#discography is. disheartening to say the least

[pascalishere]

Ok, here are some thoughts on Death Grips, cause I forgot earlier whoops

I’ve been feeling some latent frustration with how I see a lot of people online engage with their music. I don’t mean to be some kind of elitist about this, but a lot of the (deserved) praise that I see them getting feels kind of…detached? It’s almost always coming from the kind of “woah, this music is crazy…but it works somehow?” mindset. I know I’m absolutely making a strawman argument here, but I’ve seen it enough times to where I feel like it’s not just a person I’m making up in my head to be mad at.

I feel like some people don’t get that DG isn’t good in spite of the “insanity”, they’re good because of the “insanity”. And I’ll admit, a lot of their music can be quite alienating! They use lots of abrasive textures, MC Ride’s performances can get very intense, it’s all a lot. But I feel like there are tons of moments of sheer beauty within DG’s discography. The riff from Centuries of Damn comes to mind, it’s so tired and desperate sounding, it’s incredible.

Hearing the incredible art that DG puts out is great, but to see a lot of people in it for the pure spectacle is a little disheartening. And I’m not trying to claim to be the only one who really gets Death Grips, at least I hope I’m not. I just really only see people talk about how crazy they are instead of how flat-out good they are.

Like, each member of DG itself is so talented!

Ride’s ability to channel that much visceral feeling into his performances is impressive on its own, it’s a miracle his throat hasn’t completely given out yet. But it feels so shitty to pigeonhole his style into “Funny homeless man screaming”. First of all, that’s just fucking rude. Second, that’s so reductive! Screaming isn’t all he does, he’s a really damn versatile performer! I never feel like he’s phoning it in or reusing a vibe, he does exactly what needs to be done, every single track. Lots of the most memorable moments of DG’s music are when Ride drops the yelling, and just talks. It’s chilling every time. Plus, his ability to keep a consistent flow over the off-kilter production is a feat all on its own.

Speaking of which, I think Andy Morin might be one of my favorite music producers right now. Right up there with Arca, Patricia Taxxon, Nigel Godrich, that real legendary shit. Like Ride, it never feels like I’m hearing the same thing twice. Each DG track sounds and feels so distinct, even while keeping within the general industrial, electronic, and punk sound palettes. Even my least favorite DG project in terms of production, NLDW, never ever felt lazy or unfinished. I think it’s an excellent project, I just don’t personally enjoy it as much as other DG albums, for very superficial reasons. On projects I prefer more, I still strongly feel that he’s very skilled at creating unique sounds, while still maintaining a sense of familiarity within the outlandish production.

Regarding Zach Hill, I think his drumming speaks for itself. Like, watch any video of a live Death Grips performance. That man goes absolutely ham on the drums, every single time. It’s a wonder he hasn’t snapped his wrists more often. Admittedly, he is the DG member I have the least to say about. I tend to get lost in the electronic elements of most DG tracks, I don’t pay as much attention to the drumming. I also have yet to check out Hella, but I’ve heard nothing but good things about them. Moving forward, I’m definitely going to try to keep my ears open to what he’s doing while the other elements of the tracks pass me by. I’m certain I’ll find something incredible.

Put together, they’re easily one of the most unique and consistently astonishing bands ever. I say that with my full chest. I don’t know, I just really like them! Sorry for the rambling, I just wanted to get all of this out there. Bottom line, Death Grips Good.

[tayfabe75]

Hi. Hope all is well. Was wondering what your thoughts are on TTPD double album as well as the video of the lead single. I see so many references to Matty in the video. The black dog. The black and white aesthetic. The lying down like Peanut on the patch of grass. The wedding dress imagery. The rain like when she played Question that night of the rain show. The leather jacket and silver ring Post Malone has in the last scenes. The faces like twins as well as the twin flames imagery. The writing to each other via typewriter standing in for the phones they used. The album itself is gut wrenching. And of course the past relationship of 2014 comes to light and I saw someone say that she used to party with the back then and they did date but her parents broke it up because of his drug use and no one was allowed to talk about but that it was well know by everyone around them. 31 songs is a lot to take in especially when many of them have similarities to 1975 songs so I am still processing it but was wondering what you thought. Thx

Hello again! All is well, just… my head hasn't stopped spinning for a week so I haven't posted much as I process it all! lol

I can't believe we got a double album after all that clowning. It definitely felt like a "be careful what you wish for" sort of moment, because I have been in a constant state of shock and overwhelm trying to make sense of these 31 songs!

You're right! TTPD is bursting at its seams with references to Matty and The 1975, their sound and aesthetic, etc. I'm going to be posting all of the parallels that have been found in the coming days. I'm not ready to definitively list which songs are or aren't about Matty, but there are a few smoking guns, to say the least - TTPD being one of them. The fact that this track shares a title with the album, hints that it's mostly telling a cohesive story (as I believe ALL of Taylor's albums do!)

There are a lot of people coming out of the woodwork lately claiming they know insider information about Taylor and Matty back in the day. I'm personally not impressed with any of that, not in the age of clickbait and instant gratification for lying, especially while they're a hot topic of conversation right now.

But the good news is… you don't need anything other than their discographies to piece together their story, and TTPD seems like it was about a much earlier time in their history, especially given she was working on this album prior to May 2023. Not to mention, I don't for one minute believe Matty had ANY type of relapse while on tour, either (I am incredibly, INCREDIBLY disheartened by "fans" who assumed otherwise based on his stage performance). Lastly, the fact the album exists at all, with SO many blatant references to Matty alongside references to his drug use - makes me feel pretty confident that Taylor would not release any of this without his blessing. Thanks for the ask! 🤍

[musicarenagh]

‎Riding the Waves of Time with LTB’s “Rewind”When the ear-ringing echoes and resilient rhythm of LTB’s single “Rewind” emerge from our speakers, we’re instantly captivated. Hailing from Annapolis, this alternative pop and R&B artist serves an enchanting blend of silky tunes and heartfelt lyrics, encapsulating an ethereal world emerging in hues of blue. https://open.spotify.com/track/48DiZtoLa1lydzNE0yhs5A At first listen, “Rewind” feels like a breath of fresh air with its calming wave of familiar yet refreshing alternative-pop style that washes over you, making you feel as if you’re sailing a serene sea at sunset. It’s his vocal prowess that promises he’ll continue to be an artist to watch. Impassioned with a soothing male voice that can be likened to the likes of John Legend, LTB possesses an alluring power that effortlessly draws listeners in. His voice is no less than a melancholic wind alleviating heartaches, each note struck with the smooth semblance of floating feathers in the air, and cradling listeners with warmth. The lyrical content of “Rewind” is perhaps its most transfixing component. The weighty theme of regret seeping past moments – a sentiment that is at once disheartening yet deeply relatable – is presented with grace. With a sound that is soothing, LTB conveys the deeper message of transcending past hurt, embracing those lonely corners of our memories, and ultimately moving forward. Embodying Eternity – A Review on Onbar’s “ALWAYS” The magnificence of “Rewind” lies undeniably in its layered composition. The clever overlay of rhythmic balladry and smooth soundscapes is stunning, with each element aligning in harmony without ever pushing the other into obscurity. In the midst of what can often feel like a music scene saturated with artifice, the transparency and openness in LTB’s craft are refreshing, to say the least. His music—a reflection of his deepest persona—evokes textured feelings, allowing listeners a closer glimpse into his soul. Finally, the true beauty of “Rewind” lies in the dexterity of LTB to weave soulful mesmerism with authentic storytelling. He not only makes us sway to his melodious charm but also nudges us towards the path of retrospection. In conclusion, LTB’s “Rewind” is an alternative pop gem laden with evocative lyrics and smooth tunes. With musicianship of such caliber, I wholeheartedly agree, he is an artist to maintain eye contact with. You might just find that the voyage through his discography becomes a meticulously woven journey through our own stories and regrets. A trip worth taking, indeed. Follow LTB on YouTube and Instagram.

[crave-mp3]

very annoyed with mcr bloggers all of a sudden

Ahhhhh bc of the relentless petekey hysteria? Yeah bc if so i feel u on that :////

[allyreactions]

UNPOPULAR OPINION: I actually want NCT Dream to graduate into different units. Sure, everyone loves them together, but it’s holding them back a lot. They’d get tons more attention if they were to graduate into either WayV or 127. Renjun and Chenle are already really close to the members of WayV. It’s also kinda disheartening to see NCT Dream addressed as “Haechan and Friends” by 127 (*cough cough* Doyoung). I’m also not that happy about Mark having to debut back in NCT Dream again because he’s already so overworked. I’d also love to see new dreamies once the current members graduate. I also see a problem with fans not letting go of the whole “child” kind of thing with them. 4 out of 6 members are literally 20, they’re grown men. Because of the whole NCT Dream label, those members are forever stuck being seen as “babies” when they’re trying to break away from that title (of course this doesn’t mean sexualize Chenle and Jisung bc 1. Jisung is uncomfortable with it 2. They’re still considered MINORS by Korean Law). Yeah, I understand they cried at a concert bc they missed Mark being a part of the team, but that was also when the wound was fresh. They weren’t used to it yet. People adapt. They’ve adapted.

Sorry it’s all over the place but Idk. Maybe I’m not seeing the whole picture or something but this is my opinion. I’m open to discussion and to hear your thoughts. I really want to talk about this with someone because I’ve thought about it a lot and I know it’s a very unpopular opinion.

Also, I love your work! You deserve so many more followers, like seriously you’re an amazing writer and you update so frequently (which is something I could never do lmao). Thank you!

SEND ME ANONS!

____________________________ 

okay, I’m gonna break this down in parts. but first, I just want to say thank you for loving my work! it can be taxing at time posting daily, but I really appreciate you acknowledging how difficult it can be. anyways, let’s continue!

1. The Graduation System : 

NCT’s management team decided to get rid of the graduation system that was originally established in Dream for two reasons. One, the fans constantly protested it. Two, the system was heartbreaking for the members themselves. And that’s clearly shown in some of the videos from (especially) the Dream Concert this year. Jisung and Jaemin have stated in interviews that their fellow NCT members are the only friends they have. Their management team took notice of the chemistry between the 7 members and so they decided to abolish the graduation system in favor of the fans. Yes, they adapted after Mark left, but that didn’t mean that they didn’t miss working with each other. But this doesn’t mean that a future sub-unit can’t have the same concept. It’s just for the sake of the members, the fans, and tbh the monetary gain of having all 7 members together, that SM got rid of the graduation system. 

2. Their Music Style : 

Mark has mentioned that NCTzens and the Dreamies themselves have grown up together, which is what makes their discography so unique. They’ve been able to go through different stages in life together and connect through that. They’ve been able to grow and evolve along with the fans. With your mentioning of the whole “child” concept, while the name NCT Dream may come across as childish, their current concept is anything but. NCT Dream doesn’t create songs like “Chewing Gum” anymore. They have a youthful concept, not so much of a cutesy bubblegum pop style anymore. I may look at the Dreamies as “babies” but that’s because I’m older than all of them. But to someone who’s a 00 liner, they might look at them differently. (but I do agree that Chenle and Jisung should not be sexualized under any circumstance because they are minors)

3. Renjun and Chenle Joining WayV / Potential to Join New Units : 

This was a point that was brought up before XiaoHenYang was introduced, when NCT China was in speculation. I think WayV is pretty much a fixed unit (I could be wrong, so don’t quote me on that), so the idea of Chenle and Renjun joining doesn’t seem that probable (again, I could be wrong). But I do want to mention that we have no idea what kind of sub-units their management team has in mind. Just because they’re all still in Dream, doesn’t mean that they can’t join another sub-unit. Haechan and Mark are both in 127 as well as Dream. The other members can very much join a new sub-unit as well. I mean, Shotaro and Sungchan just joined and tbh I don’t think there’s a unit that they can readily join (obviously other than NCT U - I mean a fixed unit). Their management could debut a new unit next year that includes some of the Dreamies as well as our new members. 

4. Mark Overworking Himself : 

I’ve states this in a past anon, but Mark has expressed that he loves working. He’s said that he loves having so many projects to work on, that he loves staying busy. To us, it may seem like he’s overworking himself (which he might), but we really don’t know what his limit is. Yes, he’ll have SuperM, 127, and Dream comebacks all in a year, and that could be a lot for him, we don’t know. But if he really wasn’t comfortable joining SuperM and rejoining Dream, I don’t think SM would have forced him into doing something he wouldn’t want to do (at least I hope not). 

All of your points are valid, but I wanted to share my insight into this topic. You are entitled to our own opinion, and I am to mine. I would love to hear your thoughts on my answer and continue this conversation 😊

~ Admin Ally 

[neverendingmusicreviews]

Released: December 6, 2019

Artist: XXXTENTACION

Tracks: 25

Here we go. This is the album I have been looking forward to and dreading all at the same time. XXXTENTACION was and still is one of the most influential artists of our time. The versatile style that saw him upload screaming infused explosive hip hop, as well as sweet and somber melodies on topics like love and depression, captivated the world. He remains at the top of my favorite artists of all time and so I hate to admit that I was disheartened at the release of his last project Skins. I felt that the project lacked the depth and life that X breathed into his projects.  It felt like whoever was in charge of putting that album together went through X’s project files and took any little bit of his voice to string together a half baked song. I have felt this way with quite a few of XXXTENTACION’s posthumous releases. Often times we will get a looped few lines dropped as a song or something of a chorus that other artists fill out with their verses.  In a way it was just a reminder that he was gone, never to finish any of these songs or projects with his own vision. This left me excited for the release of this album, but also a little cautious. So does Bad Vibes Forever, the final album by XXXTENTACION, honor and validate his legacy? 

DISCLAIMER: Other than right at this moment, I won’t be discussing his past, his allegations, or anything of the sort. I feel that regardless of what is true or not this young man was not the same person he was when he first experienced fame. He left this world in a much better place than he found it by way of charity and lending his ear to the millions of fans who found his struggles with mental health issues relatable. 

Just like the rest of X’s recent discography, this project opens with an introductory track of a brief moment of the rapper speaking about how he wants people to let him live over a quiet and peaceful beat. This track reminds me of X’s way of speaking his mind and shows a side of the rapper that just wanted to be allowed to exist as he was without the constant input of others. 

Ex Bitch is the first actual song on the project, and we see a familiar guitar plucking beat that backs the soft vocals of XXXTENTACION. I found this track enjoyable, even though it does seem to echo the previous cases of turning an incomplete idea into a song. I will say that this song could pass for an X song, as often times his music was riddled with very short songs. At least this song seems to be a complete idea. 

These first few tracks have the variety that many people look to X for. The second track, Ugly sounds almost like a part two of the rapper’s Soundcloud track, Teeth. It gives off the same dark, eerie vibe as the latter track which was nice to hear. We don’t often hear much in the ways of that era of X’s music, so to have a song that could have fit in that era of him releasing music was a very appreciated inclusion.

There are some strong moments on Bad Vibes Forever. The above-mentioned tracks, as well as the lead single with the same title as the album. PnB Rock and Trippie Redd combine with X’s chorus to make for a solid track overall. XXXTENTACION’s hook is complemented and expanded upon by the features and it makes for a song that may fit the bill of an “a hook that other artists fill out with their voices” situation that I previously mentioned. This track, however, contained features who had previously worked with X, and it appears as though they are here to remember their friend rather than gain something from the track. I thoroughly enjoyed this song. 

School Shooters (feat. Lil Wayne) is where the features start getting a little odd. I was a little confused about X’s appearance on The Carter V last year, especially after Lil Wayne admitted he had no idea who the rapper was before working on that song. This song is overall a bad song and just a weak point in the album overall. There are some other out of place features as well, such as Rick Ross being included on I Changed Her Life, however, this song was a decent song overall. So while it may bother me that Rick Ross had no affiliation to X before his death, I will say that Ross’s verse seemed to pay homage to X as well as fit into a very solid track. 

Bad Vibes Forever is a farewell to a generational talent whose life was taken before he had even reached the massive well of potential he had showcased in his short career. I do feel a little bit empty after listening to this project, knowing that this is supposed to be the final project of the rapper’s body of work. I also feel that it left a far better impression on me than last year’s Skins did, and although it does struggle with things like out of place features and a lack of overall content in some of the songs, this feels more like an X project and less like someone’s interpretation of what an X project should be.  Thank you Jahseh for everything your music has done for me and my generation. Thank you for making it okay to not be okay, and thank you for being you. Rest In Peace.

Bad Vibes Forever earns a 7/10 for its recognizable variety of X’s content. Some of the problems persist because of the obvious lack of content from the rapper himself on some of the songs. With a much better outing than Skins, the album is a solid track of a little empty at times with some odd features. It does not carry the same life, soul, or weight that X’s projects from before his passing, but I feel that as a farewell it is a solid entry into his discography. 

Songs I Loved: 

Ex Bitch

UGLY

Bad Vibes Forever

Triumph

Kill My Vibe

IT’S ALL FADING TO BLACK

Songs I Liked:

I Changed Her Life

Limbo

before i realize

Ecstacy

Hot Gyal

Daemons

Eat It Up

wanna grow old

numb the pain

Songs I Disliked:

School Shooters

CHASE/glass shards

[0001204]

CALL OUT POST TO BIGHIT AND ARMY

I’ll mainly be focusing on the excuses that people love to bring up, and then some.

Here I go:

Excuse 001: The Visual

It’s cultural relativism when Jin gets called “fat/pig”, both by BigHit and workers, and by “fans” as a form of “enderment”, even though he’s time and time shown that he gets hurt by these things. But everyone was hellbent on trashing him when he called Jimin “fat” in a DISSING GAME; even after he apologised. Seokjin is not someone who’s fully confident in his visuals. The way he stood in his predebut photos clearly shows someone who LACKED confidence. Again, ARMY can catch a glimpse of this insecurity in Jin’s last solo VLIVE about his choppy bangs and dieting, even after all these years. Being marketed by BigHit as a “visual” does not mean that Seokjin feels this way about himself.

I understand that Jin was not vocally-strong, thus is promoted as a visual and did not get many lines during the early stages of BTS. Fine. The least BigHit could have done was actually promote him as a VISUAL during debut. Which they barely did. Not on variety shows, not on dramas, not on solo work, not in their own MVs, not on their own products. If Jin is to be promoted as a VISUAL, then AT LEAST give him screentime. SOMETHING a “visual” should get. If beauty is SO big in Korea, then why is BigHit not promoting it/him (a la centre/face)? Never have I seen a company, through my 12+ years in kpop, not promote their visual, EVER. Secondly, it’s completely unprofessional to go through their OWN products, and NOT realise that a MEMBER is cut out/missing (in addition to the two prominent examples floating around, there’s another official photobook where his whole being is covered by Jungkook; you can only make out his leg).

Excuse 002: The Vocal

Seokjin’s vocals have been up for debate, and I understand that. As I mentioned before, his lack of lines in the early stages of BTS is understandable. BUT he’s a VOCAL. He’s not a part of a dance team, he’s not a part of a band, and he’s not a part of an acting troupe. He’s a part of an idol group where HE IS A VOCAL. If he was a part of any of the aforementioned groups and didn’t get to sing, then that’s understandable. The lack of lines, as a vocal, in an idol group…IS NOT. He has proven multiple times that he can hold his own to the rest of the members, and has improved immensely. He’s proven multple times that he’s often the MOST STABLE in their lives WHILE dancing just as hard as the rest of the members (don’t give me bullshit about how much harder dance-line dances. They follow a choreagraphy. And if they can’t sing and dance at the same time, then they must realise that they need to alter their own performance to mitigate that problem). Ballads? BTS’ discography has multiple ballads and slow-tempo songs: Spring Day, Butterfly, Hold Me Tight, et cetera, to name a few. Yet, once again, he GETS THE LEAST NUMBER OF LINES. So I don’t understand why some fans and BigHit’s producers claim that Seokjin’s voice is only suited for ballads yet not give him more lines. ANOTHER THING. BigHit’s producers are garbage. If someone is paid to produce music for artists, then they should be qualified to create music that suits their consumers (BTS/who ever buys and uses their music). Producers are working FOR artists. It doesn’t matter if his voice doesn’t “match” the style of the song. That’s bullshit and shows how “good” (read: bad) BigHit’s producers actually are. If BigHit’s producers produced music FOR their artists, Seokjin’s voice will fit the style. 

If y'all want to play, then let me focus on Spring Day LIVE specifically. In this song, Seokjin had the most lines live, and has clearly shown that he can handle the dancing and the singing. So why is that his voice is NOT the majority in the audio file??? Why ONLY live? The general public (GP) don’t care for MVs and lives. Fans do. When the GP listen to the audio, the belief of Seokjin as someone who is lacking in vocals/untalented/only the “face” continues to be promoted (indrectly) by BigHit. This impacts his popularity, and definitely his self-worth in the team (listen to “Awake” you blind troglodytes).

Excuse 003: The Hyung

In relation to self-worth, and self-esteem, this brings us to another point. There’s the belief that because Seokjin is the oldest, and that he is a grown man, he doesn’t need help and/or that he doesn’t get affected by what BigHit and ARMY does and say. Yes, he’s a grown man but he’s also a grown man bound by a contract. Many people are mentioning how he should speak up about these ongoing issues, yet they are blind to the fact that (legally) he may not have the right to speak up and/or leave. Additionally (mentioned by Jimin), Seokjin is someone who keeps his feelings to himself . He also doesn’t show his displeasure (also mentioned by himself and other members). The lack of response and interest for, and the lack of experience. opportunity, and knowledge acquired by, Seokjin also impacts how he sees himself as a contributing member in BTS, thus affecting his willingness to speak up for himself. He possibly CAN’T and WON’T (for many reasons) speak up. This is why it is important for fans to speak up about BigHit’s problems.

Excuse 004: The Being

Moving on, I’ll focus on the health of Seokjin and BTS. It is understandable that many fans worry about the health of BTS. A lot of fans don’t want BTS to overwork and stress themselves out. That is why we don’t want them to overwork. That is why we don’t want them to go on extreme diets. That is why we seek feedback from BigHit in regards to their health status; to make sure their healthy physically, emotionally, and mentally. That is why the debatability of Seokjin’s injury is laughable. In photos and fancams of the event, Jin has shown discomfort and signs of pain in his neck. Fans were clearly worried about him. Yet BigHit did not even try to explain the situation to fans; to either refute or give some sort of relief to them. The lack of feedback from BigHit is disrespectful to fans. The only feedback, thus far, ARMY has received about Seokjin is by the other members (sparingly) and by Seokjin himself. BigHit is oh so willing to provide feedback about everyone else but him. BigHit has been doing this for a LONG time. They continue to ignore what a lot (albeit, a minority) of Jin fans say. 

Furthermore, although we worry about BTS’ health. It is important to understand that the shelf-life of idols is VERY SHORT. Many idols (including BTS?) have alluded to/mentioned the fact that they would rather, willingly overwork themselves than to get no work, because IT IS their livelihood. Their personal popularity is just as, if not more, important than the group popularity. Their own popularity is what gets them work and opportunities. WORK = MONEY

Excuse 005: The Divergence and The Finale

Every single CB has been beyond frustrating. I don’t mind people having biases, that’s completely normal. But to turn a blind eye to a BLATANT problem. That’s just sad. Seokjin’s popularity and well-being is being affected by it. When Jin stans bring up this ongoing problem with BigHit, they’re labelled as antis, troublemakers, and not true ARMY. We’re always being told to just support and love him and BTS, and show more appreciation. We DO that. Many Jin stans have been doing that for YEARS. We’re done shutting up. Stop trying to shut us up. The lack of interest and outright ignorance displayed by ARMY is appalling. This clearly shows how much some fans actually care for BTS, as a whole. This kind of behaviour from some fans continue to escalate the discrepancy in popularity between members and promotes competition. It is THIS imbalance in popularity between members that BigHit sees. They’re a company. They see this lack of response and interest in him (an issue BigHit created by themselves, and a problem that ARMYs propagate) that results in Seokjin’s: reduced presence in their music, reduced presence in their products, and reduced popularity amongst fans (new and old). This is just an ongoing cycle that BigHit and ARMY has created themselves/ourselves.

Don’t try to bring in the problems of other members or other groups (i.e. “this member got hate for ABC, this member got laughed at for XYZ”). Stop derailing the argument. That’s a logical fallacy I don’t have time to deal with. This isn’t about them. This is about the MISTREATMENT of Seokjin, by BigHit and by ARMY.  

Remember children, at the end of the day BTS is a product. NOT a family, to BigHit. BTS, however, is a “family”, and source of happiness to many fans. So tell me why members would upset about what Jin stans are doing? Because members won’t get as many lines? Because Jin stans will upset the other members? Because Jin stans are hurting BigHit? Because Jin stans are creating a rift between fans? OR is it because “fans” can’t even show decent respect for Jin stans and Jin? Are they, and fans not a “family”? Family protect and love family. BTS has shown time and time again how much they love and support Seokjin in his endeavors, and how much they want his voice and input in the art they produce. To see “fans” discourage Jin and his fans is disheartening and disappointing.

BigHit AND ARMY needs to recognize that there’s a problem. This may be difficult for a lot of ARMYs to understand. But if you replace the position Seokjin is in with your fave, how do you feel? Try to be respectful and show some empathy.

We’re consumers of BTS and BigHit. We have a say in what we consume, and the right to critique BigHit and BTS. That does NOT make someone’s argument invalid or someone a hater. Criticism is NOT hate. Criticism promotes change and growth. That shows maturity, and respect for BTS as artists, and as grown capable men. 

TLDR: LOVE and SUPPORT KIM SEOK JIN. LOVE BTS. We’re not hating. Stop being so transparent and open your goddamn eyes.

I don’t want this to get lost. I don’t care about the notes. I just want people to understand.

[idolizerp]

LOADING INFORMATION ON MAYDAY’S LEAD VOCAL, LEAD DANCE UTADA HIKARI…

IDOL DETAILS

STAGENAME: N/A CURRENT AGE: 22 DEBUT AGE: 20 TRAINEE SINCE AGE: 19 COMPANY: Midas ETC: first debuted in Japan and received moderate attention.

IDOL IMAGE

maybe it’s the fire in her eyes, or the goosebumps on her skin after a performance that indicate a job well done. maybe it all comes from the nickname those at the company gave her back in the day, midas’ dalmatian, thanks to the pattern of bruises that speckled her shins and calves after her grueling amounts of dance practices she’d accumulated over the years. it’s why the company sought out a “secret weapon” persona for her for the future — because she was locked, loaded and aimed to fire hard at the hearts of many; ready to shock the company’s stans into a new trance, a new realization of what the meaning talented should be defined as. hikari has grown far more confident with herself over the years, and it’s exactly what midas was aiming for in her image: they want a girl who is invigorating, inviting, fresh: someone who exudes confidence, but in a way that is humbled from her time as a trainee — an idol that fans can watch blossom into the star she was meant to be.

hikari doesn’t know the inner workings of how aegyo or forced cuteness is really supposed to work, or how people can seriously do it without feeling dirty afterwards. some of the inner workings of being an idol to be puzzle her, such as having to act such a level of cringe-worthy cute that she’s just not capable of it at all. despite numerous people who try to show her how, it’s so off putting that hikari has become somewhat known within the company as the girl incapable of being cute on cue. her cuteness comes naturally, organically in the form of her pure joy, not something she’s able to produce on the spot for others’ entertainment. fans find her lack of forced cuteness still charming, as she makes up for it with her strong willed, professional and determined-to-succeed persona instead.

IDOL HISTORY

she is raised on her mothers mariya takeuchi vinyls and her fathers suo masayuki vcr tapes, your typical run of the mill millennial child. her eyes are wide and always curious, a girl who becomes somewhat famous within her own family for the amount of time she can stare up at all of her aunts and uncles without blinking. her brother gets jealous often when he’s given the older child treatment, and it’s safe to say that hikari grows up the favorite. kiyoshi, almost half a decade older than his sister, grows to become somewhat protective over the younger girl and grows out of his childish stage pretty quickly.

both utada siblings develop strong admirations for their parents’ favorite 80s artists they hear every afternoon on their father’s record player; kiyoshi begins to play his first instrument, the guitar, when he enters middle school and hikari, infatuated with all the trendy female pop singers of the early 2000s, adores utada hikaru and kwon boa like they’re her two older sisters who hold her hand through the rocky terrain of adolescence and teenage-hood.

boa’s popularity in japan played a major influence on hikari’s decision to try out for osaka’s own nmb48 in 2010 at only thirteen years old. love & honesty, though released in 2004, was an album hikari held close to her heart, and proving herself to be enough, was able to debut in 2011. as one of the younger members of the group, hikari never garnered too much attention, and her performance skills were far from advanced at such a young age. it had been her passion she’d witnessed from her own pop stars that fueled her drive, but in 2012, decided to graduate from nmb48 to focus on high school and her extracurriculars, rather than being a “background dancer” for girls she knew would out-success her.

the growing wave of korean music in japan, along with hikari’s adoration for boa, inspired her to begin korean lessons in high school. drawn to the language and its relatively similar grammar pattern to her native tongue, hikari began to set her sights on the prospects of international relations for college when she’d found her knack for the language. she was a jack of all trades: she loved pop culture, loved dancing and performing, but also understood the necessity for cooperation between the two nations.

open auditions for midas media in tokyo in 2016 were enough to garner then-twenty year old hikari’s attention. already a fan of the company’s debuted groups, the now matured hikari evolved from her earlier years of mediocre dancing to boa’s earlier discography to a midas mashup of their four groups. not only did had her dancing skills grown far more polished thanks to her time as her high school’s dance crew captain, her singing skills did, as well.

“you speak very good korean, hikari-ssi,” the judges nod in approval to her once her performance has concluded; hikari blushes, flustered, anxious, dazed, everything at once. she feels shy speaking a foreign language when her parents have come with her to tokyo to offer their support for her, smiling from the sidelines, but she keeps telling herself to focus — this is your moment. the judges don’t seem to notice, ironically appearing far more impressed by hikari’s facade of confidence instead. “what are your hopes for the future?”

hikari pauses to register what they’ve asked, staring momentarily to let her brain buzz before conjuring a simple answer. “my hopes,” she begins, “are to bring people together. through my performance.”

and it certainly does. the good news comes in the form of a phone call a few weeks following that leaves her stomach twisted for a good few hours following. a few of her friends offer to take her out after she texts the group chat that the company hopes for hikari to begin her contract at her earliest convenience. when she begins, hikari finds quickly how intense her training is, and wonders if it’s perhaps due to her nationality. in reality, she finds out, is being shaped to be the company’s next “secret weapon” — expected to excel in both singing and dancing — for their next future girl group. the amount of pressure put on her to work hard, not only training to be a performer, but also to improve her korean and her integration to korean life, stuns her. it’s a brutal wake up call from what she’d been expecting considering her past experience in osaka, but she loves a challenge. the days she wants to quit weigh themselves out with the days she pushes herself to work harder than any other trainee by staying longer to prove herself capable, worth it. hikari thinks with her head, a decision she makes to keep herself out of any drama or potential chances of messing things up. the stakes are higher for her now, especially being from japan — there would be nothing she regretted more in life than a plane ride home if she let herself fall mentally. walls carefully crafted and mind focused, hikari centers herself to be her absolute best, and prove to her company that the effort was worth it.

and she works hard at it, really — it’s an intense year, but in retrospect, she’s glad it was only that long (she’d met a lot of girls along the way who had been forced into limbo for much longer and just couldn’t bear it; she couldn’t blame them, she would’ve done the same). the group she had found out a little more than half a year into her training period, one she was intended as a final member for, came and went as fast as the executives in the company had mentioned it. it was disheartening to say the least and brought upon immense highs and lows that hikari wasn’t sure would in the end help her sink or swim.

at the end of the day, mayday is enough. much of the music and its choreography doesn’t challenge her enough, wishing her company could at least give her more to work with. but it’s been a long three years and she’s still here, still reminding herself that hard work does pay off, and that she’s truly one of the lucky ones.

[swimintothesound]

Artistic Integrity and Commercial Success | Part 3

This is the third (and most negative) installment in a series of four posts on the same topic. This was originally intended to be the last, but I wrote more than I expected, and I wanted to end on a more positive note. View the first post here the second one here, and expect one more wrap-up coming soon.

The New Scott

Before I fully dive into Travis Scott, I feel like it’s important to give some personal context. I can’t decide if that’s because I think memories are important, or because I’m retroactively embarrassed at my own fandom given recent developments, but either way, here’s a quick rundown:

As previously discussed, Trav has released some of my favorite hip-hop albums of the past few years. His 2015 debut Rodeo is one of my all-time favorites, and one of the handful of albums released that year that made me “believe” in hip-hop as a genre. That’s a powerful notion. And even if the album has some wack bars, it’s production, aesthetic, and sonic approach are all so impeccable that I’m willing to overlook a handful of goofy lyrics.

As great as Rodeo is, it (and Travis Scott as an entity) are prime examples of style over substance. And don’t get me wrong, there are some legitimately great songs on this album, but as a whole, Rodeo undeniably relies on textures and production to make up for its lyrical shortcomings. I’ve already made it clear that I don’t think lyrics are music’s end all be all (even for hip-hop), but I can totally see how someone approaching this album from a traditional rap mindset could leave Rodeo disappointed if they came in looking for clever writing.

But this is all me preemptively addressing valid criticism. I personally think that every track on Rodeo is great for one reason or another, and my positive memories associated with the album are more powerful than any objectivity I can ever offer up. In fact, I loved Rodeo so much that the next summer I ventured further back into Scott’s discography and found myself spinning his prior release Days Before Rodeo. I listened to the mixtape more times than I ever would have expected, and it ended up becoming my second-most played album of 2016 and currently sits at my 7th most played album of all time on last.fm. So yeah. I like that album quite a bit too.

Many of the same criticisms of Rodeo could also be applied to Days Before, but (again) I’m willing to overlook those shortcomings for the overall experience of the tape. So as I ravenously devoured these two albums I found myself rapidly advancing up the next step of my obsessive fandom staircase. I collected everything Travis-related that I could get my hands on. From tracking his features to obsessively compiling my own B-sides album it was safe to say I was in full-on hype mode.

Now is when crushing reality sets in. I’ve already linked to this reddit comment detailing the history of Travis’ broken promises in the lead-up to his second album, but I think it bears repeating. Delays and false release dates are nothing new for Travis, but this timeline highlights the absurdity of this particular album’s cycle. As someone following Travis very closely at this time, it was disheartening to have nearly weekly promises that ended up broken and eclipsed by yet another revised “announcement” the following week.

Things began to look up in June of 2016 when Travis dropped the Young Thug and Quavo-infused “Pick up The Phone.” Already a known quantity for months at that point, and fraught with last-minute legal troubles, it was a relief simply to have a fresh Travis song. I won’t get too deep into it here, but PUTP was one of my favorite songs last year and more recently has gone on to become my most listened to track of all time on last.fm within a year. It’s a breezy, ad lib-riddled summer banger. The syrupy bass line filled with intermittent 808 taps and distorted steel drums combines into a drugged-out soundscape that serves as the perfect backdrop for the three artists sharing the track.

“Pick up the Phone” felt like a positive sign to me. I couldn’t stop playing it, and it became my summer anthem within a matter of weeks. If this is the type of stuff Travis had in store for us on his next album, then maybe all the delays will have been worth it. And according to Travis, all his singles and loosies up to this point weren’t even on the album, because he wanted to give listeners a ‘fresh experience’ on their first listen. So if “Pick Up The Phone” wasn’t even good enough to make the cut, then I was officially hyped.

Travis followed that single up weeks later with a small feature on G.O.O.D. Music’s “Champions” another summer anthem that celebrates the return of Gucci Mane and showcased a rotating cast of hip-hop’s current stars and up-and-comers. Champions specifically brings to mind memories of my graduation which happened around the time of its release. In fact, my nostalgia for this track is so strong that I’ve even downloaded the version ripped from the radio because the drops evoke waves of nostalgia in me. I still remember sitting underneath Portland’s Moda Center in a cap and gown surrounded by friends and checking my phone in between conversations to see the explicit version of the track had been officially released. This comment thread specifically made me laugh so much that I still have the screencap of it saved in my phone.

But I’m getting horrifically off-topic. All signs were pointing towards a great release as Trav continued to promote his upcoming album. As mentioned above, the lead up to Birds was essentially a weekly string of broken promises and unfulfilled blue balls. And I get that it’s selfish to “expect” an album, but when you repeatedly say ‘my album is coming out in X days’ or “tonight” I’ll start to get pissed after the third or fourth time.

In early August Trav ended up droppings two loosies on his Apple Radio show: “The Hooch” and “Black Mass” they were both cool… but I was glad they were just loosies he was tossing off on his radio show. Weeks later, September 2nd he finally dropped his sophomore album Birds in the Trap Sing Mcknight.

I remember I was on vacation at the time and without a music streaming service. It agonized me that I couldn’t listen to the album until I got home. All I could do was enjoy my vacation *shudders* and read comments online.

They were exceedingly negative.

How could this be? I’d seen this happen before. In some ways I was glad. Whenever the internet mob preemptively lowers my expectations like this, I’d come out the other side enjoying what they were bitching about far more than I would have otherwise (see: Mass Effect 3, and Chance the Rapper’s Coloring Book.) But I saw the bright side. I knew that when I did get back home and sit down to listen to the album, I should lower my expectations. If your expectations are low enough anything can exceed them, right?

Right?

The Problem With Birds

Birds In the Trap feels like drab, dark, and lifeless background music. That’s not to say I don’t like dark albums, there’s a time and place for them… but it just feels so incomplete and half-hearted here. Birds is devoid of life. It is (intentionally?) poorly mixed, lacking of substance, and the album art looks like an edgy Myspace background circa 2006. Look. I’m not saying Rodeo was high art or that it even had anything new to say, but it’s far more substantive than Birds ever tries to be. What Rodeo brought to the table was a metric fuckton of different ideas and sounds that were all produced impeccably. It commands attention and each track sounds different from the last. We ended up with the polar opposite on Birds.

As a person that talks about music, it feels like a cop-out to just link to someone else’s review, but The Needle Drop’s dissection of Birds is a pretty spot-on breakdown of what feels wrong with the album. Going back to the idea of an album’s substance, Birds feels like the album equivalent of an item off the McDonald’s Value Menu. It’s about the lowest of the low (even for fast food) but it still qualifies as “food” on a technical level.

At the risk of making a horrific pivot (or just to take a break from negativity), check out this video about True Detective. If you can’t watch all eleven minutes skip straight to 2:40 and watch the section on Rogue One. I can’t tell if this is a hyper-specific example, a universal one, or just something that I’m trying to crowbar in because I’m in the mood to rewatch True Detective, but this video felt oddly poignant. Specifically, the line “when the plot is motivated by a writer or director's aesthetic needs instead of character motivation, something just inevitably feels missing.” To me, this describes Birds to a tee.

As mentioned ad nauseam, I do not go to Travis Scott for hyper-lyrical bars, so I didn’t expect that from Birds. What I did expect was thick production, varied textures, and (at the very least) some competent song structure. I ended up receiving very little of anything. It felt like Travis was chasing some aesthetic desire and forwent anything else that made his work interesting previously. And don't get me wrong, I like some songs off of Birds, but in the year since its release, I’ve realized that it has become symbolic of him not trying.

The single standout from Birds is “Goosebumps” a Kendrick Lamar-collab with a drowsy bloop-filled beat accompanied by one of the most infectious hooks I’ve heard since “Pick up the Phone.” And speaking of “Pick up the Phone” the song ended up on the album. This is after Trav promised that Birds would be “all new material.” After he had already released the song three months prior in June. After it had already been included on Young Thug’s JEFFERY as a bonus track in August. Similarly, the sparkly weekend collab “Wonderful” ended up on Birds as the album’s closer after having already been released as a Soundcloud throwaway at the end of 2015. And that was the album’s closing track.

The whole thing just left a bad taste in my mouth. Alongside these repurposed tracks were songs like “SDP Interlude” that just come off as half-finished, under-developed scraps of songs that Travis just decided to toss onto the album. It was underwhelming in every sense of the word and didn’t clear my already-low expectations. But maybe this was just a sophomore slump. A byproduct of constant touring combined with the monumental task of following up an excellent predecessor.

This is truly my hope, but with each new piece of music emerging from Travis’ camp, I become less and less hopeful in a return to form anytime soon. I’ll dive deeper into my thoughts on Travis Scott’s current output and future in the fourth and final post coming very soon.

Read Part 4 Here

[ricardosousalemos]

Matthew Shipp Trio: Piano Song

After making at least 50 albums over the past three decades, pianist Matthew Shipp has decided that Piano Song is (probably) his final recording. So it’s tempting to hear it as a definitive statement, perhaps even a career summation. But really, every one of his records could be called definitive. His playing style is so inherently diverse and exploratory that he’s almost incapable of making narrow-sounding music. Even when he sticks to a specific theme or format, his full array of stylistic weapons eventually gets deployed.

There’s no explicit theme behind Piano Song. It’s simply strong, well-considered jazz, with Shipp’s piano leading a thorough dialogue with bassist Michael Bisio and drummer Newman Taylor Baker. In fact, the trio is so comfortably conversational it’s easy to miss how much territory they cover, especially in the beginning. Opening with a slow, somber solo piece, Shipp guides his partners through subtle, subdued tracks that earn names like “Blue Desert” and “Silence Of.”

But once the trio launches into “Flying Carpet,” with Shipp slamming out portentous chords and Baker pounding snare-bombs in response, Piano Song’s relentless variety becomes crystal clear. The contrast between those heavy sounds and the tune’s calmer passages is thrilling, and it’s one the band revisits in numerous variations throughout the album. On “Mind Space,” short stretches of quiet energy burst into raucous crescendos, while during “Gravity Point” furious action cleverly cascades into reflective pauses. The trio can run full-throttle for entire tracks, too: In “Microwave,” Shipp’s note clusters twist around Bisio’s stair-stepping bass without few gasps of breath.

The conversations in Piano Song feel ongoing, as if we’re merely getting glimpses of a longer, potentially-endless back and forth. All three players have an abundance of things to say, and though there’s sufficient space for each, no single recording could really encompass it all. That’s true of most of Shipp’s work, which makes his decision to leave the realm of recording disappointing but not entirely disheartening. He surely will keep conversing with his piano—he has no plans to stop playing or performing—and if the best venues for that might be something other than albums, he’s earned the right to make that call. Just absorbing his discography could take lifetimes as it is, and Piano Song is another entry that will reward listening for a long time.

[musicarenagh]

Riding the Waves of Time with LTB's “Rewind” When the ear-ringing echoes and resilient rhythm of LTB's single "Rewind" emerge from our speakers, we're instantly captivated. Hailing from Annapolis, this alternative pop and R&B artist serves an enchanting blend of silky tunes and heartfelt lyrics, encapsulating an ethereal world emerging in hues of blue. https://open.spotify.com/track/48DiZtoLa1lydzNE0yhs5A At first listen, "Rewind" feels like a breath of fresh air with its calming wave of familiar yet refreshing alternative-pop style that washes over you, making you feel as if you're sailing a serene sea at sunset. It’s his vocal prowess that promises he'll continue to be an artist to watch. Impassioned with a soothing male voice that can be likened to the likes of John Legend, LTB possesses an alluring power that effortlessly draws listeners in. His voice is no less than a melancholic wind alleviating heartaches, each note struck with the smooth semblance of floating feathers in the air, and cradling listeners with warmth. The lyrical content of "Rewind" is perhaps its most transfixing component. The weighty theme of regret seeping past moments – a sentiment that is at once disheartening yet deeply relatable – is presented with grace. With a sound that is soothing, LTB conveys the deeper message of transcending past hurt, embracing those lonely corners of our memories, and ultimately moving forward. Embodying Eternity – A Review on Onbar’s “ALWAYS” The magnificence of "Rewind" lies undeniably in its layered composition. The clever overlay of rhythmic balladry and smooth soundscapes is stunning, with each element aligning in harmony without ever pushing the other into obscurity. In the midst of what can often feel like a music scene saturated with artifice, the transparency and openness in LTB’s craft are refreshing, to say the least. His music—a reflection of his deepest persona—evokes textured feelings, allowing listeners a closer glimpse into his soul. Finally, the true beauty of "Rewind" lies in the dexterity of LTB to weave soulful mesmerism with authentic storytelling. He not only makes us sway to his melodious charm but also nudges us towards the path of retrospection. In conclusion, LTB's "Rewind" is an alternative pop gem laden with evocative lyrics and smooth tunes. With musicianship of such caliber, I wholeheartedly agree, he is an artist to maintain eye contact with. You might just find that the voyage through his discography becomes a meticulously woven journey through our own stories and regrets. A trip worth taking, indeed. Follow LTB on YouTube and Instagram.