it that way!” We had this scratchy viola when she gets her teeth pulled out. I thought it’s more gruesome without music. I argued with Tom because I thought that you need to hear the sounds of the teeth getting wrenched, and he said it’s too hardcore. We needed music to remind people they are watching television. I had that little theme for her on a music box with whole carnival. I wanted to do it a bit more macabre cinema—a bit otherworldly with this circus vibe. The guy who does the teeth pulling already has this painted face and hands, so I played into that. What changed it was I had this wonderful violist named Andy.

I need something to be whimsical but also be kind of fucked up and edgy. We had him in the studio and we were working through some articulations. We tried it with harmonica and tried it with the bow going one way and then the other, and then we tried putting it all together. We came up with this sound and I take no credit for it—it was him. It was swirling around and it was so fucked up. So we pulled the picture up, and we started as if we don’t know what’s going to happen to Fantine. Like she’s just going to get a haircut but we know it’s going to get bad. When we go into the teeth pulling, we were going let loose a little bit. There’s a moment when the old woman grab’s Fantine’s shoulders and pulls her back, and I thought wouldn’t it be cool if we did a viola version of the great guitar crash of Radiohead’s “Creep”? I asked him if he could do an 18/16, Johnny Greenwood crash in when he goes to take the teeth. He did it in one take. It made it completely over-the-top, but sometimes you gotta say fuck it. We may get hung for this, but let’s go for it.

I was going to ask if you used any nontraditional sounds in that sequence.

It sounds like a Les Paul with a lot of pedals with a lot of distortion. It was just the sound that we were getting from the viola. Once we had that sound, we wanted to use it in other places.

The scratching sound reminded me of the sounds people are scared of when they go to the dentist. It helped that she’s getting her teeth yanked out, so thank you for scaring the crap out of me with that.

We did use some non-orchestral sounds, but in that moment it just happened to be an orchestral instrument making that metal scraping sound. I hate the dentist too, so that sound really helped. It’s what you get with great musician.

There is obviously a lot of heavy material with this piece of fiction. When you get to do something different for the story—like the sweeping romance for Cosette and Marius—was that a welcome change?

It really did. Tom had an idea of what he wanted, and I had an idea of how I wanted to do it. He wanted a very gnarly folk score and to just use the music of the day. My original idea was 1816 Velvet Underground meets classic French 60’s romantic film music so we had these really light highs with grungy darkness. We ended kind of meeting in the middle. Some of the Velvet Underground stayed. What we both loved was when we went to the world of Cosette and Marius, we went to a stylized version of what she thinks love is. She’s just this abused kid who goes to live in a convent, so she has no idea what it really is. She’s 16, so she has every right to be romantic about everything. When we got to play her frame of mind, we got to play this romantic style. It was a relief after all the dirty stuff we’d be doing. I never thought I’d say that I was ready to get into some of that love stuff.

Since it’s 6 hours, this version really feels like 3 movies stacked on top of one another. Did the size of it all intimidate you?

I’ve done movies that have become big. My first thought was like, “I can’t win here.” Even though I’ve never seen the musical, people are going to watch it and wonder where those songs are. I didn’t think it was intimidating, but I did feel like I had a monkey on my back. Whatever I do, it’s not going to be the musical. A cloud that was always there. The only way to get through that is to completely own it. It’s clear that we aren’t trying to reference the show in any way. The first time I got the first episode, I think I was in denial. When I told people that I was doing it, they got so excited. But the first time I saw those famous two words come up on the screen, I thought, “Fuuuuck.” I had a beer and calmed down and we were fine from there. One small moment, and I got my shit together.

Les Miserables is streaming now.

https://www.awardsdaily.com/2019/05/06/john-murphy-interview/

[leapingtitan]

R∃/MEMBER (Individual Song Thoughts) - SawanoHiroyuki[nZk] 3rd Album

I made a review on the 2nd album, 2V-ALK a while ago so here is the next installment. This is mostly for the Sawano Discord server but I’m posting it here for convenience and safekeeping purposes.

01. Glory -into the RM- (violin: SUGIZO from X Japan; vocal: Yosh)

I really love the instrumental parts of this track. It works well as an introduction piece and is up there with ~prologue~ for me. The vocal parts with Yosh are a bit weak and turn the track from a badass instrumental piece to a stadium football game chant. The track can do without it. However, there is that one section after the chorus where Yosh whispers like he’s singing in a 2000′s alternative rock band and the vocals do this cool panning effect. SUGIZO from X Japan is on the violin and his parts are really good and have a lot of synergy with the sampled bagpipes and piano. The guitar chugs are also pretty cool and remind me of TBFworld a bit. Overall, it’s a good track despite the vocal section being a bit unnecessary. Speaking of, them lyrics. “Honor of dying alone”? Was this made for Thunderbolt Fantasy or something?

02. EVERCHiLD (vocal: Akihito Okano from PornoGraffiti)

I admit the track has grown on me a bit and I definitely like it more than I did when the first preview video of it showed up. Still, as I’ve stated many times, I don’t really like happy and bright songs too much and prefer something with a stronger emotional impact. Still, the track is nice and again I’m glad Sawano did something different with the drums for once rather than layering electronic beats over an acoustic kit. My biggest problem with the track is the last chorus and the outro. “Tiny world is so stuffed all day, but nothing’s gonna change my story” is sung 6 times back to back and gets repetitive after the 2nd one. Should have just kept it as an instrumental. Other than that, I’m not the biggest fan of Akihito Okano’s voice. I like him more in the first Bnha OP for instance.

03. never gonna change (vocal: SukimaSwitch)

One of the tracks I’ve been most hyped for since the preview has dropped and boy does it not disappoint. I love the guitar and the drums and SukimaSwitch’s voice is really nice. It honestly reminds me some of the pop-ish music I used to listen when I was younger. The “2nd chorus” in the original PV was actually the bridge, to my surprise. The 2nd verse, which is new here, is really good. Love the guitar that comes in after the first few measures. Overall, the track is great.

Lastly, that instrumental outro section with the piano and guitar was completely unexpected but it’s amazing. It sounds like it would be a track rearrangement if never gonna change was an OST piece. Really good and honestly adds a whole new dimension at the end of an otherwise great track. My favorite so far.

04. narrative (vocal: LiSA)

Now we get to some of the tracks which have already been heard before in other releases. I’d be repeating myself if I go in detail like with the other tracks so the tl;dr version would be that I don’t think LiSA’s voice fits this type of Sawano music at all. Not that it’s a surprise considering the track wasn’t even composed with her vocals in mind. The instrumental is, for all it’s worth, actually not that bad. I don’t really mind the strings, or “casio pad strings” as dante calls them and it makes the song at least a bit more interesting.

05. i-mage (vocal: Aimer)

It’s been a long time since an Aimer and Sawano collab and unfortunately I don’t think the wait was that worth it. For the record, I really love Aimer’s voice but the song composition itself is what I dislike. Similarly to EVERCHiLD, the song just doesn’t have enough emotional impact, at least for me. I can see the appeal of it otherwise but personally it doesn’t do much on my end. The intro and verse are alright but the chorus is where it gets too playful for me to take it seriously and I found myself spacing out and losing focus on the actual track which hasn’t happened with the other songs so far. The 2nd verse has some cool bass going on but it sounds really noisy in the mix for some reason. Lastly, again, same problem with EVERCHiLD where the standout English portion of the lyrics, in this case “Light and dreams that children hold tight, now you have them in your right hand” repeats way too much in the last chorus and outro portions. Same formula.

Despite all of these complaints I think if I listen to the track enough it might grow on me. Might. But other than that, a bit underwhelming and personally my least favorite Sawano and Aimer collaboration for now.

06. NOISEofRAIN (vocal: swan with nishi Takanori Nishikawa from TM Revolution)

I’m gonna be honest here, it’s really hard for me to talk about this song without any irony and memes to go with it. This song just slaps. That’s it. I listen to it on an almost daily basis and have been doing so since it came out at the end of November. Can’t really say much other than it’s my favorite [nZk] song and Takanori Nishikawa is the OG.

One thing I have to point out though is that the mix in this album’s version is slightly different than the one in the narrative/NOISEofRAIN single, specifically the start of the first verse where there’s two synths that are either made really quiet or missing. Yeah, I’ve listened to this track way too much in order to notice the smallest things like that..

OUTRAGERS DRIVE ME NUTS

07. Binary Star (vocal: Uru)

This is the one older [nZk] song I can’t put my feelings into words for. I really like Uru’s voice and I hope Sawano collaborates with her again in the future, but the song itself is just... strange. Specifically the instrumental. It’s just really weird, having the strings and piano portion at first and then adding drums later on. I just don’t know what to think. I definitely don’t dislike it and I do enjoy it but that’s it. I actually really need to listen to it more often... 

You know what, Binary Star is really nice.

08. ME & CREED <nZkv> (vocal: Sayuri)

Okay... so... uhm. I guess this is it. This is the track. I’ve made fun of this song a lot back when we only had PVs to go on. I called it a lot of things and overall shared the server’s opinion that it’s not that great. But you know what? I listened to it once today, in the full album. Just once, didn’t really need to listen anymore to open my eyes.

By the way, little fun fact: It’s actually spelled Me & Creed in the original Blue Exorcist OST, or I guess if you want the full name.. “Exorcist Concerto First Movement”... something like that, don’t !songtitle me... but yeah I’m just delaying the inevitable here.

So, I have finally been able to have a fresh, reformed opinion on ME & CREED <nZkv> and express my true feelings. Because, well, the truth is...

...

It still fucking sucks.

Honestly... just.. why? First of all, out of all of the “High Pitched Jpop Vocalists That Do Not Match Sawano’s Composition Style” category members, Sayuri is by far the worst. And, you know, that might just be be for not preferring this kind of voice that a lot of Japanese singers, but I’ve listened to some of Sayuri’s own stuff and it’s not bad because the SONG ACTUALLY FITS HER VOICE.

Now, despite all of this the verse is alright. The chorus is where the harmonies really get out of hand and only make the already bad vocals worse. And it wouldn’t have been as jarring if the instrumental was decent but it’s not. Me & Creed is not at all the type of song that would benefit from overly punchy kick drums and toms and it loses its entire flavor just with the drums alone. It sounds like a below-average pre-rec demo of the original track and doesn’t even respect what kind of song the original is.

Also, this is made for a mobile game. I don’t know about you but if this was in a game as its main theme that would not give me a good impression.

Fun fact, this is the only track on the entire album that is under 4 minutes long. I guess you can say it came short in multiple departments. I give it an Aldnoah Zero out of 10.

09. Unti-L (vocal: ASCA)

After the traumatizing experience that is the previous track, I come to something that is actually good. Unti-L and never gonna change are my favorite new tracks from this album. I’ve been looking forward to this one since the first 5 second PV and I’ve been listening to the short version a lot for the past week. The song is incredible. 6/8 time signature, ballad-y sound, strings and good sound design in general makes for a solid and near flawless track. ASCA’s voice is very enjoyable and I find that it works well with the song since it was probably made with her vocals in mind unlike narrative and... the other thing.

I can’t really say much else, really. Great intro, verse, vocals, melody and overall sound. The instrumental break/bridge is also very pleasant with the simple guitar. Probably the most emotionally impacting track on the album and I love it.

10. Cage (vocal: Tielle)

The original Cage is interesting but I have to say I find it inferior to the <NTv> version from the narrative/NOISEofRAIN single. I’m not the biggest fan of the synth in the intro and the electronic drums don’t quite do it for me in terms of the overall sound. The <NTv> version is still superior in every way and has fits more with the melody and Tielle’s voice. Overall though, the composition is great but you can’t really look at the instrumental alone in both cases since Tielle’s voice makes the track what it is.

11. REMEMBER (vocal: mizuki, Gemie, Tielle, naNami, Yosh)

Should have just credited it as [nZchoir]. 

On a serious note, this sounds like something you would hear in a Disney Channel movie, especially the chorus. The track is surprisingly pleasant to listen to and I find it really catchy and easy to jam and sing along to. Also like the parts where there’s just one vocalist singing and the choir effect in the chorus is really nice as well. Again.. Disney movie.

I actually want to say more about this track but I definitely need to listen to it a bit more to make other comments. Other than that, it’s nice.

Conclusion

As a whole, this seems like a much more fresh album than 2V-ALK. It still doesn’t compare to the diversity and variety in o1 or how solid UnChild is, but I still think it’s at least on par with 2V-ALK despite not having all that many songs. Still, the new original tracks here (well, almost all of them) are interesting and despite my comments on some of them I do think they do their thing and make the album.. work, I guess. I definitely have some tracks I want to go back and relisten to a few of them though, which is a good sign.

I don’t have individual ratings for the tracks but in terms of ranking, a few hours after my first impressions and a few listens I would order them in the following fashion. The best is at the top and the worst is at the bottom.

NOISEofRAIN

never gonna change

Unti-L

Glory -into the RM-

Binary Star

REMEMBER

EVERCHiLD

i-mage

Cage

narrative

you know what goes here.

And that would be it. Thanks for reading!

[fymonsta-x]

[ARTICLE] In an exclusive interview, MONSTA X talks about their concert in Brazil and their love for their fans

The group will perform on August 12 in São Paulo

MONSTA X are coming to Brazil for the first time and, in an exclusive interview with Vagalume, the members talked about their world tour, their favourite songs to perform live, and they still dedicated a song for their fans “Monbebes”. Formed by Shownu, Wonho, Minhyuk, Kihyun, Hyungwon, Jooheon and I.M, MONSTA X are one of the most awaited groups in Brazil this year. The septet will perform an exclusive show in São Paulo, on August 12, as a part of their tour “2018 World Tour - The Connect in Latin America”. Check out the interview and learn a bit more about MONSTA X. 1- This is the first time that your tour includes Brazil. What can the Brazilian fans expected from your concert? We have so many interesting performances and attractions prepared for this show. First, we have a lot of performances that we don’t show on TV shows, so we are sure that our fans will enjoy the show. We will perform songs from our latest album, “THE CONNECT”, which makes us really excited.

As many of you know, we are preparing special performances as well. These performances are a special attraction from our show, since it’s hard to show them in any other place. Lastly, we will work hard to improve our performances from our other albums. 2- Which song do you have the most fun performing during the tour? We like all songs from our albums, but lately we have been enjoying performing “Fallin’” and “Special”. A lot of our songs and performances are pretty powerful, but those are especially exciting. Fans like when we perform those songs on stage, like they came to a electronic music festival. It’s probably because of the unique atmosphere when attending a show. We enjoy our performances a lot more when we see our fans having as much fun as we do. 3- You receive a lot of messages from Brazilian fans. How do you feel about having this many fans on the other side of the world? Yes, we receive a lot of messages in our social networks. Since a lot of fans send their messages, we try to read as many as we can. Of course we are surprised and very grateful about their love. We grasp the amount of fans we have all over the world when we organise our world tour. We are grateful for their love and support. Every time we read messages in our social networks and see our fans on the shows, we give our everything to make sure we give the best performance possible. That is how we give love back to our fans. 4- If you could dedicate a song to Brazilian Monbebes, what would it be? We would like to choose a song from our album "THE CLAN pt. 2.5 'BEAUTIFUL'", "I'll Be There (넌 어때)", which Wonho helped composing for Monbebes. Even though all of our songs are good, we want to dedicate the song that describes how we feel about our fans best. It’s the best song to describe how thankful we are to our fans and the lyrics show every word we would like to tell them, so we hope they enjoy listening to it. 5- Do you know any Brazilian musicians or artists? Recently, we listened to a song by Elis Regina. She was one of the most influential artist of all time and she even has a movie about her life ("Elis", from 2016, starring Andreia Horta). Her songs expressed her passion for music, which made us listen to her for a long time. Her voice is so pretty that we were sad we hadn’t heard about her sooner. Music is not only about the language, but also the emotions involved. Lately we have been thinking that there isn’t an exclusive language for music. It can always impress people in different ways. 6- If you could have a collaboration with any artist, who would it be? Amongst Korean artists, we would like to have a collaboration with IU. She is one of the singers that represents Korea and we are profoundly moved by her music. So if we had the chance, we would like to work with her. Sunwoo Jung A would also be on the list. We think that if she participated in one of our songs, we would create a great jazz collaboration. Amongst foreign artists, we would like to have a collaboration with The Chainsmokers. If we could use their base, we would have a different kind of music from MONSTA X. 7- Since debut, MONSTA X went by different music genres. What can you say that has changed in your creative process? (About the creative process) There are so many things that inspire us daily. So everything is an inspiration to us. We receive inspiration from our friends, family, the weather, movies and books. We also receive inspiration from our fans, Monbebes. They give us love and affection constantly. That feeling is very precious because we receive it from fans. Especially in these last few days, we believe we are profoundly inspired with our world tour. We acquire a lot of experiences and feelings when we travel around the world. 8- Which choreography was the most difficult to learn, and why?

The choreography to our last song, “Jealousy”, seems to be the hardest one. We consider the theme the most important thing when we create the choreography, which leads to the plot creation. So, this time, we included parts in our dance that reminds us of the theme “jealousy”. Because of that, we consider this choreography to be a lot harder because we kept on changing it until we got up on stage, so we could show our fans a perfect performance. But we are very happy because our work paid off. We think our fans also enjoyed it a lot. 9- Which lyrics from MONSTA X do you like and why?

We like the lyrics from “If Only”, from our album "THE CONNECT". Although the lyrics are sad, it reminds us of a movie. This is one of Wonho’s songs and we were very surprised when we listened to it. We always knew Wonho was good at writing lyrics, but it was really refreshing to listen to a song so touching. We like the lyrics from this song because we can visualise the entire plot in our minds. 10- Can you send a message to your Brazilian fans? Brazilian Monbebes! We are very happy to meet your for the first time on our world tour. We know you have waited a long time to see us on stage! That is why we worked hard in our performance and we did our best! We hope everyone can come and enjoy the show. Thank you for always cheering for us and loving us. To give back your love, we will always be the best MONSTA X we can be. Thank you. We love you!

Original interview at vagalume.com.br Translation: fymonsta-x (take out with full credit).

[fandom-glazed]

music asks!

FAVORITES 1. what are your favorite bands? Lord Of The Lost, Porcupine Tree, Nightmare, Frost*, newer: Scarlet Dorn 2. what are your favorite singers? Lady Gaga, Steven Wilson, Zia, Lorde, newer: Down To Eden 3. what are your favorite albums? Thornstar by Lord Of The Lost, In Absentia by Porcupine Tree, To The Bone and Transience by Steven Wilson 4. what are your favorite songs? Six Feet Underground by Lord Of The Lost, Trains by Porcupine Tree, What I’ve Done, In The End and Numb by Linkin Park, My Demons and Ricochet by Starset, From The Flame by Leprous, Lovesongs (They Kill Me) by Cinema Bizarre, Would It Matter by Skillet, Hyperventilate, Experiments in Mass Appeal and Snowman by Frost* 5. what do you think the best popular song of the year is so far? I honestly don’t know. 6. which genres of music do you tend to like the best? Prog, Metal and any heavy stuff (not including “brutal” Death Metal - on a daily basis), Indie, Alternative, Soundtracks 7. what is the best concert you’ve ever been to? Either the Steven Wilson To The Bone Tour concert(s) in Hamburg 2018, or the Lord Of The Lost MEGA tour concert in Munich 2016 8. song of the year? My personal songs of the year (not released in 2019) at the moment: Kiss Me by Rob Vischer, While This Way by Árstíðir .2: 2019 still has to deliver! 9. album of the year? See 8.2 10. what are the best songs your parents have gotten you into? Anything by Keane, Evanescence, Depeche Mode,... 11. how did you first find out about your favorite band/singer? My own, like, nothing I inherited from my parents, favorite band was probably Cinema Bizarre and I found them through their first single being played 24/7 on Viva. 12. when/where do you first remember having heard your favorite song? I don’t remember anymore, sadly. I first heard Trains on a train station. 13. about how many times have you listened to your favorite song? I have absolutely no idea, any number I’d name would be too low. 14. if someone asks you what music they should check out, what are your go-to recommendations? I always assume my taste in music is nothing most people would care to listen to, but I’d say everyone should check out Steven Wilson(’s projects) at least once. And I’d promote my favourites in Lord Of The Lost till I die.

NOSTALGIA 15. what songs give you the most nostalgia? Anything by Evanescence, Keane, 80s music in general, The Corrs, Kylie Minogue, HIM... 16. what kinds of music were you raised on? Mostly 80s stuff, some rock, much pop, my mother brought some jazz as well, unfortunately. 17. what are your favorite songs that have ever been popular? See 15., probably :D I love almost every song by Gaga, I’d say she’s definitely popular! 18. who were your favorite musicians as a kid? I adopted my parent’s favorites, mostly The Corrs, specifically their drummer Caroline. Eisblume. Cinema Bizarre. Though that was already in my teens. 19. how did you feel about music as a kid? Music is and has always been my love and a great hobby. 20. what was your first concert? if you haven’t been to one, what do you want your first concert to be? I was six years old and I remember my dad telling me to say I’m seven so the security would let us in. It was The Corrs and I think it was either in the Hanns-Martin-Schleyer-Halle in Stuttgart, or in the Olympiahalle Munich. We went to several concerts in that year. (So that’s where I got that from!)

PERFORMANCE 21. how do live performances, whether they’re from your friends or professionals, tend to make you feel? Like in another dimension. 22. singing in the shower or singing in the car? I don’t drive, so, rather in the shower. But mostly at my desktop, extremely loudly. 23. if you were to become a musician, what kind of musician would you be? I am a pianist/multi-instrumentalist, but I think I’d never want to be a professional. 24. if you could pick one instrument to learn how to play, what would it be? If improving on the piano doesn’t count, like, learn something completely new, I’d say, maybe the harp, the cello (though I tried it some years ago). 25. what is your singing voice like? what singers do you remind yourself of? I don’t have a super special singing voice (I’m told otherwise), but I hit all the notes thanks to my trained hearing. I don’t really remind myself of someone particular, but I can make my voice sound like different singers like Scarlet Dorn, Lorde or the singer of a band, I just discovered, Trees Of Eternity. 26. have you ever been involved in any music programs? which ones and for how long? I have been member of my music school’s programme/ensemble. 27. which instruments do you know how to play? what’s your skill level? I’ve been playing the piano for 13 years, if I’d kept up the hard work I put in it until 2016, I’d be rather high-skilled, I started to play the guitar some years ago, but I was never really sufficiently active. I also began playing drums and even cello, but due to price and neighbours I couldn’t continue. I am an autodidact singer and I can play the bodhran. 28. if you took music lessons as a kid, are you glad you did? if not, do you wish you had? I am glad I took piano lessons, but I wish I had started taking guitar lessons sooner. I’d be much better by now and I also adored my teacher as a person. He kinda reminds me of my actual mentor now.

SOUNDTRACKS 29. how do you feel about video game soundtracks? I love video game soundtracks. 30. what soundtracks do you enjoy listening to the most? It changes from time to time, but at the moment I love the Mass Effect: Andromeda soundtrack and also the Dragon Age soundtracks, as well as most of the Marvel movies’, Ghibli movies’ and Game Of Thrones’. 31. which soundtracks do you think are objectively the best (or what are some that you think deserve appreciation)? I’d say check out Trevor Morris, Joe Hisaishi and Ramin Djawadi and you’re on the right scent. 32. how do you feel about musicals? I absolutely love musicals and used to visit some as often as I could with my aunt. 33. do you have any favorite composers, including classical ones? See 31, as for classical ones, I love Rachmaninov, Bach and Chopin. 34. are there any soundtracks or kinds of soundtracks that you just can’t stand? Can’t think of any at the moment. 35. what are your favorite songs/soundtracks from movies? I stared to obsess with Under Stars by AURORA from the ME: Andromeda credits, I love the Misty Mountains, The Marvel Avengers theme and the Harry Potter soundtrack, actually I can’t possibly remember everything to write it down.

LYRICS 36. what are some songs whose lyrics you relate to? Ou, that’s a personal one. There are many. But to name a few: Would It Matter by Skillet, Covered In Gold and Walls Of Utopia by Oh Fyo!, Don’t Hate Me and Prodigal by Porcupine Tree, Pariah and Hand Cannot Erase by Steven Wilson, No Me No You by Frost*, almost everything by Scarlet Dorn as well as Black Halo and most of all Cut Me Out by Lord Of The Lost 37. pick a song and analyse its lyrics. Can’t do, shouldn’t do, probably. 38. which songs do you think have the best lyrics? There’s just SO many. 39. what are some songs whose lyrics you think most people just don’t get? Six Feet Underground by Lord Of The Lost, not your typical love songTM, Harmony Korine by Steven Wilson, also so much by Steven Wilson. 40. are there any musicians whose lyrics you particularly tend to like? Steven Wilson. Next! :D 41. do you prefer songs that have good melodies or songs that have good lyrics? Good melodies, generally. But once I got hooked on by the sound I live for good lyrics.

CHALLENGES 42. name five songs you like that were released in the 90s. Join Me In Death by HIM, Walking In My Shoes by Depeche Mode, Rosier by Luna Sea, Viva Forever by Spice Girls, Enter Sandman by Metallica 43. name five songs you like that were released at least 50 years ago. I could name you some classical compositions... 44. write a parody of at least a verse of any song you’d like. Reign, reign on me, reign on me, reign on me. Reign, wash away, triangles and tears, blur all your plot and reign on me. 45. name 5 songs you can’t stand. Despacito, Despacito, Despacito,... 46. look at your country’s song charts, listen to the first unfamiliar song you can find, and share your opinion on it. I didn’t know and didn’t like any of the first eight I looked at. That’s how much I love chart music! 47. turn a song lyric into a pickup line. Until the end of night... (listen to Blood For Blood by Lord Of The Lost. I won’t explain any further.) 48. name the last 5 songs you listened to. While This Way by Árstíðir, Loreley by Lord Of The Lost, Ten Feet High by Andrea Corr, a song I mixed and mastered, Sinking Ships by Trees Of Eternity

RANDOM 49. what are your favorite album covers? In Absentia by Porcupine Tree, Thornstar by Lord Of The Lost, Hand Cannot Erase by Steven Wilson, Resist by Within Temptation, Milliontown by Frost* ... 50. any cover versions that you think are better than the original? I mostly like the cover version and the original. 51. how often do you listen to music? 24/7 52. do you collect vinyls? if so, what have been your best finds? I do have some by Lord Of The Lost and Steven Wilson. 53. if you could meet any musician you’d like, who would it be? Steven Wilson. By faaaar. 54. how do you feel about classical music? I love classical music. 55. would you ever want to have a career in music? I am, in fact, an aspiring audio engineer. 56. if you had a stage name, what would it be? My stage name for audio productions and art is nadzumi. 57. on a scale of 1 to 10, how important is music to you? 11. 58. how do you feel about rap music? Don’t like it. Only a few songs. I like Eminem. And I found the influence in Linkin Park very interesting. But I’d rather stay away. 59. what do you think the best “era” for music was? I’d say the 80s, some of the 90s and now, because there’s such a diversity, everyone will find something they can love. 60. how has music affected you as a person? I’d say I am music. (Music has affected everything.) Feel free to ask away any number if you want me to answer it in more detail!

[whatscoolaccordingtodom]

July 2018

As winter nyasto settles into the Southern Hemisphere, I can’t help but think that maybe we’re doing something wrong and whoever has been in charge of the weather these past few years is mad. Our ancestors wore nothing but a bit of hide over their groins 365 days a year, my great-great grandfather never slept inside anything his whole life. They say on particularly cold nights, his family would come down from the hills to sleep around his fire, where he would sit there playing his mbira into the wee hours.

Umphako floated down to us on the 6thof July and I’ve been Mascandi through the streets ever since. The 4 track EP sees most of the songs go in different directions, but still make sense on the overall project. “Abangani” features label mates Emtee and Saudi, it’s definitely in the running for Squad Song of the Year. The “Confession” sample sounds like it was taken from an old hip-hop song, maybe a 50 Cent track and; the vocals though beautiful as they may be are overshadowed by the lyrics. I’m sure a few Zulu boys are convinced though. “Intombi” -also about a girl- talksis about all the lies she hears from interested suiters. The remaining is the hustle track, even the production is more upbeat than we’re used to from him. 2018 has been good to Sjava too, he came out from under the shadow of his labelmate and established himself as a serious contender with the Black Panther nod, BET award, and oh so Afrikan press run; this EP serves to show he’s still the guy who gave us favourites like “Before”. At least for now...

Strings and Blings is one half songs that can be bangers and the other is half is talking RnB. Nasty C’s on and off long-time girlfriend is kind of like the centerpiececentre piece, often finding herself being spoken to, of, from, about, and with; but he uses inconsistent angles. (Also, S/O to the girl who always sings on his songs but never gets credited). “No Respect” is my favourite offering on the project by far, it sounds like it was getting good, like he was about to rip at niggers, he’s about to start going in at the 1-minute mark then the just stops.; Tthe track ends 25 seconds later preventing what probably would’ve been a PR nightmare for him. “Jiggy Jigga”, “Givenchy”, “Strings and Bling” and “Gravy” are all easy plays in the club. We would like to thank Nasty for saying a Zulu word on “Blisters”. The whole album plays very well except for “My Baby”, that song is terribly cheesy; it sounds like every song by a boy band with a potty mouth lead singer. “SMA” is a standout from the other side, the dialogue verse’s add a layer to the rapper and Rowlene is just perfect. “Mrs Me” and “Everything” are the other emotionally heavy songs. “Casanova” cements just how much Nasty loves Metro Boomin and is perhaps the one track that doesn’t really fit into the 2 sides of album, it sounds emotional, but the lyrics really just aren’t.

A welcome addition to my favourite rappers in South Africa is Zakwe, he’s been around for a while but Cebisa is the first project by him I’ve listened to and honestly, it carries itself even without Sebentin. In true South African fashion, the remix is a who’s who of our rap elite but it���s all overshadowed by the obvious trade of bars by HHP and Cassper., Cass just seems to rub some people the wrong way, poor guy. At 20 songs, averaging well over 3 minutes each. The album is a long play but it’s well worth the listen, with a plethora of features to keep you entertained it plays like a Zakwe and friends playlist. The man himself has honed his sound, this nonchalant cross between hip-hop and kwaito is best described by the albums stand out line “Pac was Jesus, Zola wrote the Bible”. He isn’t stuck in old hip hop either, trap beats found themselves nestled in the playlist too.    

Future gave us Beast Mode 2 and I am satiated, but Atlanta spoils us (I have a theory about how it had a direct influence on how music is frequently now released), they understand that the streets need new music often. Jeffery needs to give us something more now since Hear No Evil was a while ago and it was 3 songs long. Future seems to be the only one of late who can get Young Thug into the studio too., Tthey did release Georgia, but a Thug feature was not on the cards for BM2 which really only has 2 features, both young artists who were given a wide berth to shine. People who say Future isn’t a lyricist need to take time out to listen to the first Beast Mode. On these albums over Zaytovens most almost gospel like production, he addresses a wide range of issues from his self-medicating drug problem, he checks himself trying to hold onto some sense of reality I think, but he makes it so that you have to listen to know what he’s saying. Being a workaholic -the man releases projects at an alarming rate- and the excess that seems to come with the life of having your “Racks Blue”, he talks about his anxieties both external and psychological. BM2 is the classic mix of Futures braggadocio and insecurities. It plays like one long thing the first time, but if you take the time to listen to what he’s saying you might realise why his spot amongst those at the top of rap is a non-debatable topic.

Unjayam uSliqe… this calling card annoyed me when I first heard it, but it’s kinda grown on me since then. I know I’m about to hear a hit when it plays. His sophomore album is a shining example of how hip-hop albums by DJ’s have evolved into their own league. Jam packed with features, feel good songs, and amazing production from the man himself, I don’t know if he just makes the beats and let’s people do their own thing or if he composes and directs each song, maybe he does a bit of both. The formula works, Navy Black is like a calm afternoon with your friends, most of the songs share a skeleton, so the vibe is carried well. “Biskop” is a fitting way to begin the album, it’s an ode to how the journey Sliqe, Kwesta and Makwa has transformed the artists’ lives since they started hustling, when is a Kwesta verse not welcome? Chiano Sky is the new naughty white girl, “Aunty” was nice, but “Girls Jungle” is a lot; the sample is so perfect and her lyrics are irreverent. Sy Ari saw Black Panther 5 times, I was going to discuss this but then I found out he’s American; him and AKA really came through for “Oh Well” though, Supa Mega talks like the big brother all young rappers have always wanted. I’m kind of torn between “Fully” (because we get to say FULLY a bunch of times), and “Town Talk”, it’s cool to see Wrecking Crew members make hits without their big gun. “Backyard” is the vibe of the album, and who better to call for a feature than Mr Hennessy, Tshego can sound like him featuring him with the different pitches he can sing at; it’s smooth and never overly emotional?

Gigi Lamayne, in her short time has built an enviable career finding her place in the league of our small handful of rappers. “VI” is a 6 track EP, her first since signing with Ambitious and it was built kind of like this version Maslow'sMaslows pyramid.; Tthe top is tiny and signifies the worst song as we descend into the album the sections get thicker until the bottom where we find “VI” waiting for us. The tape gets much better immediately with “Iphupho”, this song see’s the artist sing her truths about living in this concrete jungle while demanding to cash in on her dreams. “Roll” is dirtier, real trap shit reminiscent of “Beez in The Trap”. “Stimela” is fun, Gigi even gets in some good raps and punchlinespunch lines, a highlight being “I’m Gautrain, you Shosholoza”. “VI” is really easy listening, with a light sprinkling of zulu lines, the beats are catchy but maybe none more so than “Twinkle”; “Londie London” croons the memorable chorus and Gigi offers her most solid verses on the project. Until you hear the title track, she does the correct thing on the outro; no chorus, shit she barely lets it breathe until the last minute.

Ice Prince is an established name in Afrikan hip-hop and his confidence oozes out of his songs too. A few of them seem to be more about weed than anything else in particular and I’m okay with that. The albums opening track is a bass heavy banger, with the help of Jethro Faded, Ice-Prince “Shuts it Down”, which might be a weird way to start an album. Remy Baggins comes through for “Space Funk”, a Bruno Mars-y chorus with solid verses by Ice. “Hit Me Up” is the albums single, a typical South African trap track, PatricKxxLee & Straffitti help bring the head nods out. “‘Interlude”’ is his way of letting us know that this is the emotional track of the album and “Die For Your Love” does not disappoint, mans really promises to die for her love; but doesn’t miss the opportunity to mention weed again. I think I noticed all the weed references because of how frequently and prominently most of them are placed. “254” has one right in the chorus, but the verses are some of the most enjoyable on the whole album; they play like one long story. The uncredited singing bit at the end of “254″ is really nice, if that is Ice then kudos to him. “So High”, seriously, has Ice Prince always been this proud about his stoner ways? Anyways, “So High” is an anthem dedicated to just how high Ice Prince and Kay Switch get. By the sounds of it they use regular rizla and not Raw like Nasty C and Snoop Dogg, I might suggest switching to unbleached rizla if he really does smoke from Niger to Ghana. I mean, it’s an obvious metaphor for other kinds of highs too, success, girls, etc, but with the sound effects and lines like “puff puff pass, real nigger smoking that gas” the weed references might be all we get. “Watching You” is a simpler, way more vibey track where Ice Prince gets back onto his singing shit, helping keep the song as smooth as possible. The album closer is arguably the best, the production is really enjoyable, and he made sure to use easy to remember lyrics.

In The Faculty NEWS; on August 2, Human Error turned 19 and Tinayeishe Elisha Makoni better known by his stage name S.K.eye released his debut solo tape titled “Pseudology”. Please listen to it on Soundcloud @ https://soundcloud.com/tinayemakoni/sets/pseudology

Couldn’t leave without acknowledging Stay Dangerous and Astroworld, but that’s for later.

Beyonce and her husband are coming on the 2nd of December, but you have to earn a ticket. The only other ticket you work this hard to get in life is the one to Heaven, if you’re into that type of thing.

Edited by @NyraBlac

[nyfacurrent]

Business of Art | Music Licensing for Documentary Films

Create the perfect atmosphere with music.

Music can have an enormous influence on the mood and impact of your film, but you need to remember that virtually every piece of included music, no matter how long it is played, will need to be licensed and paid for.

During a workshop that took place at The New York Foundation for the Arts (NYFA) in November 2018, Peter Miller, Emmy and Peabody Award-winning filmmaker and music supervisor, shared his experience and philosophy on how to tackle licensing music for documentary films. Among other helpful advice, we learned that music clearance should be considered at the beginning of creating your film, not just in post-production. We also learned that it can take the wits of a “music historian” to find the right license. Read on and learn more via this helpful step-by-step guide to getting music cleared for your films.

Step 1: Consider Your Budget (and Potential Alternatives)

Having a very particular song in your film can be rewarding, but considering your budget (and your time) is an important first step. Licensing a song, even if it only plays for five seconds in your film, can be quite expensive. Ask yourself if the specific piece of music you want is vital or if there might be an alternative, such as:

Hiring a musician or creating your own score. Creating your own score will add an element of uniqueness to your film by composing a song that follows the emotional structure of the film (rather than vice versa). It gives you the freedom to use the song in any way that you like, in any medium, for all eternity. It is also cost-effective.

Using library music. Library music, also known as production music or stock music, is recorded music that can be licensed to customers for use in a film or other media. Although library music can be seen as generic or less authentic, it’s decent quality and written and recorded by professional musicians. You might be surprised by how many T.V. shows use library music in their episodes. You can find information about and links to music libraries by doing a basic internet search.

Step 2: Know What Kind of Rights You Need

Music licensing requires acquiring two types of rights (typically from two or more different entities that will need to be cleared). There’s a ‘master license’ and a ‘synch license.’ A master license is a license that gives you rights to use the original recording of that song. This is typically derived from the music record label. A synch license is the actual written song (lyrics and notes) itself. The license will be issued by the entity that published the song. In most cases, you will need both licenses. If you use, for instance, Adele’s Rolling in the Deep, you will need to acquire both.

There are a few exceptions where you will only need one license over the other. An example of this is when you have filmed someone singing a song and used that recording in your film. In this circumstance, the recording is yours, but the actual lyrics and composition are not. You will only need a synch license.

In all cases, whenever there is music or singing, do your research and acquire the appropriate rights to have them in your film.

Step 3: Is the Song in the U.S. Public Domain? It’s Not Likely.

Don’t bet that a song is in the public domain. Music that was written and recorded before 1923 is considered to be in the public domain in the United States. All music created after 1923 is, in most cases, protected by copyright. If it’s a song deeply embedded in our culture, or even a protest song, don’t assume it’s in the public domain—always double-check!

Sometimes a published song is in the public domain, but the version that you will be using in your film is a brand new recording, sung by a different artist. You will need to acquire a license for the recording. (In this case, you would only need to acquire a master license, rather than the synch license).

Step 4: Do Your Music History Research!

Based on Peter Miller’s experience, it is a tricky endeavor to find the right entities that produced the original recording or published the actual song. Thankfully, Miller provided tips!

To find the right recording entity and publishers will require the skills of a music historian. Here are the best sources to find the respective music licenses you will need to ask for from the correct entity:

The Search for a Master License

The search can get convoluted. As copyright law is different in Europe and music rights are more freely available there, European countries are often the producers of various compilation albums like “Best Rock ‘N Roll Hits of the 70’s” or “Most Romantic Pop Songs.” If you look at the distribution details, a specific music distributor will be listed. But, that’s not the original recording or publishing source.

Believe it or not, when it comes to knowing who recorded an album for an artist at a given time, Wikipedia is often your best source. Do a search with the artist’s name and see which record labels they were affiliated with when they originally recorded the song.

Allmusic.com is another great resource to assist your music history search. The downside to this website is that it will list all of the European labels that produced a compilation album, in addition to the original label, which can get confusing to sift through.

The Search for a Synch License

Performing rights societies ensure that songwriters are compensated for their music and provide the public with easy-to-search databases to find what entities own the publishing rights.

The difficult part about acquiring a synch license is that there can be multiple publishers that own various percentages of shares for the song. When this is the case, you will need to request the license from each publisher.

The two most popular societies are:

The American Society of Composers, Authors and Publishers (ASCAP)

Broadcast Music, Inc. (BMI)

Roughly half of all songs are controlled by ASCAP and the other half are controlled by BMI. If a song is not found in their databases, check the Society of European Stage Authors and Composers (SESAC).

Step 5: It’s Time to Request the License!

Once you’ve found the right entities to request licensing, remember to keep your request simple, as companies are sifting through multiple requests at a given time.

Get straight to the point and be logical about your request based on the life of your film. In your request, include the following information:

Synopsis: what is your film is about? (1 sentence!)

Term: For how long you will need the license?

Territory: U.S. or worldwide?

Rights: Will you need rights for film festivals, TV, video, streaming or theatrical, wide-release, etc.? Do you need rights for your trailer?

Timing: how much of the song will you be using and where in the film? End credits or title?

Proposed fee: there are no set fees in music; always specify a number to give and offer what is credible.

Options: If you are not sure you will participate in film festivals yet but would like to, it is best to build this option into your contract to ensure you understand the costs of using the song upfront.

Step 6: Ways to Negotiate and Determining the Right Fee

Fees in the music industry are negotiable. To request a good rate, you will need to do some research to ensure that what you are asking for is not too high or too low. While a feature film could easily cost $25,000 each for a master license and a synch license, a documentary film license could potentially go for less.

When proposing a fee, you can also utilize what is called the “Most Favored Nations (MFN)” clause. Using MFN, you are proposing a price for a piece of music and guaranteeing every distributor and publisher that you will pay the same price for every piece of music in the film. If they accept MFN, you are bound to the promise: if one distributor happens to license their music for more, you will either need to go back and pay all of the distributors the same price or reject the offer and seek an alternative.

If you received a “no,” you can navigate the negotiation on these points:

Shorter term, or ask for an option to renew

Fewer rights for distribution options

Less territory coverage

Build in options

Do you have access to the artist and songwriter, and have received their approval? Tell the distributor!

Additional Helpful Articles:

"Legal FAQ: Facing the Music," International Documentary Association (IDA)

"A Filmmaker’s Guide to Music Licensing," Film Independent

“Attention, Documentary Filmmakers: Tips for Getting Music Rights,” Indiewire

About Peter Miller

Peter Miller is an Emmy and Peabody Award-winning filmmaker whose documentaries have screened in cinemas and on television throughout the world. His films include A.K.A. Doc Pomus (about the legendary songwriter); Jews and Baseball: An American Love Story; Sacco and Vanzetti; the musical short The Internationale (Oscar short-list); and Robert Shaw: Man of Many Voices, about the celebrated conductor, for which he won two Emmys. With Carlos Sandoval, he made A Class Apart for PBS’s “American Experience” series, which is being adapted as a feature film executive produced by Eva Longoria. With Ken Rosenberg, he is currently producing Bedlam, a documentary feature about the crisis in care for the severely mentally ill, which will air on PBS in 2019. He has been a producer on numerous documentaries by Ken Burns and Lynn Novick, including the PBS series The War, Jazz, and Frank Lloyd Wright. In addition to his work as a producer and director, Miller has supervised music clearances for Ken Burns’ Baseball and his upcoming Country Music series for PBS; Stanley Nelson’s The Black Panther Party; as well as other landmark documentaries. Learn more about Miller’s work at www.willowpondfilms.com.

Are you an artist or new organization, and interested in increasing your fundraising opportunities through NYFA Fiscal Sponsorship? No-fee applications are accepted on a quarterly basis and the next deadline to apply is December 31. Click here to learn more about the program and to apply.

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- Priscilla Son, Program Associate, Fiscal Sponsorship & Finance

Image Credit: Jadina Lilien, Sounds of Peace, 2017 (Sponsored Project)

[oncezone-blog]

A Born Artist

An Artist is a person who expresses his - or herself through a medium. Painting, Drawing, Writing, Composing Music, Singing, Music, Film Making, Photography, or anything that uses creative minds to produce content that is considered to have an aesthetic value.

Within TWICE, Son Chaeyoung was voted to be the most talented member by the members themselves. She has natural gift in creating contents that are unique to her own. A truly born artist.

Here are the reasons why we think Son Chaeyoung is born to be an artist:

1. Her Natural talent for Drawing

Even when she introduced herself during sixteen she has already shown her love for drawing that fans even dubbed her as chaengcasso. She has her own distinct style that it became  easy for the fans to distinguish her art in a heartbeat it.

With that, Chaeyoung designed a couple of limited edition items including the limited edition jacket sleeve during cheer up era, Spris shoes, a ukulele, and even a face mask…

Page Two Limited edition album Jacket sleeve

Her most recent masterpiece she has designed, which is very rare because there’s only one of it in this world, is a tote bag with a monster inc character drawn on it owned by her fellow member, Momo. Looks like we have another satisfied customer!

2. She’s also into painting

Late 2017, Chaeyoung has shown interest in painting. Maybe she has been interested for a long time, given her love for art but it became more evident during this era as she was shown to be painting (with Momo as her dutiful assistant) and even showed it off during a V live after their concert. (“better than yesterday” painting)

3. She writes and is good at it. (poetry, rap and lyric writing)

Here is an excerpt from her self written rap for precious love:

I cried until my eyes would be swollen and in pain And I laughed until I couldn’t breathe anymore We fought like we were never going to see each other again And I missed you like you weren’t there anymore

I didn’t realize my feelings towards you Your heart is already full of hate Please come to me first and smile for me Embrace me and please be next to be for the rest of our lives

Here is a line from her personal diary:

“Good light, Good songs, Good feelings, Good notes. If I gather all the good times I had... That’s what I call happiness”

At a young age she’s already credited as a lyric writer for a couple of songs in their albums and mind you she just turned adult! We indeed see a very bright future~!

4. She loves photography

As an artist, she’s naturally drawn to aesthetics and how else do you capture an exact moment at any given time? Right. Photography. Whenever they travel overseas, for Chaeyoung, a camera is a must. Taking the photos of the moments she don’t dare forget and remember the people she loves at that exact scenery.

She also likes showing off the photos she’s taken, uploading them on instagram or reveal some of them during V lives.

5. She loves music and dreams of making them

Chaeyoung has already started her internship in JYPE writing b-sides. Her dream is to be called musician Chaeyoung. We can’t wait for what the future holds.

6. An open mind

It isn’t exactly a criteria to make your own art. However, creating something of your own requires deep understanding of your subject and what you are trying to convey. It was a trait often seen in artists, they have an open mind and a free soul because an artist cannot live in a box. She’s demonstrated such trait in numerous ways you may have never expected.

Her old blog contained a post about watching carol with an open mind and showing support to any kind of love that exists out there.

“Love is Love”

She once said in her blog.

When she was still a minor, she would listen to songs out of her age range purely for the aesthetic of it. She even said in a V live, where Music Producer Park Jinyoung was present, that she listens to his explicit songs with the help of her mom to stream them (much to Tzuyu’s surprise).

Our girl surely still have a long way to go, lots of room for improvement which is natural for her age. We also wish to see her grow as a musician that she dreams of. We’re definitely excited for what’s yet to come!

Now that she’s gained another year in her life. Let’s watch over her with fondness.