#how to make a melodic rap flow

[bump1nthen1ght]

Fair Winds, Following Seas (M!Reader x M!Siren)

Pairing: Male!Captain!Reader x Male!Flirty!Siren

Genre: Pirates, Pining, Flirting

Word Count: 2257 words

Warnings: N/A

Summary: As a captain of a feared pirate crew, not much terrifies you. Not even keeping the company of a man-eating siren. 

Based on this request: (A/N: WHELP I clearly misread this request haha, a more accurate version of this request can be found here, but for now enjoy this piece!) May I request a flirty male! siren! reader with a male gruff pirate captain? I'll leave the details up to you! Love your works by the way, take all the dang time you need. :3

One of your favorite things about being captain is being at the helm. With nothing but an endless ocean in front of you and a steady grip on the wheel, you’ve never felt more at peace.

Except for right now, with an incessant rapping on your shoulder.

“Yes, Mr. Brightley?”

Your nervous, newest third mate jolts at your voice, probably just having worked up the nerve to approach you in the first place.

“U-um, the lookout has spotted a stranded person sitting out on the rock.” His shaky hands point out on the horizon, where a large outcrop stands solitary amidst the waves. The kind of rock that could sustain no other life than a seagull and crustaceans.

Your brow furrows.

“Really?”

“Yes, captain. The crew was wondering if we should stop and help them-”

“What do they look like?”

That stops Mr. Brightley in his tracks.

“Uh-”

“Check for me, will you?” You nod your head to the nearby telescope. Your ship is slowly riding the waves, the rock just within viewing distance.

Mr. Brightly shakily takes the scope, extending it and trying to catch any general features.

“Uh, long black hair, tan-” Brightley’s free eye squints, “It looks like they're wearing a sheet?”

You sigh.

“Tell the crew to get the rowboat ready, I’ll go and check this out.”

—

Your younger crew looks at you like you're crazy as you insist on going out to the rock by yourself, bringing nothing but a rope, a ladder and a bucket of fish with you. You told them you’ll be back in a few hours, another baffling fact.

As you row through the crashing waves,  a beckoning, melodic voice calls out to you.

“Oh, my savior!” The tenor calls out in fake falsetto, white linen flowing around his nude figure like Aphrodite. “I’ve been stranded for days. I thought I was a goner.” You throw a rope up the side of the rock, a snake-like hand grabbing it with precision. 

His face is beautiful, practically carved out of marble. His warm brown eyes are that of a doe, all innocent and alluring. “Whatever can I do to repay you?”

“Cut the crap, Harris.” 

You toss the pail of sea sweater directly into Harris face, the sheet wrapped around his chest going sheer. Harris just tosses his hair, water speckling like a rainbow as false skin fades into green scales, those doe eyes glowing a bright yellow and his demure smile becoming full of sharp teeth. He still resembles a human, a handsome one too, but this form is much more real.

“Ah, you always know how to make my day, Captain.”

Harris knots the rope around a sturdy rock, foregoing your rope ladder entirely and diving into the water with perfect precision. You roll your eyes.

“Showoff.” Haris flips back his long hair, now dark and tangled with sea water, as he pulls himself up onto the rowboat. His triceps flex and he gives you a wry smirk “You know you could send me a letter, like a normal friend does. Don’t have to do-” You gesture to the giant rock, to the diaphanous sheet now barely hanging off his hips, “-all this.”

“Nonsense, Captain.” Harris leah's over and sends a wave to your crew, most likely absolutely gobsmacked at this point. “These meetings are special! Special things deserve some drama.”

Harris flops his body over your legs, hand thrown over his forehead like the cover of a bodice-ripper. The sheet wraps around his waist, somehow making his sharp v seem all the more pronounced.

You scoff, setting your large oars aside and giving your arms a break. The sun is bright today, reflecting off the wear and right into your eyes. Sweat has begun to pool onto your brow.

A calloused, scaly hand runs up the side of your face, drawing your attention. The tips of Harris’ claws just graze your skin, lingering over a strip of puckered skin right by your jaw, no bigger than an inch.

“Is this new?”

You hum, remembering the scuffle at the bar they gave you the scar. It wasn’t even a good enough story to tell, the mark itself easily covered up by some facial hair, if you wanted to.

“Well, it makes you no less handsome.”

Harris sits up on his elbows, eyes dangerously darting across your lips. His tongue, long and black, darts in between his teeth.

You throw your thighs up and even Harris’ strong core isn’t enough to keep him steady. He falls off of you, quite ungracefully.

“Hey! Watch the merchandise, these looks are important, y’know?”

Harris brushed back his hair, showing off the sharp cut of his jaw and his perfectly pushed up cheekbones. They glimmer green and gold in the sunlight.

You grab a fish from the bucket and throw it in his face. Harris catches it between his teeth. He gives you a wink as blood and bone crunch under his fangs. 

“Hope you like mackerel, cause that's all you're getting.”

Harris pushes your knee in jest, lips so pouty, but graciously accepts the heaps of fish you give him. You’re lucky you're almost completely nose-blind, as you're sure the boat reeks of fish guts and brine at this point. 

“Now tell me Captain,”” Harris says, still picking flesh from his teeth, “-what ya been up to?”

“Nothing much.”

“You always say that.” Harris whines, stripping flesh clean of the bone with one bite. “Must I pry out every battle and plunder you’ve gone through? You’re a fearsome pirate Captain, brag a little.”

“This coming from the man who's been inside the Marianas Trench and didn’t tell me until I knew him for a year. ” You pull out a fresh orange, thankful you didn’t get any of the fish-stink on your hands. “Pot calling kettle black, Harris.”

“Ugh, you’ve seen the Marianas Trench once you’ve seen it you’ve seen it 

hundred times.” Harris throws a fish bone over the side, crossing his arms and leaning on your seat. “Now, suck it up and tell me about a ‘port’ of some sort!”

This was how it always went with Harris. For a siren, he was weirdly fascinated by your land-locked tales. You’d think he’d hate human stuff, given you met when rescuing him from a fishing net.

“Meh. Some sirens are shitty, some sirens are good. I’m sure humans are the same. I mean, you seem pretty cool.”

The next time your paths crossed had been accidental. Harris almost lured one of your men over the side. But after that snafu, he agreed to let the poor soul go in exchange for another story, something exciting like you had distracted him with when cutting him free. 

After that began the trade; he told you about his underwater escapades, you told him about your land ones. You seemed to be like magnets, paths always crossing in a wide wide ocean. 

“Ooh, like this.” Harris lunges forward, clawed hand going for your neck. After years of this, you don’t even flinch. The claws pull at the lace of your new necklace, pulling out the mother-of-pearl pendant ensconced in gold in the center. “I bet this has a story. Where did you get this from?”

“Hmm, just a bet gone right at a port bar. The one I told you about, with all the seashell decorations”  It was a common haunt of you and your crew, your face well known and respected. “Stupid bastard just wouldn't stop playing. He must have been a stupid noble or something, trying to make it on his own. Too much gold and not enough sense.” You look at the pendant, seeing the faint colors shimmer in the sunlight. “He only quit after he lost this, must’ve been an heirloom cause he got real red in the face afterwards. Lunged at my neck with a fork.” 

“Oh! Oh! Did you stab his hand into the table? Did you grab him by the collar, hold your sword up to his neck and say ‘Unhand me, fool, or I’ll wear your guts for garters’?”

You raise your eyebrow.

“You’ve been reading too many of those romance novels. No, I punched him and he was out like a light.”

Harris flops down, a pout.

“Well, what about the gold?”

“Spent most of it that night. Well, the crew did. I think they bled that poor tavern dry.” You laugh, fiddling with the pendant. That had been a fun night. “I held onto the rest.”

“Well surely you spent some of it. Didn’t you party with your crew?”

“Nah, I love the lads but they make poor company when drunk.”

“Hmm, so you prefer the company of others.” Harris wiggles his eyebrows, leaning forward and an elbow. “Anyone in parti-cu-lar?” Harris gives an exaggerated wink, scrunching up his cheek and all.

You aren’t moved by the performance

“Like I said, too many romance novels.”

“Oh come on!” Harris grabs another fish, ripping its head off with one movement. “Do you know how small the eligible siren population is? There's only about 500 of us, and you’re lucky if the siren you're courting isn't an ex's ex of an ex. There’s like, thousands of you humans-”

“More like billions-”

“-and you’re saying no one comes to mind? Not even a young ingénue waiting for their fearsome captain to come back from the sea? Or pining over that rugged lover they took one night, who blew their stockings right off?” Harris takes a bite of the fish, spitting out pieces of bone over the side. He leans forward further on his elbows, chin just inches from brushing against your thigh. “You’re telling me they don’t just throw themselves at you, Captain. You? Surely there must be someone who caught your eye.”  Harris gestures to your whole body. 

You exhale through your nose, staring right into Harris' deep yellow eyes. You’re no artist, nor a writer, but you wonder what the right words would be to describe him.

Someone with big eyes, with that aquiline nose. Whose eyes are like the sunset on the water, clear yet vibrant. With a black tongue, sharp teeth and even sharper claws.

“Nope, no one.”

Harris rolls his eyes, shoving your thigh with a half-strength push. 

“Fine, keep your secrets. I’ll pry you open one day, Captain.”

Fortunately, the conversation quickly drifts from your love-life to his recent misadventures. Mostly boring, according to him; Riding the gulf stream all the way to Iceland, helping a whale calf back to its mother, and sinking an English ship with some siren buddies.

“All Royal Navymen, so not the tastiest meat. But my god, do they make interesting sport.”

You show him the scar on your side you have from when such a Royal Navyman had grazed it with a bayonet.

“Lost lots of blood. But I walked away with my head intact, can’t say the same for him.”

“Not that he had much to begin with.”

That gets a laugh.

Only the setting sun can cut your meetings short, the night at sea bringing a deathly chill you’re ill equipped to deal with. Harris offers to pull your rowboat back to your ship, knowing how the sun tires you to the bone.

Curious crew members flee from the side as Harris draws closer, his handsome face poking out above the water. You’re sure some of them have already stuffed cotton in their ears, terrified of Harris. It takes your second hand, Ricky, to let the rope ladder down after you call everyone else cowards.

“I see what you mean about your crew, Captain. Who’d be afraid of little ole me?”

He presses a finger to his cheek in faux innocence, smile still filled with teeth. You splash some more water in his face.

You hop onto the bottom rung of the stepladder after typing up the rowboat, sluggish crew still too afraid to approach the side and pull the boat up. You turn back to Harris, who lingers in the water.

“Well, Farewell Captain! May your adventures be plentiful, so I have something interesting to listen to next time”

Harris propels himself upward, giving a dramatic bow half-way out of the water. You can’t fight the smile. Such a drama queen.

“Hey Harris?” You call back, now hanging off the ladder with one hand. The other gestures for Harris to come closer.

“Yes?” Harris asks, leaning up with brows furrowed.

His lips are just as salty as you’d expect. With only a three second peck, you’re already fiending for some water. It’d be harder to pull away, otherwise.

Those eyes are blown wide open, cheeks flushed an unnatural color you’ve never seen before. It’s a brand new expression on Harris, it shoots a pleasant bolt down your spine.

“Until we meet again.”

You tap the side of the rope, quickly yanked up by Ricky. You shoot only a glance back and see Harris, jaw dropped open like a guppy.

By the time you’re back on the deck, he seems to have dived back in the water, and your crew are pulling cotton out of their ears.

You give Ricky a pat on the back and he gives you a knowing smile. He’ll never let this go, that’s for sure. 

You saunter off into your quarters, Mr. Brightley and the rest still as befuddled as before.

“Absolute madman, he is.” Mr. Brightley says, wondering how he’d fit all your escapades into his letter to his sister. Hopefully her Captain was more sane than his.

[forestfrolickingfairy787]

Linked Universe Headcanons: What I think each of their roles would be in a boy band

I'm surprised how popular my prev one was! I was chatting to a non fan friend and she was curious what they would be like in a band, and asked me who the rapper would be...I reckon WILD hahah

Anyways...

Time: Not an active member but used to be a solo artist back in the day, he doesn't like being in the limelight as much and mentors/manages the rest of them. Still has that suave quality, a total heart throb and occasionally hosts a one off concert only available to the VIPS. He was the IT boy back in the day.

Warriors: Leader of the band and all rounder. He's a complete heartbreaker, can sing, and dance every style and fans go crazy over him. Very charismatic and flirty, knows how to make a fan feel special at a meet and greet and always takes a photo with them.

Twilight: I think lead guitarist, can sing beautifully and has one of the most charming voices, also very yeehaw and country when he goes on solo tour dates or drops his album. He's dripping with quiet confidence and doesn't share too much about his private life to fans, likes to keep a boundary between his private and professional life but will always be kind of them and never deny a photo or autograph

Sky: Has a beautiful voice, more shy and s o f t, he's one of the more quieter members and doesn't like being on camera as much but doesn't hate it either. Has that sweet prince charming vibe that everyone loves, would probably be a part time model on top of his band duties. Can play the guitar and bass

Wild: Absolute hardcore. He's def the main rapper and won't pass up the chance to drop any bars. He'll def go on rap battle tv shows and break EVERYONE. Mans got flow and swag, especially after getting a full arm of tattoos. What's the backstory behind them? He'll change it everytime he's on an interview. Absolute coolest dude on earth, fans LOVE him and how chill he is but you don't want to get on this guy's bad side or you'll be on his diss track list. Even the others are slightly scared of him. Always on social media posting selfies and updates, or threatening other artists that come for him or his band. Likes to film the other members to until Time tells him to cut it out and touch grass

Legend: I can see him having a lot of range in his voice, very powerful and can sing ballads. One of the lead singers and occasionally helps with writing songs. He CAN dance if he puts his heart and soul into it. He loves writing poetry and secretly writes love songs for himself based on a special girl, but he'll tear them up before anyone sees them. Would Probably records an incredible, heartfelt song he wrote and composed himself on his instagram then delete it after 5 hours beccause he'll be like, why the hell did I just do that? Fans would cry, wishing he would post more gems like that. Hates to be in the front but also fairly confident in his skills. Fans adore him because you can just see he's actually a big softie on the inside despite that tough exterior he puts up. Secretly jealous of Wild's rap ability, can't rap to save his life but maybe, one day.

Hyrule:

One of the lead singers, has the most melodic voice and can absolutely stun a crowd with his angelic vocals. Like Legend, also is one of the members with the most range. You know when you see someone in person and their just glowing? Yea, that's him. Sweetest celeb ever, everyone that's worked with him only has good things to say about this guy. Definitely has the most potential to go solo as well with his incredible piano skills. Can also play almost every other instrument, an absolute talent in everything. He also sponsors charities every now and then and interacts with fans on social media. Can do contemporary dance

Wind/Four: Tbh I think they would be good in broad way, both are great singers and still very much fanboys to the others. Their working their way, still in training. Can definitely see Wind going big on broadway and theatre and specialising in tap dance

Can you guess who is my bias? Or who's your bias? hehe

[gerogerigaogaigar]

In the wake of the Drake/Kendrick beef its become clear that a lot of people here don't know what hip-hop is and/or don't know how to listen to it. Instead of dunking on people's ignorance I'd like to offer up an educational opportunity. Hip-hop can be difficult to get into if you come from an exclusively white and rock oriented upbringing. It simply listens differently than other popular music and you have to learn how to listen to it. This is honestly true of all music, but white america grows up with modern rock and pop that more or less derive their structure from tin pan alley music of the early 1900's. Hip-hop is a derivative of the 70's disco scene. Disco had an even more dance oriented feel than the funk that it spun off from. And funk was already more rhythm heavy than the Soul and Rhythm & Blues that birthed the funk scene.

Hip-hop is, first and foremost, a black artform and I am not black. So I'm not trying to position myself as a community ambassador or anything, but I do get that there are some barriers that white suburban kids face when it comes to getting into hip-hop. I also know that I am very, very into hip-hop so being a suburban white kid is clearly not an excuse for dismissing an entire artform. And racism isn't something you are it's something you do. So its time to stop talking about Weird Al and Eminem* whenever someone asks if you like rap. Right now it is time to learn how to listen.

*all due respect to eminem, he's actually really good, but we aren't talking about white rappers right now

When listening to rap one of the first things you need to pay attention to is the rapper's flow. A rapper's instrument is their voice, but unlike what you may be used to rap vocals are part of the percussion. In the songs included below, try to listen for how the vocals create a rhythmic counterpoint to the instrumentals. and listen for how rappers use rhyme as well as rhythm to create a pleasing cadence. Don't worry about what they're saying, listen to how they say it.

All Caps We start with All Caps, an absolute beast of a song. MF DOOM meets the frantic energy of the beat with a steady even flow that feels effortless. DOOM interlocks Rhyme schemes and uses matching vowel sounds throughout the verses to create the illusion that he is just dropping thoughts off the top of his head. The maneuver he pulls in the last stanza always blows my mind. making a *pop* sound to onomatopoetically match the vowel sound in pot, got, and snot while also rhyming troubles and bubbles.

A Milli Next up is Lil Wayne. Much like DOOM he can bury rhyme schemes for days, but instead of a smooth even flow he goes in bursts of frantic energy to contrast the very steady beat.

Ultimate Denzel Curry is probably one of the best in the trap scene and Ultimate is an early track where he is nailing the lazy beat, angry delivery thing. his shouted couplets overlay the trilled snare to create a texture that is actually very typical of trap music.

Izzo (H.O.V.A.) Jay-Z has a triumphant tone and a sing-songy cadence to his voice. He tends to match the percussive parts of his raps to the downbeat of the drums and it further emphasizes the strings from the Jackson Five sample and his more melodic lilting.

Bad Character You might notice that Quasimoto sounds... uh... well its Madlib with his voice pitched up. Weirdly Quas has a totally different cadence than Madlib. The timbre of his voice is so distinctive but he raps so casually. It almost feels like he is disconnected from the beat, but he's still right on it. It is a weird quirky atmosphere.

ATliens ATliens is the first song on the list with multiple rappers on it. Big Boi is a master of the straightforward 90's gangsta style while Andre 3000 has a supernatural sense for where he is on the beat that allows him to dodge and weave around it. the two of them work together by giving a back and forth between the extreme steadyness of Big Boi and the extreme wonkiness of Andre 3000.

Protect Ya Neck The Wu-Tang Clan had a lot of members and Protect Ya Neck has all of them on it. It would take forever to explain the different styles of the whole Clan so I'm just gonna let you hear it all yourself. even if you can't tell them all apart it is still pretty easy to tell when they pass the mic.

Ready Or Not Wyclef Jean and Ms. Lauryn Hill are two of the best rappers, and also Pras is here. The interpolation of soul hooks that show off Lauryn Hill's singing skills were standard for the group, but Hill could switch from singing to rapping on a dime. Even when they are rapping there is a sense of soul music underlying their music.

Life's A Bitch Another track with a laid back beat. I couldn't tell you when Nas takes a fucking breath in this song. he just goes and goes. everyone on this is so smooth.

Fix Up, Look Sharp Finally I had to get some really rowdy shit on here. Dizze Rascal's flow is so bombastic. he hits every downbeat as hard as possible and almost drowns out the steady snare-kick beat with his voice alone. Like Jay-Z he is also very sing-songy.

To Be Continued ===> Part 1 | Part 2 | Part 3 | Part4 | Part 5 | Part 6

[rockbandsrockfans]

My thoughts on From Zero:

From Zero (Intro): Yeah like from nothing!

The Emptiness Machine: I really like this song, I think it's good. The first time I heard it it sounded really familiar but like I've heard a demo of it not like it's a rip off of another song. I'm always down for Mike singing

Cut the Bridge: Rap verse and the drums under it is mad modern Linkin Park, everything else reminds me of a different band but idk which one. I like the bridge a lot

Heavy is the Crown: "THIS IS WHAT YOU ASKED FOOOOOOOOOOR!!" I see what you did there guys. This sounds plausibly Linkin Park and that muted sample or whatever that is in the back is cool af

Over Each Other: Emily's mostly solo song, the verse won't stick in my head but I'm into the chorus. The way the song resolves is exactly what I expected based on the chorus and exactly what it should be!

Casualty: This one is like if Lies Greed Misery (with some War influences) was written by teenage Slipknot fans in a garage. It sounds like it's gonna have an outro that goes into the beginning of Overflow and then doesn't

Overflow: Generic starting flow saved by really nice harmonies and arrangement. Atmospheric af I bet there will be remixes of this one too. Doesn't sound like it should be on the same album as Casualty.

Two Faced: Song that makes you go "oh THIS is a Linkin Park song" I've missed that crunchy guitar 😫 this shouldn't be my favorite but it might be anyway. The bridge is like the "Fuck you I won't do what you tell me" line from Killing in the Name combined with One Step Closer. Sometimes I think "is Joe still here?" He's here in this one

Stained: I like the verse WAY better than the chorus I'm grooving to the verse and then it's like oh it's done. The second chorus is more interesting than the first caus there's more backing instruments. The bridge comes together nicely though. Weirdly reminds me of Hall of Fame by The Script

IGYEIH: Similar melodic progression to Heavy is the Crown so like those two actually sound like they go on the same album. Matches the energy of Casualty, absolutely nothing like Cut the Bridge, but the LP guitar is GOING.

(Obligatory comparison of Emily to Chester: I can't help but notice how present the vocal harmonies are. They sound AWESOME but I think it's going to lead to people expecting something they aren't gonna get

Good Things Go: God DAMN Mike's voice has come a long way from No Roads Left. Holding those notes like a pro. This is a Post-Traumatic song though. Like if a Post-Traumatic song was an album closer. It definitely has the Album Closing Epic Drum Crescendo but it doesn't feel like an "ending." Spotify looped back into the intro and that felt like exactly what you're supposed to do at the end of the album. Which makes perfect sense for the first record of a new era

[gaijin-fujin-resonance]

スブロサ - SUBROSA

This was one of the few album tracks that was legally previewable before the album launch, and even just from a brief SMS snippet, it was clear that this was metal-banging Industrial EBM at its finest. The prowling panther beat of Yuta’s hip-hop bass plays off a sproingy synth-bass lick, the backbone of the 80s Industrial sound*. Endlessly repeating, weird electronic squiggles of sound are run through heavy filters to emulate robotic chatter. It even features a mentasm Hoover Synth. And, of course, the Aphex Twin-pioneered micro-edited, infinitely fast snarerushes and LFO-twiddling that seem to collapse the song into itself during the breaks.

*There’s some controversy as to the original of this tone: depending on who you ask, it was invented by either NU Unruh hammering a giant spring with Einstuerzende Neubauten (the ‘Bassfeder’ comes in about 0:17); or Chrislo Haas’ analogue synth work, as one of the founders of DAF, a band whose aggressive minimalism would become the blueprint for the European EDM sound.

Yokoyama-san’s working notes on the track reveal the incredibly complex editing work, like an auditory jigsaw puzzle. (The track names are incredible: "Dissonance Progress"; "Pitch Black Night"; "Future Breaks"!) You can see the beats double, quadruple, multiply exponentially as the cuts become smaller and denser. The stereo manipulation is mindblowing - truly a song made for headphones! - as sounds flicker and skitter and pan in every direction. He said that Imai “insisted on leaving out his guitar (even though the guitar can still be heard)”. £5 reward to anyone who can spot any guitar on the track!

Imai also revealed in an interview, that this song was originally written during the Izora sessions, and rewritten for Subrosa. Imai’s playful raps and dizzying flow are so perfect for the song’s swaggering attitude that I can’t imagine how Sakurai would have sung it. I fear it might have become something in a playful, slightly silly vein a la Gustave. (I love Gustave as much as anyone, but it has a very different atmosphere.) But instead, Imai created a blueprint for a far more dance-oriented, synthesiser-based B-T Mk II. Vocals here are just another instrument: more of a rhythmic element than a melodic one; a background textural element to provide colour, rather than the main figure of the foreground.

Favourite moments: oh, there are just too many to count. Maybe the very end of the ecstatic drop, where the Jungle beats from 2:20 give way to the scratched (phased out? Leslie-speakered?) vocals coming in at 2:34. Very Beastie Boys – memories of my first time hearing their mixture of acid rock and hip-hop on Check Your Head in pot-scented student digs in New York. Can you imagine the stereophonic fun they could have with a pair of these babies?

The NOIZE solos at 3:11 and 3:27 (these would sound great live on a theremin, Mr. Imai, hint hint!) The stereo-panned sawtooth tremolo synth that comes in during the very last verse (starting at about 4:05) like a flash forward to the extreme noise-gating of Muyubyo’s guitars? It’s the tiny sonic details that make Buck-Tick so moreish – I’ve listened to this song dozens of times and on each deep listen, I catch another tiny sound I hadn’t noticed before. (I just caught a tiny stereo twitch in the synths at 1:58!) It works as a pop song – the irresistible panther rhythm and the strutting vocals drive it along with charismatic velocity – but the detail and complexity of the soundscape is like the whirling, ornate pattern of a Persian carpet you can lose yourself in forever.

[srirachaz]

I really want to go through nct's discography but holy cow where do I start I'm thinking 127 dream wish wayv u superm nd thsn the full albums

ok i apologize for the massive fucking wall of text that follows this paragraph but i'm in fact a huge nctzen (i listen to literally every subunit and solo i love them all)

127 is for sure the most popular but wish and wayv might be easier to start with because they have a smaller discography. unfortunately no matter how you slice it it'll take forever to get though because all the groups keep releasing banger after banger so try some sample songs to see which discographies you vibe with:

nct wish: hands up, wish. they're still in their teenage idoldom and their songs reflect that! very cute, very easy listening, very underrated. their bsides have a similar vibe to their tts and are very 2018 reminiscent. if you like riize, wannaone, or tws this is for you

nct dream: candy, istj, broken melodies, beatbox, smoothie, hot sauce. dream has 2 modes: early dream (cir. 2018-2020) with cutesy teen stuff and later dream (anything recent) that incorporates more 127 experimental sounds and is a little more mature but retains the amazing vocal quality they always had. their bsides range from ballads to heavenly hamonies (please listen to box omg) with a noisier song every once in a while. if you like seventeen, shinee, or stray kids this is for you

wayv: moonwalk, phantom, give me that. any given wayv tt is a good one so you'll never go wrong. melodic and life-changing, with harmonies to die for. generally a more mature vibe, and they can include noise really well. the raps lean into a darker heavier tone. their bsides range from melodic to club bangers, but each bside goes really well with the album. if you like exo, tvxq, taemin, or monsta x this is for you

nct 127: cherry bomb, fact check, fire truck, 2 baddies, kick it, superhuman, ay-yo, walk, simon says, sticker. very experimental, very fun. club music loves 127. their bsides tend to be a little softer? slower? idk how to describe it but they're usually showing off more of their vocal capabilities, so the tt isn't usually the same vibe as to what the rest of the album is. if you like stray kids, ateez, or block b this is for you

nct u: 7th sense, 90's love, make a wish, baggy jeans, baby don't stop, misfit. nct u bsides are usually to show off individual groups and the albums flow together really well, they're produced nicely. kind of a mix of the other ncts so if you like those you'll like nct u.

other: perfume, shalala, off the mask, nightwalker, smoke, little light, each completely different, each album perfect to listen to.

superM (bonus!): tiger inside, jopping. superm bsides all fuck hard and definitely should be listened to in full

i also have a separate list of nct b-side bangers but that can wait lmfao

HOWEVER NCT LOVES THEIR GENRE MIXING SO SOMETIMES THEY DO SONGS OUT OF LEFT FIELD THAT SOUND NOTHING LIKE THE REST OF THEIR STUFF WHICH IS OK BUT SOMETIMES IT'S A JUMP SCARE BASS LINE OR A RANDOM BALLAD

[pknn18]

Yappin' about the features on Call Me If You Get Lost

SIR BAUDELAIRE - DJ Drama (And like, every other song he's on I guess)

He is a VERY love it or hate it presence in Call Me if You Get Lost. I personally love him though because he's just such a great hypeman. His excitement is borderline infectious for someone like me that preferably doesn't want to be crashing out. I'm honestly not sure if I'd like the songs more without him or whatever, but it's a matter of liking what you're given I guess. I'm sure in the universe where he wasn't on his album it wouldn't do much to take away from how good the songs are. Also he's just lowkey funny. I like that in Sorry, Not Sorry, a pretty serious song, he just screams "I'M SORRY! I'M FUCKINNNN SORRY!!!!!

LEMONHEAD - 42 Dugg

Solid feature. That's basically why I'm doing this. All of these features fit. I'm not gonna pretend like I have a lot to say about this one but like. It's just a damn good feature. Follows the vibe of the song perfectly and is a perfectly welcome addition.

WUSYANAME - Ty Dolla $ign, NBA YoungBoy

Not much that can be said that hasn't been already said but this song's too good to care about that. YoungBoy's verse is the type of shit people would've expected Ty Dolla to have done on top of his beautiful singing in the background. But Y.B. provides his melodic flow to the song that I don't think he does often nor do I hear it done in rap often in general, but maybe I just need to expand my music tastes. I need to see if there's more R&B songs like this because DAMN

HOT WIND BLOWS - Lil Wayne

I love Wayne's verse on this song because he takes control of the song from that point forward (The fact he starts off with "Excuse me, pardon me" hammers that in). How many features go "Take the drums out"? He's a force of nature in a song called Hot Wind Blows, and I think that's awesome.

RUNITUP - Teezo Touchdown

Teezo doesn't even have, like, a VERSE. But his background presence is still very prominent throughout the song. Most talented adlib guy there is.

MANIFESTO - Domo Genesis

Again, a overall solid feature. I honestly think he's the perfect feature to go with this kinda "dark" sounding song, fitting since he was also part of Odd Future with Tyler. I like the way he says "Ya dig?".

JUGGERNAUT - Lil Uzi Vert, Pharrell Williams

Perfect fucking features. Lil Uzi Vert immediately goes in after Tyler already went hard on his verse and spits like fucking crazy. Then after the hype chorus, you have Pharrell ALSO going in, but it's far more surprising for me and a lot of others because like, the main thing we fucking heard even SING in was Happy. So to hear him spitting some serious bars was awesome.

STUNTMAN - Vince Staples

He gets placed at the beginning of the song and basically gets shit hype and this song gets me SO pumped. I fucking love his flow on his track, it gets me head banging without even thinking about it.

WHARF TALK - A$AP Rocky

On the complete opposite end, this is a pretty chill feature on a pretty chill song. Rocky's voice provides a nice contrast from Tyler's and he kinda has this "casual flow" in his verse that makes him naturally fit into the song.

BOYFRIEND, GIRLFRIEND - YG

Very short but sweet. Like Vince in STUNTMAN, YG's verse sets the tone really well and gets you into the mood of the song. Also, "You should be my - BITCH" is as funny to me as "AW, YOU LOOK MALNOURISHED".

[icy-berg]

5 Course Meal a La Flame

Like him or not, there's no denying that Travis Scott has been one of the biggest names in hip hop in recent years. His combination of unwavering energy, electrifying auto-tuned vocals, and both aggressive and melodic beats has solidified him as one of the most unique artists and performers ever. Outside of rap, the man is a marketing machine, from his deals with McDonald's and Nike, to his own brand of seltzers (RIP Cacti I was getting ripped off those bois in 2021). All this goes to say, he has had an extremely impressive run so far, and I can't see him stopping any time soon.

I wanted to break down 5 of my favorite songs of his. His catalog is eclectic and features so many different styles packed into various singles, albums, features, etc. Let's run it.

wonderful (ft. The Weeknd)

Very glad I waited to write this up because Trav brought out Abel at his Sydney show last week. I heard this song pretty late, after Birds in the Trap Sing McKnight had been out for a while, but if this shit doesn't get you FLOATIN then I honestly don't know what will. These two on track is a guarantee for a spooky, heartfelt song that still slaps the walls. The closing song on the album, I easily could've seen this being an intro depending on the direction he wanted to take things.

sdp interlude

Smoke some. Drink Some. Pop One. Travis strings some simple phrases together and makes it slam perfectly on this interlude off Birds in the Trap. It's another reminder that he can adjust his voice to fit any production, no matter how wild and trippy it gets. The layering of the vocals and the transitions on this track are hypnotic, feeling as if you are actually crossfading in and out of consciousness. The Tavatli remix of this song is also one of my favorite Soundcloud remixes in recent memory.

3500 (ft. Future & 2 Chainz)

Let's take it back to Rodeoooooo with this one. People forget the chokehold 2 Chainz had the game in back in the early 2010s. The man simply could not miss. Then you throw Pluto in to make a Big 3 and there's no way you're ever looking back. The chorus alone on this song ripples throughout the room whenever you play it. No surprise again that La Flame switches things up and slows it down only to spike the energy back up again. It's just child's play for him at this point. Here's yet another remix, this one brought to you by my favorite spin instructor in the nation's capital, Techno TJ.

Black & Chinese

Huncho Jack, Jack Huncho dropped in the midst of an insane run for Travis Scott and Migos, so I was on the edge of my seat when it hit while I was home from college on winter break. Black & Chinese brought an unusual speedy element to the table that I feel like we don't see as much from either of these legends. Hearing that beat rumble and then Travis slide onto the beat feels so organic, then they proceed to pass verses back and forth like a game of ping pong. If you want to hear a track from a collab album that has a natural electricity to it, this is your song. Also check out Motorcyle Patches, that shit's a bop too.

COFFEE BEAN

It's tough to pick a song from ASTROWORLD, but I opted to go with COFFEE BEAN because it just has such a powerful, slow bounce to it. Cactus Jack himself takes his time telling a story and pouring his heart out over the beat, taking a break from his usual powerful ebbs and flows. Just like wonderful, this is a closer for the album, and fades out to end the rollercoaster ride perfectly. He's tuckered himself out across the journey, and is ready to unwind and release his feelings in a calm, collected manner, leaving the audience guessing for what music he'll create next.

Honorable Mention: 2013 XXL Freshman Cypher

This might be one of the most underrated XXL cyphers ever. Backwards hat Trav spitting about speedin on a motorcycle in Abu Dhabi, playin hockey wit some broads in Sweden. Sheeeeesh. With a perfect intro from fellow Freshman class members Joseph Badassery, The Baby Boy Bronsoliño, and the last Black Hippy to get a Wiki, this snippet was before it's time. Travis has changed a lot, but looking back at his roots you can still see the resemblance crystal clear.

[yuzu-all-the-way]

FaOI Makuhari Day 3 (live) - Impressions

The long-awaited live stream. After a sleepless night because there was no way to contain my excitement for 'pro athlete Hanyu Yuzuru' back in the public eye, I finally got everything under control when the guy sneakily showed up in the middle of the skaters.

It was odd not to hear him being introduced right away and it was even odder to him being introduced BEFORE his trademark opening 4T. Luckily, I had the satisfying moment of hearing 'Yuzuru-4T-Hanyu' in FaOI Makuhari 2022.

I said I wouldn't judge the OP and Finale costumes until I've seen them in motion. Well, now I have. The OP costume is definitely acceptable on Yuzu and I already expressed my love for those weird-ish pants last year. I can't say I'm overly fond of the OP music, but it is what it is and there are definitely some fun choreography parts. The green parts of the costume glow in the dark, so I guess for the audience in the venue it's a pretty cool visual.

Once the OP was out of the way, more than 2 hours I had to struggle to stay awake. One criticism about the show as a whole, it should have more female skaters, some of the men are cool, but some are really not up to it anymore, so, please, just get more women for FaOI next year. And put them also on the poster.

It should be noted that this year's announcer, you know, the guy that introduces the skaters, was not the usual one. This guy was much blander, but damn, Yuzu's intro was spot on. Double Olympic gold medalist, super slam achiever AND solo-ice-show holder and producer who filled out the Tokyo Dome. Of course I couldn't understand the entire thing, but Tokyo Dome I could hear loud and clear.

There's not one bit of If's choreography that I don't like. It's such a complex, perfectly balanced skating-dancing program, emotions could've been a bit clearer, but I'll take what I can get. I re-watched this program countless times before I finally made up my mind to GIF it. It was such a cool thing to do because I could pin-point so many small, on-beat, perfect moves. And, also, I could see that jewelry has a knack of leaving Yuzu.

Last year, it was the bracelet flying off when the holy paper cup was yeeted, now, the Phiten gold-winged necklace abandoned Yuzu. Although it tried its best to hold on, Yuzu's insane hip-hop on ice moves were too strong for the poor wing.

Apart from this small incident which Yuzu himself appeared not to have noticed, the performance was such a success. Yuzu catches every beat of the music, he uses the melodic line for ample moves and the rapping parts for short, fast, precise moves. I strongly encourage you to check out the entire program and every time there's the beat, watch Yuzu's feet and/or arms. Those are the ones skillfully used either together or separately to get that flow going.

I haven't yet found the right words to properly describe how much I admire Yuzu's commitment to further improving himself and creating programs that are very unusual for figure skating. I just can't get over him starting If with a camel spin and ending with a full split AND with the torso bent forward. The audacity of this man to show off his flexibility like that...

One thing I don't particularly like about If... the music. But even that is growing on me now.

The Finale left me a bit disappointed. The song really doesn't do anything for me, the choreography is so weird - and yes, I understand it's a choreo that's been popular in Japan some years ago, but it's still iffy. Nevertheless, you have to appreciate how hard it is to hop on ice one-footed - lots of skaters seem to struggle with it, but Yuzu's doing fine (as if that's a surprise). The solo part is cute, Yuzu's usual intricate footwork that I can only marvel at. I miss the layback spin, though, that was done on Day 1 and shared via TvAsahi's figure skating tiktok account.

Now about that costume... I really don't have much to say about it, but I've learnt to appreciate it makes it easy to count abs. In any case, the finale was okayish, but not the grand finale I'd have expected. Oh, let me mention the wardrobe malfunction: Yuzu's top was unzipped in the back and appeared to be held with a safety pin. Did he break the zipper while changing in 2.12 minutes?

Anyway, there were several cute moments and a very high-tension one. I have no words for the latter, so I'll just post the video.

4T3A-Eu-3S-3Lo (step out) - unhinged combination that was done after a very long preparation time. Yuzu was checking his axis, skating around the rink, approximating distance, the usual math he does on the spot.

And the cute moments - Yuzu cutely shushing the crowd before encouraging them to cheer for the artists, Yuzu finally realizing he lost the wing necklace when Shizuka gave it back, Yuzu trolling everyone with his 'little soldier' walk (as if he'd leave without ARIGATO-ing)...

Ah, Fantasy on Ice 2023 Makuhari. A gem.

This will have to be sustenance enough because the next broadcast is the Kobe Day 3 live which is the very last show of the tour. I'm mad at this and Fuji TV is to blame.

[granvarones]

in the vast universe of hip-hop’s fifty-year history, certain songs stand out for their musical brilliance and place within pop culture and their profound impact on how we eulogize the lives of the loved ones we lost. among these iconic tracks include pete rock & CL smooth’s “they reminisce over you (t.r.o.y.),” geto boys “six feet deep,” puff daddy’s “i’ll be missing you,” coolio’s “gangsta’s paradise,” cuban link’s “flowers for the dead,” and bone thugs-n-harmony’s deeply moving 1996 chart-topper, “tha crossroads.”

emerging in the early 1990s, the trail-blazing cleveland, ohio group achieved multi-platinum status several times under the guidance of mentor and west coast gangsta rap pioneer eazy-e. the group’s distinctive style was an exquisite fusion of rapid-fire flows, gripping storytelling, and melodic doo-wop vocal harmonizing that set them apart from the prevailing sounds of their era. their 1995 magnum opus, “E. 1999 eternal,” cemented their standing in hip-hop, and solidified their legacy.

“E. 1999 eternal” arrived in july 1995 to critical and commercial acclaim. while the lead single, “first of the month,” became the group’s first top 20 hit on billboard’s 100, it was the yet-to-be-released track, “crossroad,” an elegy for a friend lost to gun violence, that quickly generated buzz. when the song was released as the album’s third single in 1996, it had been reworked as a tribute to eazy-e and rechristened “tha crossroads.”

eric “eazy-e” wright co-founded ruthless records and the west coast hip-hop group NWA in 1987. the group’s 1988 album “straight out of compton,” which included the still relevant “fuck the police,” propelled gangsta rap to the forefront of commercial viability and is widely regarded as one of the most influential albums in hip-hop history. eazy and ruthless records continued to impact hip-hop landscape with the signing and global success of bone thugs-n-harmony.

on march 20, 1995, four months before bone’s “E 1999 eternal” was released, eazy-e stunned the hip-hop world when he announced that he was dying from AIDS complications. in a statement issued through his lawyer, eazy courageously stated, “i’ve got thousands and thousands of young fans that have to learn what’s real when it comes to AIDS. like the others before me, i would like to turn my problem into something good that will reach out to all my homeboys and their kin, because i want to save their asses before it’s too late.”” eric “eazy-e” wright died six days later on March 26 at the age of 30.

released in april 1996, a year after eazy-e’s untimely death, “tha crossroads,” debuted at #2 on billboard’s hot 100 before topping the chart for an astonishing 8 weeks. the emotional and spiritual tribute to their friend wally, uncle charles, eazy-e, and other family members, resonated with listens who themselves had experienced loss due to AIDS and gun violence. “tha crossroads” was anchored by a music video that provided a powerful visual to song’s chorus, “see you at the crossroads, so you won’t be lonely,” and offered hope, reminded that those lost to AIDS and gun violence would find solace in the afterlife.

the legacy of “tha crossroads” highlights hip-hop’s extensive history of amplifying social issues, including HIV/AIDS. in october 1995, urbanAID 4 lifebeat hosted hip-hop’s first AIDS benefit concert at new york city’s madison square garden. the now legendary roster of performers included run DMC, the notorious big, wu-tang clan, salt ‘n pepa, mary j. blige, brandy, and to name just a few. the concert also featured video testimonies from people living with HIV and a video message from bone thugs-n-harmony.

“see you at the crossroads, so you won’t lonely.”

“tha crossroads” is a heartbreaking hymn that envelopes you. it is a song about remembrance without making those lost too saintly to reach, touch, feel, and mourn. the song is about personal grief. it is about communal grief. it is testament that hip-hop has the power to inspire transformation and compassion. “tha crossroads” is a song that serves as a comfort for the grieving and dead – a reminder that a reunion will be at the crossroads.

“’cause i know ima meet you at the crossroads.”

[pink-ttes]

rank the members from least talented to most talented pls <3

OKAY SO. HERE WE GO.

001. CHARMEINE : I feel like we’re not surprised, tbh! She’s the holy grail of the group. She’s main dancer material, arguably the second best in the group behind Tana. With her strong, consistent vocals and impressive range she earned her spot as the groups beloved main vocalist, often being labeled as the best vocalist of the 4th gen. Although nobody in pinkalicious is particularly great at rapping, she proves herself to be a decent rapper, coming in at third best with her often infrequent brief catchy verses and sassy tone that fans have fallen for. She also can write a mean song, her lyricism only getting better with time as she watches the groups eldest London’s writing process and mentoring. Her stage presence is another thing to never be messed with! She’s easily the most consistent performer in the group and loves being onstage and you can tell as she’s constantly praised for her skills. Frequently called the performer of her generation. Charmeine proves everyday that she’s a jack of all trades.

002. LONDON : Many people would be surprised to see her outdoing Tana on this list, however, London excels in all areas except dance, stage presence, and rap compared to Tana. That seems like a lot but lmao let me explain! London is a wizard with the pen, not to mention her ear for beats. She’s written almost every song in The Pinkettes’ discography (yes, even the songs she wasn’t credited for.) Next, she’s the second best vocalist in the group, having exceptionally stable vocals and a very pretty vocal tone that could be described as light, airy, slightly honeyed, surprisingly versatile, and melodic. Noooww this is where things take a small turn. Her stage presence is really not that bad but it’s definitely not the best. Her facials aren’t that versatile and honestly consist of similar variations of the same expression—no matter the concept. Her dance is also not bad, just, once again, not the best! She’s a very soft dancer which makes it look like she’s not dancing as hard as the other girls so it can seem as though she’s underdancing. She princessify’s every choreography ever. Rap is obviously not her strong suit, either. But then again, none of the girls are great rappers but they eat on a song. London can write a good verse but she cannot execute it the same way, which is why she never gives herself a rap verse in any song ever. Though she has her shortcomings, she made her way at number two because she’s pretty much the backbone of the group.

003. TANA : Coming in at number three, everyone’s favorite main dancer Tana! She’s an amazing dancer and has been dancing her entire life. She’s often praised for her sharp moves, attention to detail, control, and versatility by well-respected industry professionals. She’s frequently labeled as the best dancer of her generation and her freestyles stun every time. Going hand in hand with her dance, her stage presence is exceptional. She’s consistent and very expressive onstage, knowing how to match with any concept. Her rap is also pretty good, hence her main rapper title. She has nice flow and execution. Her most lacking area would be her vocals. She’s not the most stable but she’s decent. However, she has a vocal tone whose reception is very divided. Some people say she sounds like you can hear her struggle whenever she steps to a mic, others say that it’s her style.

004. MIKYUNG : Don’t get it wrong, Mikyung isn’t this low because she’s purely untalented. She’s arguably the second best dancer of the group, her remarkable smoothness, outstanding musicality, and precise movements never go unnoticed. Her stage presence is neck and neck with Tana’s, they just differ in vibes. Mikyung offers an effortless, kind of subtle, charisma that captivates the audience. Her vocals are good just not in comparison to the top two. She has a surprising range and a well-perceived tone that’s distinct and can be described as nasally but sweet tone. The second best rapper in the group, she has a charming yet fun flow/style that makes all of her verses addictive.

005. NELLY : No surprises to be frank. She’s a mediocre dancer and not very smooth nor versatile—which is they a lot of songs/choreo from the core four were swiped (because she couldn’t keep up.) She has a hard time with musicality and was caught a beat behind the other members on multiple occasions. Vocals are also mediocre, she’s quite listenable in the studio on the actual track but she’s not all that stable. Rap…never let her spit on the mic. London learned her lesson giving her a couple of verses a few eras back when the poor girl got slandered by the masses dhsjdbs. Her best area would be her stage presence which was definitely a work in progress. For a lot of her career she was pretty much like a deer in headlights onstage until recent years when we saw some good improvement. Now she can pull out some charisma and allure in her facial expression which are starting to receive praise.

[luuurien]

Lil Shine - Lovesick

(PluggnB, Pop Rap, Trap)

On his latest EP, Lil Shine’s candied cloud rap throws in more rock guitars and lush orchestration, his melodic flow given a little more space to breathe. Lovesick’s playful PluggnB hasn’t changed much from his debut, but it’s the little things that make all the difference.

☆☆☆☆

Underground trap’s idiosyncrasies often make for some of the wildest listens, and that’s especially the case for Minneapolis’ Lil Shine. With dozens of singles and his SH!NE and Heavenly Ascension mixtapes establishing his presence prior to his debut album Losing Myself, his nasally vocals and sugary plugg beats had already found their sweet spot, making the album one of last year’s strangest and loveliest listens. But, like before, his music had to continue expanding, his latest mixtape Lovesick throwing rock guitars and lush orchestration, his melodic flows given a little more space to breathe while the music stays as energetic and boastful as ever. It shares all its main characteristics with Shine’s previous releases, and Lovesick is all the better for it, a second helping of Losing Myself addictive PluggnB with just enough new flavors thrown in to make it distinct and exciting to hear.

Fitting to its name, Lovesick features more romantic arrangements replete with swooning strings and warm piano leads, distorted drum programming and synth chord progressions still here but driven by a softer spirit. Mistakes opens up with a grand piano progression and gentle strings before the beat kicks in, Shine’s midtempo flow letting him slowly work out tangled feelings towards a breakup, while the title track interpolates its melody from Paramore’s Stop This Song (Lovesick Melody) (even playing a bit of the song as the song fades out) to harness some of that bitter, heartbroken pop rock energy into a hazy cloud rap cut. The obvious heavy hitter is Jeans Soaked, a massive second half highlight pushed by a winding electric guitar and triumphant horns for one of his best hooks to date (I haven’t stopped humming “I spilled wockhardt on my jeans, now my jeans soaked!” for weeks now), but the surrounding song’s lighter presence makes for a good balance, Too Much’s 8-bit synth leads and the smooth guitar solo in One Last Time subtle but lovely changes to Shine’s sound that don’t mess with the form of his songs. It’s some of the best rap this year, and all of its weirdness only makes it better. Lovesick’s playful PluggnB hasn’t changed much from his debut, but it’s the little things that make all the difference. Leaner and more diverse in its sound, it makes a wonderful follow-up to Losing Myself with some new twists, taking on the sharper edges of rock and pop punk and sprinkling it around the usual bassy 808’s and synth leads. Still tapping into the possibilities of PluggnB and how far he can stretch its limits, Lil Shine’s music continues to be as fun as ever with all the weirdness and creativity those early Soundcloud releases got so much traction from. Lovesick may be about heartbreak, but it’s the most lovable and exciting music from Lil Shine yet, bittersweet alt-rap in all the right ways.

[adagioapassionato]

Thinking about...Reflection by RM.

I would today like to talk about the multiple ways in which ‘Reflection’ breaks my heart and what it means to me. I seriously cannot listen to it without feeling completely broken inside and wanting to cry because I hate that Namjoon has felt like this and I also hate that I know exactly the feeling he tries to portray here. I think the way this song is constructed is incredibly beautiful. Namjoon begins with the words "I know every life's a movie..." and the entire song is constructed exactly like a movie scene.

The song begins with background noise that sets the scene: a bar, noise, talking, and as the music begins to fade in, it’s as though a camera zooms in on Namjoon, who then begins a sort of monologue. "I know every life's a movie, we got different stars and stories..." Although he wants to continue “shooting the movie (of his life) well,” he can’t help but hate himself. It’s a beautiful way to describe attempts to ‘romanticise’ your loneliness. That’s something common people say these days – to ‘romanticise’ and fall in love with your alone time, pretending you’re a ‘main character’ in a movie or a story. However, doing this also overlooks the feelings of self-hatred that come with loneliness and make it hard to continue pretending your life is a movie. He goes on to talk about why he comes to this bar in Dduksum when he hates himself. It reminded me of going out and surrounding myself with people when I felt lonely, which hardly helped and often made me feel worse and even more like I didn’t fit in. However, doing this is something of a guilty pleasure – “when I hate myself I come to Dduksum...fear, which holds my hand/it's alright if everyone is in 2s and 3s/it's good that I have a friend too." Although he hates himself, although coming to a noisy bar reminds him of the very self-hatred and loneliness consuming him, he still returns each time he feels this way. He almost romanticises fear holding his hand as his only friend – as he tries to maintain this movie-like, romantic aura around his loneliness, he ends up creating an eerily sad image.

After he says this, the instrumental break is cinematic and adds further to conjuring a scene that seems to zoom out from Namjoon – the music is emotional and sad, creating the feeling of gazing on as the world passes by around you. We observe the whole scene of the bar while also focusing on Namjoon who is alone in a crowd, and how his fear, loneliness and pain are mixed in with the scene. In the following verses, he progressively breaks down and overthinks about his loneliness, getting further into his head. Where the first verse was like a slow description of his feelings, the second verse gets more desperate as the tone of his voice and his rap flow get louder and faster: "the world is just another name for despair/my height is a diameter of the earth/I'm all my joy and hate." He desperately describes how he feels too big for his body, too distant and out of place, an outsider and alone even when he surrounds himself with people. He captures loneliness accurately with heart-wrenching lyrics: “Everyone else knows where they’re supposed to be/But only I walk without purpose” “I want to be free/I want to be free from freedom.” Loneliness, being on your own, is often considered as you being ‘free’ to do what you want without being bound to anyone, but it can also be disorienting and feel like you’re suspended in time without an idea of where you want to go. The record scratch before the instrumental break is jarring here – it’s as though he is suddenly jerked out of his thought spiral and returns to a reflective state of watching the world pass by him in his loneliness.

The last verse, which contains only one line, is the most desperate of all: "I wish I could love myself." He repeats this over and over – a solution he knows would end these feelings, but one he simply doesn't know how to reach. He seems to rap this melodically, blurring the lines between whether he’s singing or rapping – creating further this dichotomy between romanticising and loving loneliness and screaming the pain that it brings. Then the music fades out as a camera would in a movie, zooming out of this sad, upset character to the general scene before it turns black and ends the song.

I've cried to this song playing on repeat, and it now brings that memory to mind. I interpret the song in this way because my emotions while listening to it progressed in much the same way. It reminds me of a day when I was slapped in the face by the realization that I. Didn’t. Have. Friends. To add insult to injury, I decided to listen to Reflection on repeat that day. I sat there sobbing my eyes out every time Namjoon said "I wish I could love myself," because God, I wished I could love myself, but how, when I felt like no one would ever love me? The instrumental break too, I sat sobbing as the ambient music of life passing by me played behind me. It was such a painful and heartrending experience that I don’t think I'll ever forget how understood I felt by the song. There are some days where I cannot bring myself to listen to it because it brings this feeling back to me. It's truly amazing how he captures one feeling in so many different ways and yet makes it so relatable for everyone. Thus, this song reflects my own feelings of loneliness, of being alone when surrounded by so-called friends, of watching the world pass happily by around you while you stay stuck in your head wishing that for once in your life that you could just be part of that world, but you can’t.

Reflection. You reflect and think a bit too much as the world passes by you. Reflection. You watch the world as though it is reflected in a mirror – it seems like you know it and recognise it like it’s facing you, but you still can’t touch it: it’s far away, distant, alien. This song breaks me so much that I often struggle to listen to it without feeling hurt and sad, but it is so beautiful, just like everything else Namjoon writes.

-a slightly old piece of writing, but this song means a lot to me. i hope you enjoy my take on it :)

References:

Reflection English Lyrics

[volumehypeplay]

Favorite songs of 2023

With the speechless list already out, I want to close out my end of year lists with my favorite songs of 2022. Some expected artists pop-up (with unexpected songs?) and some wild cards thrown in for good measure. So rather than wasting your time, get started below.

↓

Ms. Mural

When Lupe Fiasco announced he would write and record an album in 24 hours, even as a huge fan of his work, I wasn't exactly expecting much. What felt like years later, we had a name 'Drill Music in Zion' (goat album name?) then a few months later a single 'AUTOBOTO'. A good track, but nothing out of the ordinary for Lupe; a song he could make in autopilot, yet still lyrically dropping gems 'What's an infrared dot to a whole dot gov?'.

What really had me excited though was finding out DMIZ would house the next in the Mural series, this time Ms. Mural was taking center stage. It does not dissapoint. Hearing Lupe rap over some classic Soundtrakk production, while narrating the song from the perspective of a painter and his patron (as well as the painting itself?); is the kind of mind-blowing goodness I anticipate from the Chicago emcee. The are bars, on bars in this song that I could point out, but from;

Man does not become superior 'cause you connect him to a cape, Nor does become inferior because you connect him to a ape,

we get a masterclass in subject switching (gender roles, ethics etc) while tying it into the artistic narrative of a song. Like every Fiasco song, this one will take months to unpack, so why not join me and help me understand?

Sistanem

J.I.D, for years has been on the verge of achieving his final form. Clearly, incredibly talented, with easily the most interesting flow in the game, ferociously adaptable and having an innate ability to find THE pocket in any beat. The thing that was missing was always the album that would focus his potential, the ability to cohesively tell a story while standing out like the always does. In 'The Forever Story', he thankfully delivered on his years of promise. in a short, dense 12 track album.

J.I.D spent a chunks of the album doing what he was already excellent at (Surround Sound, Raydar, Lauder too) but better, as well as introducing us to sides of him that were not as obvious. I couldn't decide between Crack Sandwich, Kody Blu 31 or Sistanem for a long time as the highlight of the album, but the latter seemingly mixes what the former do fantastically but in one 6-minute track.

Produced by James Blake, Sistanem is the perfect amount dark and brooding as it is comforting and melodic. The drums are quiet, delicate and subdued, perfectly complimented by J.I.D's more graceful than usual delivery.

His sing-songy delivery of:

Back on the road, gone with the wind blows Packin' the shows, hoes and the nymphos, platinum and gold You know how this shit go when family's gone You don't know what you here for, uh

is the soundbite of the song.

Blake, cleverly adds instruments as the story of the family / sisterly squables evolve (adding to the animosity) - as J.I.D experctly adds tired inflections to his voice, helping sell the ongoing turmoil being re-told.

If you have any interest in modern hip-hop I would definetly give this song and the album a listen.

Survivors Guilt

It's been a long, long time since a Joey Bada$$ song hit me the way Survivors Guilt has. The death of Capital STEEZ has been hanging on Pro Era and Bada$$ for years now, never entirely being addressed (definetly not like this). On Survivors Guilt, Bada$$ pulls back the curtain and burns it down; revealing a much more vulnerable side to him, I wasn't aware he was willing to put on record. With the final verse from Joey and the outro from Ab-Soul (especially after HERBERT) closing the song at an incredibly emotional crescendo.

This is the best Joey Bada$$ has sounded to me in years and I hope what he managed to achieve with this track, specifically on this 1999 leaning production that Rahki produced — we'll be seeing more of this Joey, more often.

Drugstore

London born, US based IDK has been growing on me these past few years. With tracks like Just Like Martin, Once Upon A Time and Black Sheep / White Dover; I've been seeing a much more confident artist taking form, constantly diversifying his features, production and delivery.

When I heard IDK was partnering with the incredible KAYTRANADA on an EP, I had a feeling it could be special. Spoiler alert, I was not dissapointed. KAYTRANADA wild' out on every song, creating the sort of grooves I would have just loved to see Smino over, but thankfully IDK took on the challenge and delivered such a good collection of songs, I couldn't imagine anyone else rapping over these beats so well. Drugstore is the EPs standout; over a bouncy, ever-evolving beat IDK delivers a tour-de-force, that when the song ends you'll be pressing the replay button without even realising. Would love to know what others think of this one.

Please Do Not Lean

It's been so over half a decade since the release of the timeless Freudian. Since then he's been much quieter than I had hoped, with odd loosies here and there, but thankfully 2022 delivered a song worthy of his name. Produced by the ever-great BBNG, Daniel spends the next 3 minutes (or so) letting us in on his confession — the unstable and trying relationship of his with his bride to be.

Singing:

Just how long will you stand next to me? For we both know, it's more than a load For you to bear / It'd break my heart, but I'd understand if you'd Leave me for another man with a little Less on his mind, less on his plate Less in his brain,"

The intimate nature of the lyrics is only magnified by the stripped back, acoustic production pieced together. Supposedly Please Do Not Lean is the introduction to his next album, which hopefully arrives sooner rather than later.

An Interlude 'Circus'

I was unfortunately whelmed by Saba's most recent album A Few Good Things. The fault lied with me, expecting Saba to keep his incredible streak going after the excellent CARE FOR ME; but it wasn't to be. That's not to say everything is doom and gloom with this LP providing another few outstanding tracks in the chicago born rappers repetoir.

An Interlude 'Circus' commited the cardinal sin, of a fantastic song being simply way too short. Clocking in at little over 60seconds, Circus is a beautiful, perfect for a summers day, quiet storm musical concotion, that only Saba could deliver with that unique cadance of his. I really hope eventually we get a longer version of Circus, but for now at least I can appreciate the fact I can run this track 3 times before your typical Abba song finishes.

Dark Hearted

I've always had a love / hate relationship with Freddie Gibbs. More often than not, his particular brand of modern gangsta rap rubs me the wrong way; skewing too far to the right for me to really appreciate. Yet, once every while, Gibbs delivers a song so good I can't help but pay attention; that's where Dark Hearted comes in.

Found on his latest album $oul $old $eparately, this is a level above anything Gibbs has come with i the past. Thanks to the once again ridiculous work behind the boards of James Blake, Gibbs has the dark and forebodding tapestry his carefully slick lyrics demand.

A relentless display by Gibbs, completely contrasting the moody production in the background running through his troubles moving from the streets to stardom. With the song really being tied together by Gibbs delivery; his innate ability to combine his dark lyricism with a much more accessible melodic delivery over this kind of beat results in a stand out song of 2022.

Hoping for more of this from Freddie Gibbs in 2023.

[delivermytuneo6]

What is Beat in Music? Insights from a Rap Beat Creator’s Perspective

Music is a universal language, transcending boundaries with its power to evoke emotions, tell stories, and connect people. At the heart of this universal language lies the "beat." But what is beat in music, and why does it matter? This question forms the foundation of understanding rhythm and musical composition, especially in genres like rap, where beats drive the entire experience.

In its simplest definition, a beat is the basic unit of time in a piece of music, providing the steady pulse that listeners instinctively feel. It’s the part of music you tap your foot to or nod your head along with. Beats structure music, dividing it into measurable and repeatable patterns, creating the framework that allows melodies, harmonies, and lyrics to come together cohesively. For example, in a 4/4 time signature, there are four beats per measure, forming the rhythmic backbone of most popular songs.

The Importance of Beat in Rap Music

In rap music, the beat takes on a heightened role. Unlike other genres where melodies might dominate, rap relies heavily on the beat to carry the energy and set the stage for the lyrical flow. The rhythm and tempo of the beat dictate how a rapper delivers their words, aligning their cadence and pauses with the music. A well-crafted beat can amplify the emotional resonance of lyrics, making listeners feel every word.

Rap beats typically consist of several layered elements: drum patterns, basslines, melodic loops, and atmospheric effects. Together, these components create the groove that defines the track's vibe—be it hard-hitting and aggressive, smooth and laid-back, or something entirely unique. Understanding what is beat in music becomes essential for anyone who wants to produce or appreciate rap on a deeper level.

Enter the Rap Beat Creator: A Tool for Modern Musicians

For producers and musicians, creating beats used to be a labor-intensive process requiring deep technical knowledge and access to expensive equipment. However, the advent of the rap beat creator has revolutionized how beats are made. These tools, often available as software or mobile apps, provide a user-friendly interface that simplifies beat production without sacrificing creativity.

A rap beat creator typically includes features like preloaded drum kits, synthesizers, sample packs, and customizable templates. Whether you're a beginner experimenting with rhythm or a seasoned producer crafting your next hit, these tools cater to all skill levels. Let’s break down how a rap beat creator works and why it’s an indispensable resource for modern music production.

How Rap Beat Creators Work

Drum Patterns: Most rap beat creators include built-in drum machines that let users create intricate drum patterns. From the classic boom-bap of old-school rap to the rapid hi-hats of trap, the options are endless.

Melody and Harmony: Many tools allow users to add melodic layers using virtual instruments or imported samples. You can experiment with pianos, strings, synths, and more to create the perfect mood.

Customization: Tempo, pitch, and effects are fully adjustable in most rap beat creators. This allows producers to fine-tune their beats to match their vision.

Loops and Samples: Preloaded loops and samples can serve as building blocks, making it easy to start a project even without extensive musical training.

Export and Integration: Once the beat is complete, it can be exported in various formats or integrated into a digital audio workstation (DAW) for further refinement.

The Creative Freedom of a Rap Beat Creator

One of the biggest advantages of using a rap beat creator is the creative freedom it offers. Producers can experiment with different sounds, tempos, and rhythms without the pressure of perfection. This flexibility is especially beneficial for beginners who want to explore beat-making without feeling overwhelmed.

Moreover, rap beat creators are often equipped with features that encourage collaboration. For instance, cloud-based tools allow multiple users to work on a beat in real time, fostering teamwork among artists, producers, and sound engineers.

Why Understanding the Beat Matters

Knowing what is beat in music and how to manipulate it with tools like a rap beat creator is crucial for anyone looking to make an impact in the music industry. A strong beat can be the difference between a forgettable track and one that resonates with audiences worldwide. For rappers, understanding the beat helps them align their lyrics with the rhythm, ensuring their flow complements the music rather than clashing with it.

Beyond rap, the concept of the beat is fundamental to all music genres. Whether it's the syncopated rhythms of jazz, the driving four-on-the-floor beat of electronic dance music, or the intricate polyrhythms of Afrobeat, every style relies on the beat to give it structure and character.

Tips for Crafting Better Beats

If you're new to beat-making, here are some tips to get started:

Start Simple: Focus on creating a basic drum pattern before adding layers.

Experiment with Tempo: Adjust the tempo to see how it changes the mood of your beat.

Use Loops: Don’t hesitate to use pre-made loops as inspiration; you can always modify them to make them your own.

Listen to the Pros: Analyze beats from your favorite rap songs to understand their structure and elements.

Practice: Like any skill, beat-making improves with practice. Spend time experimenting with your rap beat creator to discover what works best for you.

Conclusion

The beat is the heartbeat of music, and understanding what is beat in music unlocks a world of creative possibilities. In rap, the beat serves as both the foundation and the driving force behind every track. With the help of a rap beat creator, anyone can harness the power of rhythm and produce beats that elevate their music to new heights. Whether you're an aspiring producer or a curious music lover, diving into the world of beats can be both exciting and rewarding.

[thebandcampdiaries]

Zanda Elwood is back with a new album: Amongst Da Khaos

(You can also get the audio version of this article at the bottom of the page)

Zanda Elwood’s album Amongst Da Khaos is a personal reflection on life’s challenges and growth. Rooted in hip-hop, rap, and RnB, it touches on themes like street life, mental health, relationships, and resilience. Zanda uses raw, authentic poetry to explore his experiences, especially focusing on the turbulence and chaos that have shaped him.

The album features 22 songs. This is particularly impressive because it takes a substantial amount of work and effort to make it happen. Long-format releases are really difficult to complete in this day and age, especially as artists are constantly pressured to release singles instead of LPs. There is nothing wrong with releasing singles, but the risk is that fans will miss out on the immersive nature of a full-length listening experience such as a complete album. Zanda decided to really go against the grain with this one, releasing what could be essentially described as a double album. One of the benefits of being able to put out so much music is the ability to showcase different sides of one's artistry and vision. This is most definitely the case of Amongst Da Khaos.

The album emerges from Melbourne’s music scene and represents Zanda’s evolution as an artist, as well has his ambitious take on hip-hop. Starting as a bedroom artist, Zanda grew into the city's vibrant soundscape, where he continues to channel his life struggles into music. The project reflects on how he has overcome various personal battles, making it an immersive listening experience that blends storytelling with emotional depth. Keep reading for song-by-song breakdown.

Amongst Da Khaos (Intro) – Zanda Elwood

The album intro is a mood setter, and it feels like a perfect beginning to this diverse record. The song has a very ethereal sound, with acoustic guitar arpeggio sampled over a punchy beat.

Tummy Tuck – Zanda Elwood, Andrew Simpson

This feature with Andrew Simpson retains a very atmospheric vibe in the intro, but it quickly morphs into a heavy hitter. The urgency of the flow adds to the aggressive edge of the sound, and the articulation of the beat adds a modern touch to this release.

Badman – Zanda Elwood

This song has something different to offer. Zanda showcases his ability to go for a more melodic side and his versatility as a storyteller with lyrics that are very memorable and easy to relate to while still remaining honest and dynamic.

Nada – Zanda Elwood, Slothy

This track features Slothy, and its a return to a darker, moodier sound. The beat has a brooding quality, which matches the intensity of the delivery and the unique touch of this performance.

Forza – Zanda Elwood, Jteazy, Jake Mack, Slothy

The title of this song translates to “strength” in Italian, and it’s indeed another banger with thick bass tones and a powerful mix that sets the bar higher right off the bat. The energy is through the roof and this would be the kind of track that would really kill in a live setting.

Skeleton – Zanda Elwood

"Skeleton" features a more mellow beat adorned with a stunning piano part, where space between the kicks and claps allows Zanda’s vocals to take center stage and showcase his more emotional side. The track has a haunting quality, with melodic ambiance floating over the track’s foundation. Zanda explores darker themes, blending vulnerability with strength, giving listeners a deep, introspective moment.

Talk Right – Zanda Elwood, Lavez, Slothy

This track blends trap rhythms with melodic elements, creating a smooth yet hard-hitting sound. The track retains a very atmospheric feel, but at the same time, the delivery by all artists involved really goes hard, especially as the drum beat takes off and keeps a harder pace.

In To Deep – Zanda Elwood, Loeaze

"In To Deep" has a dreamy, atmospheric beat that contrasts with the sensual and lustful lyrics. There is also room for a tastefully syncopated drum pattern, which is reminiscent of modern Afro-Beat aesthetics.

How You Doin'? – Zanda Elwood

This is perhaps the most catchy and uplifting song on the album. The beat has a true early 2000s vibe, with a funky twist that is reminiscent of production greats such as Timbaland or Dre. The rap flow is impeccable as well, highlighting yet another side of Zanda’s incredible talent and versatility.

Señorita – Zanda Elwood

"Señorita" blends Latin influences with trap, adding a touch of flair to the usual hard-hitting beats, this time accompanied by a clean electric guitar part that adds so much rhythm and melody all at once. The beat strays from the usual 808 type drum machine sound, going for a more uptempo pop vibe that really brings some variety to the album.

Ra-Ta-Tata – Zanda Elwood

The trap beat is punchy, with tight hi-hats and a deep bassline creating a strong foundation for Zanda’s flow. This is perhaps one of the heaviest tracks on the album when it comes to bass content in the mix, as it builds a truly massive wall of sound, while retaining a minimalistic tone.

Early Lemon Berry – Zanda Elwood

This track leans into a more mellow trap beat, but it also showcases Zanda’s respect for the old-school rap scene. The flow has a classic vibe, which really stands out and sets the bar higher, but showcasing that sometimes “less is more.” Zanda’s flow is never flashy, as he know that the genuine content of his lyrics and storytelling is already enough to really make the song special.

Caffine – Zanda Elwood

This song is a heavy hitter, but at the same time it's also a very personal background that gives more insights into the upbringing of this artist.

BLVD – Zanda Elwood, Loeaze

Zanda and Loeaze set out to bring a modern vibe with this one, and the production is really engaging, with a lot of stop-and-go features that make it so dynamic. There are many highs and lows in terms of the track being kind of like a rollercoaster, with different rhythms and melodic parts colliding.

If I Try – Zanda Elwood, Jayden Hope

"If I Try" brings a more melodic element into the mix, with Jayden Hope's vocals adding more depth to the track. The guitars are crisp and expressive, perfectly merging with the rest of the beat, but allowing the vocals to really stand out in this production.

Bad Company – Zanda Elwood

"Bad Company" is a gritty, raw track with heavy bass and another nod to old-school hip-hop. The saturation on the bass drum especially is very tasteful, adding more crunch to the mix, but still allowing the vocals to shine.

Breezy – Zanda Elwood, Jye Simpson, Lil Sknow

Zanda, Jye Simpson, and Lil Sknow deliver some of the best performances on the album. The first verse is crazy, with a lot of sustained phrasing that bring so much energy to the song, without overpowering it. This song brings so much variety to the mix, and it really works.

Know The Pilot – Zanda Elwood, Slothy

Know The Pilot" combines haunting melodies with a heavy but slow trap beat, creating a moody soundscape that contrasts with the aggressive edge of the vocals.

RTS – Zanda Elwood

It’s always impressive when rappers are able to go without an actual drum beat in the intro and keep their groove with their vocals alone: this is exactly what’s happening here, as the vocals really drive this song, keeping a relentless pace even when the beat relaxes.

Lana Del Rey – Zanda Elwood

"Lana Del Rey" stands out with its dreamy tone, with a hooky and soft piano that adds a beautiful texture throughout the mix. The vocals are unique, so expressive, almost like poetry to music.

No, No, No – Zanda Elwood

This is another contender when it comes to being one of the catchiest songs on the album, and it’s one of the release’s best tracks. This is the kind of song that would drive people crazy at a club!

See Through – Zanda Elwood

"See Through" closes the album on a reflective note, with atmospheric synths and a slow trap beat creating a moody vibe. Zanda’s introspective lyrics are as personal as ever, serving as a very intimate yet still powerful ending to this epic album.

To conclude, this album is a monumental achievement that not many rappers, established or up-and-coming, would dare to even attempt. Inspired by artists like ChillinIt, Post Malone, and Jelly Roll, Amongst Da Khaos stands out for its honesty and exploration of real-life situations. It's a documentation of Zanda’s journey and how he’s turned chaos into art.