#i have particular mixed feelings on ep 17 most of which i feel that the story is done a bit sloppy i think it started around ep 16 or 15

[koetjingwarrd]

You're my baby, say it to me...

[d-criss-news]

20 Questions With Darren Criss: How Acting Has Helped Him Make New Music

While Darren Criss has graced our TV screens with a range of characters, from high schooler Blaine Anderson on Glee to serial killer Andrew Cunanan on The Assassination of Gianni Versace, he was last spotted just being himself, on our For You Page on TikTok. “I’m walking to rehearsal with a guitar on my back with a Trader Joe’s bag ... I did not bring an umbrella because I forgot that it was raining. I’m rocking that NYC musician life,” the Glee alum explained in the hilarious clip posted three days ago.

While Criss’ acting work has earned him acclaim and stardom, he leaned into making music during the pandemic. On Aug. 20, he dropped a new EP, Masquerade, featuring five new tracks that Criss says were inspired by the different characters Criss has embraced throughout his career. After Criss wrote songs for his musical comedy web series Royalties and Apple TV+’s animated sitcom Central Park before the pandemic struck the United States, he then used those experiences as a precursor to his new EP. As Criss continues to promote his new music, he answered 20 of Billboard's questions – giving us a peek into how his new EP came together, and how growing up in San Fransisco shaped him as an actor, singer and all-around artist.

1. What inspired your latest project, Masquerade?

Although I would have preferred that it come at a far less grim cost, I finally had the time. Before the pandemic, I had written 10 new songs for my show Royalties -- along with an original song for Disney and another for Apple’s Central Park. These were all assignments in which I was writing for a certain scenario and character. Go figure. It was the most music I had ever written in a calendar year. This really emboldened me to rethink how I made my own music— to start putting a focus on “character creation” in my songs, rather than personal reflection. The latter was not proving to be as productive. The alchemy of having this time and having set a new intention with my own songwriting and producing made me put on a few of my favorite masques and throw myself a Masquerade.

2. How do you think your background as an actor complements your music?

They are one and the same to me. I treat acting roles like musical pieces— dialogue is like scoring a melody; there’s pace, dynamics, cadence, tone. Physical characterization is like producing -- zeroing in on the bass line, deciding on the kick pattern. Vocal characterization is like choosing the right sonic experience, choosing the most effective snare sound, and mixing the high end or low end. It goes without saying that it works in the complete opposite direction. Making each song is taking on a different role literally and employing the use of different masques to maximize the effectiveness of the particular story being told.

3. On Instagram  you wrote that “Masquerade is a small collection of the variety of musical masques that have always inspired me.” Which track do you identify with most in your real life?

Everybody absorbs songs differently. Some key into the lyrics, some into the melody, some the production, some into vocal performance. When I listen to songs, I consider all of their value on totally different scales. So it’s hard to say if there’s any track I “identify” with more than any others, since I -- by nature -- identify with all of them. I think I just identify with certain aspects more than others. If it helps for a more interesting answer, I will say I enjoy the slightly more classical, playful -- dare I say -- more Broadway-leaning wordplay of “Walk of Shame,” but that’s just talking about lyricism. I enjoy the attitude of “F*kn Around,” the batsh--t musicality of “I Can’t Dance,” the relentless grooves of “Let’s” and “For A Night Like This.” All have different ingredients I really enjoy having an excuse to dive into.

4. What’s the first piece of music that you bought for yourself, and what was the medium?

Beatles audio cassettes: “Help” and “Hard Day’s Night.” I just listened on repeat on a tape-playing Walkman until my brother and I got a stereo for our room with a CD player in it, which was  when I just bought the same two albums again, but this time as compact discs.

5. What was the first concert you saw?It’s hard to say, because my parents took us to a lot of classical concerts when we were small. But I guess this question usually refers to what was the first concert you went to on your own volition, and that my friend, was definitely Warped Tour ’01. My brother and I went on our own— two teenagers going to their first music festival, in the golden age of that particular genre and culture. It was f--king incredible.

6. What did your parents do for a living when you were a kid?

My dad was in private banking and advised really, really wealthy people on how to handle their money. My mom was, by choice, a stay-at-home mom, but in reality, she was my dad’s consigliere. They discussed absolutely everything together. They were a real team, and I saw that every single day in the house. They both had a background in finance (That’s how they met in the first place.) and were incredibly skilled at all the hardcore adulting things that I absolutely suck at. They were total finance wizards together. So of course, instead of becoming an accountant, I picked up playing the guitar and ran as far I could with it. Luckily, they were all about it.

7. What was your favorite homecooked meal growing up?

My dad was an incredible chef. For special occasions, I’d request his crab cakes. They were unreal. I’ve never had a crab cake anywhere in the world that was good as my dad’s.

8. Who made you realize you could be an artist full-time?

I don’t know if I’ve actually realized that yet.

9. What’s at the top of your professional bucket list?

The specifics change every day, but the core idea at the top is to continue being consistently inconsistent with my choices, and to keep getting audiences to constantly reconsider their consideration of me. But I mean, sure, what performer doesn’t want to play Coachella? What songwriter doesn’t want to have Adele sing one of their songs? What actor doesn’t want to be in a Wes Anderson film?

10.  How did your hometown/city shape who you are?

San Francisco. I mean, come on. I was really lucky. The older I get, the more grateful I am for just being born and raised there. It’s an incredibly diverse, culturally rich, colorful, inclusive, vibrant city. By the time I was born, it had served as a beacon for millions of creative, out-of-the-box thinkers to gather and thrive. I grew up around that. The combination of that with having parents, who were unbelievably supportive of the arts themselves, laid an incredibly fortunate foundation to consider the life of an artist as a legitimately viable option. It’s a foundation that I am supremely aware is not the case for millions of young artists around the world. I was absurdly lucky.

11.  What’s the last song you listened to?

I mean probably one of mine, but not by choice. I know, lame. But I’m promoting a new EP, what’d you expect? But if you wanna know what I’ve been listening to, as far as new s--t is concerned: a lot of Lizzy McAlpine, Remi Wolf, and Charlie Burg.

12.  If you could see any artist in concert, dead or alive, who would it be?

The Beatles is an obvious "yeah, duh." Sammy Davis, Mel Tormé, or of course, Nat King Cole. I would’ve loved to see Howard Ashman give a lecture on his creative process and his body of work.

13. What’s the wildest thing you’ve seen happen in the crowd of one of your sets?

I feel like just having a crowd at all, at any one of my sets, is pretty wild enough.

14. What’s your karaoke go-to?

The real answer to this I’ll write into a book one day, because I have a lot to say about karaoke etiquette. I have two options here: I can either name a song that I like to sing for me, for fun, or I can name a song that really gets the group going. The answer depends on what kind of karaoke night we’re dealing with here. So I will say, after I’ve selected a ton of songs that services a decent enough party vibe for everyone else, then I would do one for me, and that would be the Beatles’ “Oh! Darling.”

15. What’s one thing your most devoted fans don’t know about you?

What I have up my sleeve.

16. What TV show did you binge-watch over the past year?

Dave is a stroke of genius. There are episodes that I believe are bona fide masterpieces. Also, My Brilliant Friend is a masterclass in cinematic television.

17. What movie, or song, always makes you cry?

It’s A Wonderful Life.

18. What’s one piece of advice you would give to your younger self?

Get used to sharing everything about yourself and your life now, or more astutely, to the idea that you don’t necessarily get to control how your life is shared. I know it’s not really your thing, but you’re gonna have to get used to it, so start building up those calluses now. And don’t worry, all the stuff you love now will be cool again in your mid-thirties, so keep some of those clothes because you’ll be a full-blown fashion icon if you just keep wearing exactly what you’re wearing. Oh nd also, put money into Apple and Facebook.

19.  What new hobby did you take on in the last year?

I’ve always been a linguaphile. My idea of leisure time is getting to study or review other languages. This past year, I took the time to finally dive into learning how to read, write, and speak Japanese. Other than making music, it was one of the biggest components of my 2020-2021.

20. What do you hope to accomplish or experience by the end of 2021?

I hope I get to play live shows again.

[birdlord]

Everything I Watched in 2019

Movies

The number in parentheses is year of release, asterisks denote a re-watch, and titles in bold are my favourite watches of the year. 

01 The Death of Stalin (17) does a neat trick of building goodwill for Steve Buscemi’s Krushchev, then brutally pays that off in the last few minutes. 

02 Sorry to Bother You (18)

03 Support the Girls (18)

04 Paddington (14)*

05 Rogue One: A Star Wars Story (16)

06 Eighth Grade (18) probably the most terrifying movie I watched all year, if you didn’t watch it through your fingers, who even are you?

07 Morvern Callar (02) much less bleak than the book, but then, nearly anything would be

08 The Favourite (18) revolting and beautiful. 

09 Columbus (17) a really lovely movie about architecture and parent-child relationships.

10 Bring it On (00)*

11 The Land of Steady Habits (18) feels wackier than your average Holofcener, but still a good watch. 

12 Spotlight (15) i was really bowled over by this, and wasn’t expecting to be. Workmanlike filmmaking, but an extraordinary story, well-told.

13 The Killing of a Sacred Deer (17) Barry Keoghan is a blank, but somehow compelling screen presence. This one has an ending that made me bark with laughter.

14 Legends of the Fall (94)

15 Moneyball (11)* if you don’t feel like watching anything in particular, you can always watch Moneyball

16 If Beale St Could Talk (18) very beautiful, but I failed to connect with it on any other level. 

17 For Keeps (88)

18 Abducted in Plain Sight (17)

19 Oscar Shorts (Animated) (18) the offerings were very sappy this year, but the winner was decent! Lots of Toronto content (weird). 

20 Oscar Shorts (Live Action) (18) *unquestionably* the worst one of these won ¯\_(ツ)_/¯

21 Velvet Buzzsaw (19)

22 Vice (18) ugh

23 Friends with Money (06)

24 Can You Ever Forgive Me (18)

25 Bohemian Rhapsody (18) haha what. was. that.

26 Mars Attacks (96)*

27 Paddington 2 (18)

28 Buffy the Vampire Slayer (92)*

29 Shoplifters (18)

30 Blindspotting (18) jacked Ethan Embry in a supporting role?! Whither? Howso? Wherefore?

31 Witness (85)

32 Harry & the Hendersons (87)*

33 The Matrix (99)*

34 T2 Trainspotting (17)

35 Blockers (18)

36 The Slums of Beverly Hills (98)

37 Can’t Hardly Wait (98)*

38 Avengers: Infinity War (18)

39 Iron Man II (10)

40 Isle of Dogs (18)

41 Chinatown (74)*

42 To Live & Die in LA (85)

43 Age of Innocence (93) Daniel Day-Lewis manages to make Newland Archer compelling, where in the novel he’s...the worst?!

44 Shopgirl (05)*

45 The House (17) didn’t sustain all the way through, but then, that’s how mainstream comedies often go. 

46 The Beguiled (17)

47 Badlands (73)*

48 Poetic Justice (93)

49 The Empire Strikes Back (80)*

50 Calibre (18)

51 The Kindergarten Teacher (18)

52 Hounds of Love (17) a nice little Aussie thriller, set in the 80s

53 Kicking & Screaming (95)*

54 Octopussy (83)*

55 Jaws (79)*

56 Lover Come Back (61)

57 Frenzy (72)

58 Always Be My Maybe (19)

59 Certain Women (16) took a while to get to this one, but it’s as great as they say it is. 

60 Baby Driver (17) all flash, little substance.

61 Sneakers (92)

62 Roadhouse (87)*

63 Bull Durham (88)*

64 Ghostbusters (84)*

65 Booksmart (19) I think this will improve on multiple viewings, though I loved the soundtrack and the mix of characters. 

66 Hereditary (18)

67 Rebecca (40) George Sanders as Rebecca’s cousin is BRILLIANT

68 Vertigo (58)*

69 The Dead Don’t Die (19)

70 Crawl (19)

71 Dazed & Confused (93)* If you don’t watch this once a summer, what is wrong with you?

72 Jackie Brown (97)

73 Talk Radio (88)

74 The Guilty (18)

75 Killing Heydrich (17)

76 Lady Bird (17)*

77 Billy Elliot (00)*

78 White House Down (13)* Channing Potatum saves the White House!

79 The Film Worker (17)

80 Whitney (18)

81 Mascot (16)

82 Apocalypse Now (79)* technically I’d only seen the Redux version from the early 2000s, so the regular cut is new to me. 

83 Apollo 13 (95)*

84 Psycho 2 (83) the twist is very guessable, but there are a couple of nice-looking scenes.

85 Eternal Sunshine of the Spotless Mind (04)*

86 The Bodyguard (92)*

87 Murder Mystery (19)

88 Wildlife (18)

89 The Stepford Wives (75)*

90 Willy Wonka & the Chocolate Factory (71)*

91 The Natural (84)

92 The Other Boleyn Girl (08)

93 Speed (94)*

94 Opera (87)

95 That’s my Boy (12) haha what?!

96 The Big Short (15)

97 Elizabeth the Golden Age (07)

98 The Glass Castle (17) when I read the book, I genuinely thought it was fiction, it’s so insane. 

99 Dawn of the Dead (78)*

100 All About Eve (50) lady on lady violence is a special thing

101 La La Land (16)

102 Morning Glory (10) remember Rachel McAdams?

103 Casino (95)*

104 Talladega Nights: The Ballad of Ricky Bobby (06)

105 Pet Sematary (19)

106 Clue (85)*

107 Her Smell (18) amazing soundtrack and the songs were well-chosen. Heartbreaking musical moment in the final act. 

108 Bobby Sands: 66 Days (16)

109 She’s Gotta Have it (86)

110 Good Morning (59)

111 Hustlers (19) I didn’t connect with this as much as the reviews led me to believe I might. 

112 Nocturnal Animals (16)

113 Kill Bill Vol 1 (03) I’d only ever seen the second one before, being a non-Tarantino completionist.

114 Fried Green Tomatoes (91)* I watch this more than anticipated...

115 Steel Magnolias (89)

116 Notting Hill (99)*

117 A Beautiful Day in the Neighborhood (19) the tiny city models were inspired!

118 National Lampoon’s Christmas Vacation (89)*

119 Let It Snow (19)

120 Frozen (13)

121 The Irishman (19) most interesting as a sort of pastiche/reckoning on the part of Scorsese about his other gangster films. Really outmoded view of unions. Definitely could have been edited down if anyone were able to come to it without undue reverence, but I did love the bit about the fish.

122 Girls Trip (17) actual plot is beside the point. 

123 About a Boy (02)* I always think of this as the “vomit and sweaters” movie, anyone else?

124 Animal House (78)*

DOCUMENTARY : FICTION - 4:120

THEATRE : HOME - 9:115

TV Series

01 Russian Doll - I think I would have enjoyed this more if it hadn’t been bingeable - would have made a nice week-by-week discussion sort of show. I loved to watch the changes between re-ups of our major characters, and I think the actual plotting would reward re-watches. 

02 Catastrophe S4 - A satisfying ending to an excellent show, with very charismatic leads (and deeply weird supporting characters). Had to write around Carrie Fisher’s death, and I’m sure did a better job of it than Star Wars did. 

03 Friends from College S2 - More of the same, which is what I was after. A show like cotton candy (but with more infidelity). 

04 High Maintenance S3 - A lot more of this season took place outside of New York City, which was a great change of pace. And a great deal more information about The Guy and his own life; both difficulties and successes included. 

05 Losers - This was a great little docuseries on Netflix that I didn’t hear a lot of people talking about - it’s about sports losses, but unusual sports ie curling, figure skating and the like. You’d think it would get repetitive, being as it’s always about recovering after loss, but it doesn’t! I wish they would make another season….

06 Shrill - a tight six episode dramedy about an alt-weekly journalist in the Pacific Northwest, based on Lindy West’s memoir of the same name. John Cameron Mitchell as her boss (based on Dan Savage) stands out of the ensemble cast, as does Annie’s roommate played by a British standup Lolly Adefope.

07 Broad City S5 - I haven’t always kept up with Broad City, but I came back to it for its final season, and thought it did a good job of setting its characters up for big changes in their lives. 

08 I Think You Should Leave - It’s easy to assume that all sketch comedy is terrible and always will be, but then you see this, and throw your TV out the window (due to all the laffs)

09 Fleabag S2 - Everything you’ve heard is true, this season is goddamn hilarious and ridiculously sexy. A huge step up from the first season, which was already pretty fantastic and incisive. 

10 Fosse/Verdon - Musicals are not particularly my bag, so I’m sure there was a lot that I missed in terms of references, but the lead performances ably carried me through all of the time jumps and various performances. 

11 Stranger Things S3 - Say it after me: d-i-m-i-n-i-s-h-i-n-g r-e-t-u-r-n-s! Maya Hawke kills it, though. 

12 Big Little Lies S2 - Unnecessary, and (if possible) even sillier than the first season.

13 Lorena - Part of the ongoing quest to rehabilitate the maligned women of the 1990s, this gave me tons of context that I had no idea about at the time, due to being a dumb kid. 

14 Glow S3 - I felt like I was losing steam on this series this year, but episodes like the camping ep kept me coming back. A great ensemble, though some unusual character choices (like a certain kiss *cough*) took me out of it by times. 

15 Lodge 49 S1-3 - I’d kept hearing about this show, so I finally sought it out. I can’t say it was amazingly compelling (I almost dropped it after the first season) but it’s definitely an oddball of a show, slipping from setpiece to setpiece with little regard for logic. For me, a background show. 

16 Chernobyl - This show really gave me the Bad Feeling, humans were definitely A Mistake.

17 On Becoming a God in Central Florida - Kiki in a trashy mode, not as infinitely appealing as the version she pulled off in the second season of Fargo, but scrappy and industrious nonetheless.

18 Show Me a Hero - I’d put off watching this for years, it felt like it was going to be too dull (housing policy in Yonkers?) but it’s great, and larded up with Bruce Springsteen songs, obvs.

19 Great British Bake Off S9-S10 - I’d also held off on watching this for a long time, out of loyalty to Mel, Sue, and Mary Berry. But I needed some comfort viewing towards the end of the summer, and the new hosts and judge do an able job, although the show’s tropes are feeling a bit well-worn at this point. 

20 Righteous Gemstones S1 - A rollicking ride for sure, with a great cast. Your mileage/patience with Danny McBride may vary, so keep that in mind, naturally. 

21 This Way Up S1 - A small show starring the fabulous Aisling Bea, about mental health and families and some nice comic physical acting. Oh, and in case you were watching The Crown and crushing on Tobias Menzies’ version of Prince Phillip, he plays a hot dad love interest in this, which gives you all the Tobias you’re looking for, without the PP racisms. 

22 The Crown S3 - This is the first season of the big cast switchover, and I thought it stuck reasonably well, once we were in it an episode or two. This season concentrated even less on Elizabeth herself, preferring her sister, husband, and (newly!) her children.

[appavevo]

okay so listen some times you get really interested in one single thing and that’s all you think about for a long time so you develop some dumb thoughts and here are a list of mine about atla and tlok in no particular order

1. in tlok they made aang look so BORING like so COOKIE CUTTER. the only times i like how they made aang look is in the old friends poster and in the picture where he’s airbending the rolls like that’s IT like come on yall focus too much on making the hair differenet people got faces too ya know

2. TENZIN IS LIKE 16 YEARS OLDER THAN PEMA??? ISN’T THAT CRAZY??? LIKE PEMA WOULD HAVE ONLY BEEN ABOUT 20 WHEN AANG DIED. ALSO TENZIN HAD KIDS SO OLD

3. at the end of tlok bumi must be about the age (maybe a few years younger) when aang died that’s so weird bc bumi doesn’t look old i wonder how it happened with aang like maybe the last few months of his life he just physically aged like 30 years wouldn’t that be weird (and sad)

4. i mentioned this before but i’ve seen posts like “its sad to think about the fact that aang probably had to bury appa” and NO i refuse to believe that esp appa bc i thought an avatars spirit animal lives as long as the avatar? like roku’s dragon lived and died with him so that’s what happened with appa too. also momo, i’ve decided

5. kinda.............weird how learning the avatar state was like one of THE main problems in atla and aang had a hard time with it and it was considered this awesome power that we didn’t see that often and the in the legend of korra she just.......................gets it. like aang gives her her bending back and oh here’s the full power of the avatar state as well no need to learn about the chakras and meditate on life or whatever hey also have some energy bending as well why not

6. lin beifong is literally so hot 

7. also in the legend of korra, bending isn’t as cool.. like in atla bending has all the beautiful forms and its like a dance or an art like that dance aang and katara did was based on their bending moves!!! and tlok isn’t like that and they try to spin it like “oh its modern now” but that’s just lazy and  boring

8. also (that one video explained this better than i could) while it’s kind cool to see the new technology mixed with the bending at first, the legend of korra is so much more american than atla, like i can see how a city with all those cultures mixed together might be a bit culturally ambiguous but like....... idk they talk about democracy in a weird way and they literally got the statue of liberty type thing going on (although i love every reference to aang i can get) and idk how to describe it. the bending is like this too where it used to be based off of hung ga kung fu or tai chi chuan now it’s just ..........boxing. i’ve seen some people say it’s because its easier to animate but like idk

8.5 oh also the whole good and bad evil spirit thing goin on (i forgot their names i think the good one was raava?) was really like god and satan smelling even though they tried to paint it as yin and yang idk it just didn’t come off like that

9. speaking of animation while i am desperate for new material can they NOT MAKE ANOTHER LIVE ACTION VERSION like........make a NEW STORY or maybe just DON’T with how korra turned out just like.....focus on the goddamn comics bc those are kinda fun and chill

10. bolin is pretty funny but him and mako and even asami are kinda boring im sorry but they are(asami is more interesting than mako though)

11. also fucked up how like the culture that was the most accepting and peaceful and spiritual and kind is the one that we never fuckin see this isn’t really a complaint about the plot just like it fuckin sucks!!! i would have loved to see some gay and funny air nomads

12. also maybe this is just bc im a big dumb fan but i refuse to believe aang was a bad father like maybe he didn’t divide his time in the best way but hey no one’s perfect and kya esp made it clear she wasn’t interested in air nomad culture so like what was he supposed to do ALSO SORRY BUT HE HAD TO LITERALLY BUILD A WORLD OUT OF 100 YEARS OF WAR AND REBUILD HIS CULTURE OUT OF NEXT TO NOTHING LIKE SORRY HE DIDN’T HAVE TIME TO TAKE YOU FISHING OR WHATEVER 

13. i do love kya though bc lesb 

14. THAT ONE LINE IN TLOK THAT WAS LIKE “ZUKO KNEW AANG BETTER THAN ANYBODY”??????? LIKE OF COURSE THEY WERE VERY COURSE BUT KATARA IS RIGHT THERE???? HELLO???

15. bc im a big dumb stupid idiot every character i get attached too i immediately insist that they can sing bc i’ve always wanted a really good singing voice so i’ve decided that aang is just like, a great singer

16. god i just love momo

17. UHHH I’M CURRENTLY READING THE WIKI AND IT SAYS THAT KYOSHI LIVED TO BE 230??? THAT’S COOL????? 

18. i’ve said it before and i’ll say it again, air nomad avatars are just cooler bc of their fuckin tattoos. when those tattoos glow? fuckin tight. korras just got her eyes and like.......where’s the drama and conflama 

19. while the spirit world can be interesting idk how i feel about the spirits in the legend of korra, like all cutesy and weird like that, like i don’t hate it, it’s just really different from atla spirit world and idk

20. i’ve always been curious about aangs tattoos like,,,, the ones on his arms go into his armpit, but like the one on his back? does that just go all the way to his ass or what? and where do the leg ones stop do they connect with the back ones or just go to the hip bones or idk

21. i wanted a detailed map and description and history of air temple island and i want it now

22. while i know that extensive and unnecessary backstory and weigh a good story down WHO ARE AANGS PARENTS, I’M JUST CURIOUS. LIKE WERE THEY EVER TOLD HE WAS THE AVATAR?

23. i will defend aang until the day i die bc he was so young and so good and even the stuff he did selfishly he has like ample reason to can u imagine being twelve and waking up and realizing that not only are you the only person left of your race and culture and history and that everyone you knew and loved, like even people you didn’t really know but the people who you would smile too sometimes, the all died pretty violent and horrible deaths while you were just stuck in some ice bc you got hit by some storm after running away can u imagine???? ALSO LIKE the world hadn’t had an avatar for a century so he had to just like make shit up as he went along of course he could talk to his past lives but like..........idk!!!! and how do you build up

24. I ALREADY SAID THIS BUT KORRA JUST..........GETS THE POWERS. LIKE WE SAW AANG NOT ONLY LEARN THE ELEMENTS BUT ALSO DEAL WITH LEARNING ABOUT THE AVATAR STATE IN DEPTH AND HOW BEING THE AVATAR WORKS AND IT WAS SPECIAL AND INTERESTING AND WE COULD HAVE SEEN KORRA WORK TO GET HER AIRBENDING POWERS AND HER SPIRITUAL SIDE AND HER AVATAR STATE BUT THEY WERE ALL JUST FUCKIN HANDED TO HER EVEN THE E N E R G Y BENDING LIKE COME ON................................................................GIRL WHOS WRITING THIS

25. real disrespectful how much sokka is neglected in tlok!!! smh

26. this is very important to me but my favorite episode (not really including the last ones bc those are just on a dif level) but my favorite episode is 3x2 The Headband which was the footloose ep if you don’t remember..........it’s just fun............he just wants to dance AND HE WAS FUCKIN MACKIN YOU SEE THAT SHIT?????????? “DON’T WORRY ABOUT THEM IT’S JUST YOU AND ME NOW” LIKE BITCH!!!! YOU’RE TWELVE YOU HAVE NO BUSINESS BEIN THAT SMOOTH also i LOOOOOOVE the fact that aang being a good dancer is literally canon....................

27. i literally never wanted to know how the avatar cycle started like don’t explain the magic like that just leave some mystery

[thirstinmore-blog]

Best Albums of 2018

BEST ALBUMS 2018

20. Noname: Room 25

19. Jeremih & Ty Dolla $ign: Mih-Ty

18. Tierra Whack: Whack World

17. Parks Burton: Pare

16. Oneohtrix Point Never: Age Of

15. Angelique Kidjo: Remain in Light

14. Shannon Shaw: Shannon in Nashville

13. Curren$y & Freddie Gibbs: Fetti

12. Ariana Grande: Sweetener

11. Vince Staples: FM!

10. DJ Koze: Knock Knock

9. Mariah Carey: Caution

8. Courtney Barnett: Tell Me How You Really Feel

7. The Carters: Everything is Love

6. Snail Mail: Lush

5. Shannon & the Clams: Onion

4. Teyana Taylor: K.T.S.E.

3. Kacey Musgraves: Golden Hour

2. Blood Orange: Negro Swan

1. Dirty Projectors: Lamp Lit Prose

(Spotify playlist)

(Capsule reviews of Top 10 below) 

10. DJ Koze: Knock Knock.  The music writing trope of “a sounds like b + c” is as lazy as it is played, but sometimes you hear a record and those type of comparisons spring to mind, like when I first heard Saint Pepsi’s Hit Vibes and instantly thought of J Dilla making a disco record.  That was also my response to Knock Knock, which sounds like the Avalanches making a more patient update of Since I Left You for 2018 ears.  The record is long and lush, and draws from roughly nine billion different aesthetics, but its particular mélange still manages to sound fresh.  As with SILY, the album is best experienced as a complete piece of music (though several tracks, such as “Lord Knows” and “Scratch That” would sound great in a mix or DJ set).  Knock Knock takes the listener through ambling pathways that wrap around and revisit each other, like an evening stroll through the spacious Joshua Tree National Park depicted on its cover.  It’s nearly a two-hour journey, but it’s well worth the price of admission.

9. Mariah Carey: Caution.  Mariah got a dirty mouth and I’m here for it.  As mother, a twice-divorcée, a woman nearing 50, her work and her image are all her own; if she wants to include the word “fuck” in a bunch of songs on her new album (“GTFO,” “With You,” “The Distance”), then who the fuck are we to tell her no?   It’s a refreshing twist from someone whose public persona is often so curated, but I’m burying the lede.  The real story here is that Caution is a batch of excellent R&B songs from one of the genre’s all-time greats.  It’s not overwrought – by contrast, the album’s sultry blue cover art is indicative of the moods within.  The Ty Dolla $ign-featuring “The Distance” is laid extremely deep in the cut, assisted by some subtle production from Poo Bear, Lido and—holy shit, Skrillex?  Yup, and like Mariah herself, everyone involved uses an even hand and measured patience to let each song breathe.  

A personal highlight for me is “A No No,” which flips the Lil Kim/Lil Cease classic “Crush On You” on its head.  Here, where Biggie intones “he’s a slut, he’s a hoe, he’s a freak/got a different girl every day of the week,” there is no irony intended.  She gauges her suitors’ intent and responds simply: “that’s a no-no.”  In fact, the word “no” accounts for easily half the song’s lyrics, but it’s still a blast on subsequent listens.  But don’t get it twisted – highlights abound herein, from aforementioned singles “GTFO” and “The Distance” to the thoughtful, expansive, Dev Hynes-helmed “Giving Me Life,” which begins as a downtempo club hit and morphs into a surrealist dream.  Mariah Carey is one of the artists who’s been in my life the longest – I’m so happy she’s still killing it.

8. Courtney Barnett: Tell Me How You Really Feel.  Courtney Barnett is what I was raised to believe an indie rock star should be: an unassuming, smart slacker with regular clothes and the ability to unleash earthbound poetry and atmosphere-puncturing solos with equal aplomb.  That effortless cool permeates every facet of her work, from her casual half-singing style to her loose but proficient playing, a mighty guitar god in the body of a humble 31-year-old.  (That she recorded a collaborative record with renowned cool guy Kurt Vile should surprise no-one.)  But what’s really striking about Barnett’s work is her wryly observant lyrics; whether she’s describing the banalities of urban life (“City Looks Pretty”) or eviscerating toxic masculinity (“Nameless, Faceless”), her keen eye and incisive wit pervade every line.  Tell Me is the sound of a strong artist getting stronger.

7. The Carters: Everything is Love.  I often say that as I get older, my favorite elements of songwriting are editing and restraint.  That’s why I tend to hate double albums and love EPs.  I just believe that most double albums would be better if distilled down to one really strong record.  EPs, on the other hand, leave the listener wanting more.  Such is the case with Everything is Love, which reads like a Beyonce trap record with a number of guest verses from Jay. Regardless of speculation on who did the lion’s share of the writing on the record, both are in top form.  Bey’s signature vocal virtuosity is on display as ever, but the real delight is in her capable delivery as a rapper.  She glides effortlessly through triplets like “Poppin, I’m poppin, my bitches are poppin, we go to the dealer and cop it all.”  Big Sean could never.  Meanwhile, Jay turns in a few of my favorite bars of the year (and also a very slick Drake diss) on “Boss:”

“You not a boss, you got a boss. N*ggas gettin’ jerked, that shit hurts, I take it personaly.  N*ggas’d rather work for the man than to work for me.  Just so they can pretend they on my level, that shit is irkin’ to me.  Pride always goeth before the fall, almost certainly.  It’s disturbing what I gross.  Survey says: you not even close.  Everybody’s bosses till the time to pay for the office, till them invoices separate the men from the boys. Over here we measure success by how many people successful next to you.  Here, we say you broke if everybody is broke except for you. BAWSE.”

I don’t know if they intend to release more records as The Carters, but Everything is Love is a fun, successful experiment.

6. Snail Mail: Lush.  There’s no reason for a debut LP to be this good.  The record, from solo project-turnt-band of 19-year-old Lindsay Jordan is focused, clever, and sophisticated.  Every component of these songs appears exactly as it should.  Jordan’s songwriting is clean and incisive (“I hope whoever it is holds their breath around you/’cause I know I did,” she sings on album standout “Heat Wave”).  The arrangements are smartly simple; seldom do they deviate from the four-person rock lineup, so the embellishments that are included (the French horn on “Deep Sea,” the layered keys on “Speaking Terms”) really leap out.  The playing throughout is lovely, with Jordan’s beautiful guitar technique front and center (the finger-picking on “Let’s Find an Out” is a particular delight). Everything in its right place – only where Radiohead’s inward gaze can be mopey and self-indulgent, the core strength of Lush is its efficiency.  There’s no filler here – just the exact amount of support that each piece requires.  The drumming feels especially strong in this regard – there’s an economic directness in Ray Brown’s playing that prioritizes the backbeat over everything, including his ego. The fills that he does include are modest and workmanlike.

It’s right that the record would be released by Matador, because these songs are drenched in the influences of the 90s slacker rock of Yo La Tengo, Sonic Youth, Sleater-Kinney and Sebadoh.  And as with each of those bands, Snail Mail’s songs are buoyed by excellent lyrics.  Jordan doesn’t just sound wise beyond her years, she actually seems to have lived more in her 19 years than many folks twice her age.  There’s a subtext of sobriety in some of the songs (“It just feels like the same party every weekend, doesn’t it?” on “Pristine,” or “I’m so tired of moving on/spending every weekend so far gone” on “Heat Wave”).  Perhaps the self-reflection that’s required in recovery has helped to distill her worldview.  

And look, I don’t mean to be patronizing here – this album would be a major achievement from any person of any age.  But to hear an artistic vision this crystal clear and laser-focused from a 19-year-old is something truly special.  I can’t wait to hear what she does next.

5. Shannon & the Clams: Onion.  Upon first listen, Onion struck me as the best record the Clams have released to date.  Now, admittedly, I’m a sucker for keyboards, and the inclusion of organist Will Sprott is pure Patrick-bait.  But beyond my own tastes, the organ both fills out and anchors the Clams’ garage doo-wop sound.  There’s a welcome succinctness to Onion: the songwriting is tight, the guitar playing is melodic and utilitarian, and the vocal performances from both Cody and Shannon are more technically refined than in any of their previous outings.  One wonders if Shannon’s work on her own solo album (the very good, Dan Auerbach-produced Shannon in Nashville, which also came out this year) pushed her to improve her technique.  And don’t get it fucked up – this is still a Clams record.  It’s still shaggy and loud and rambunctious – but they’ve worked hard to reign in their wildest tendencies.  Some might say that it’s layered, just like-- *an oversized cane hooks around my throat and drags me offstage* ….Well…..let’s just say it’s good.

4. Teyana Taylor: KTSE.  Of all the seven-song mini-albums Kanye produced in Wyoming this year, KTSE is both the best and the least talked-about.  She arrives seemingly out of the blue, a fully-formed artist who knows her strengths exactly.  She has bars when she feels like spitting them, a beautiful husky alto when she feels like crooning, and a profound connection to multiple styles of club music that’s borne of her history as a dancer.  It’s become a bit trendy to nod to vogue & ballroom culture in the last few years, but while Drake’s Big Freedia feature on “Nice for What” feels a little forced, Taylor can walk it like she talks it.  A dancer by trade, her comfort in the ballroom is palpable. 

Ye keeps it simple, remaining comfortably in his wheelhouse and flipping excellent soul samples such as Billy Stewart’s “I Do Love You” (which he repurposes into a nostalgic 4/4 slapper on “Hold On”) and The Stylistics’ “Because I Love You, Girl” (which he expands into a melancholy mediation on the horn section of the original).  It’s a welcome return to form.

3. Kacey Musgraves: Golden Hour.  In her SNL performance earlier this year, Kacey Musgraves appeared as a flat-ironed, longhair disco queen.  As she slayed Golden Hour’s catchy lead single “High Horse,” I was reminded of Dolly Parton.  I’ve been spending a lot of time with Dolly’s mid-70s and early-80s catalogue this past year, having purchased vinyl copies of All I Can Do, New Harvest…First Gathering, and Dolly, Dolly, Dolly.  Parton is one of those artists whose discographies are so gigantic as to seem practically impenetrable, so I’ve been trying to hear as much as I can.  Dolly, Dolly, Dolly is an especially interesting entry: released in 1980, it was her 23rd album, and it represents a pretty clear swing for crossover success.  A handful of the tracks are straight-up disco, and these are what Musgraves called to mind.  I was thrilled – Dolly’s disco experiments were widely panned, but I think there’s a lot of good there, maybe Golden Hour would be an attempt to vindicate Parton’s vision?

Unfortunately or not, I was incorrect.  In total, Golden Hour bears more resemblance to Dolly’s friend & frequent collaborator Emmylou Harris (Kacey’s hair should’ve tipped me off, SMH).  It’s a beautiful, understated, and thoughtful set of songs that could fit as well on a folk radio station as a country one.  Like Harris, Musgraves has an innate sense of how to let a great song be great, hanging back in both arrangement and vocal performance.  She’s emotive when she needs to be (“Rainbow”), and contemplative as needed (“Golden Hour”), always letting her writing breathe.  Also, she has the confidence to bury the lead single so deep on Side B that you almost forget it’s there (and are thrilled when it is).  As a person who prefers the full album experience to that of a shuffled playlist, this is one of my very favorite tricks.

Quite simply: great songs + great arrangements = a surprising list-topper for me.

2. Blood Orange: Negro Swan.  For years, the roles of sexuality and gender in black identity have been foci of Dev Hynes’ work as Blood Orange.  He spent time with drag queens and sex workers while writing his debut album Coastal Grooves, and has often cited transgender icon Octavia St. Laurent as one of his primary influences.  But while these interests have colored his previous albums, on Negro Swan they’re the bedrock.  In a press release preceding the album, Hynes described the album as “an exploration into my own and many types of black depression, an honest look at the corners of black existence, and the ongoing anxieties of queer/people of color.  A reach back into childhood and modern traumas, and the things we do to get through it all.  The underlying thread through each piece on the album is the idea of hope, and the lights we can try to turn on within ourselves with a hopefully positive outcome of helping others out of their darkness.”

These ideas are fundamental to the songwriting, and they’re reinforced by snippets of conversations with Janet Mock and Kai the Black Angel (who adorns the cover in a durag and angel wings) peppered throughout the album’s 49 minutes.  On “Family,” Mock defines community as “the spaces where you don’t have to shrink yourself, where you don’t have to pretend or to perform, you can fully show up and be vulnerable in silence, completely empty, and that’s completely enough.”  That search for community, the desire to be seen and loved and supported as your whole self informs each of these beautiful songs.  Already a competent producer, Hynes continues to grow, selecting beautiful flourishes like the jangly, perfectly out-of-tune guitar on “Charcoal Baby” or the soft, echoing snare drum on “Dagenham Dream” to characterize the thematic content of each piece.  Negro Swan is a powerful and complete work of art.  It sounds like he’s finally found some answers to the questions he’s been asking. 

1. Dirty Projectors: Lamp Lit Prose.  On Lamp Lit Prose, David Longstreth appears to be having more fun making music than he has in years, probably because almost 100% of his band has turned over (kudos to longtime bassist Nat Baldwin, whose playing tethers him to his own beginnings).  Beyond the new Projectors themselves, Longstreth spent the months during the writing of the album making new friends in the LA music scene, and bringing them around the studio to record various parts.  Members of Haim contribute to album standout “That’s a Lifestyle,” Syd (of The Internet) anchors the refrain in “Right Now,” and Fleet Foxes’ Robin Pecknold and Vampire Weekend alumnus Rostam Batmanglij stack harmonies onto the swirling ballad “You’re The One.”

I see LLP as the second half of a diptych begun by the self-titled Dirty Projectors, released last year.  While that record wallowed in the pain of a broken relationship with former Projector Amber Coffman, LLP reveals a healed and newly in love protagonist.  Both records feature David Longstreth at his most vocally competent: he’s now able to truly execute the melismatic R&B runs he lovingly wrote and charmingly attempted in his earliest work, his diaphragm now supports his every leap and bound, and his croon is sweeter than ever before.  But furthermore, both albums expand on ideas that have popped up throughout his illustrious and impressive body of work.  Whether he’s reviving the Rise Above era blasts of noisy guitars on “Zombie Conqueror” or revisiting the orchestral ambitions of The Getty Address on the stunningly soulful “I Wanna Feel It All,” Longstreth sounds like a worker with a complete toolbox and a detailed blueprint.  He’s been working at honing his craft for years.

I saw the Projectors in June, at a time when only “Break-Thru” and “That’s a Lifestyle” had leaked.  I didn’t know what to expect, being among the seemingly small minority of fans who liked their previous record.  But their set was staggering.  Flanked by his group of mostly-new faces, Longstreth was bouncing all over the place, proudly showcasing each instrumentalist & vocalist (seemingly everyone had at least one moment in the spotlight), visibly excited about playing with this group of people.  And that makes sense: LLP is Longstreth relishing the fundamental glee of musical collaboration.  The joy is positively bubbling over in tracks like “Right Now,” “I Feel Energy,” and “I Found it in You.”  To see him play these songs live is to wonder if he’s talking about the act of musicmaking itself when he sings: “Ask now, I’m in love for the first time ever.”

[diamonddeposits]

BEST TRACKS OF 2017-ARTISTS LIST #12

WOOZLES

Emotional rock as bright as a votive candle.  Woozles is the avatar of Connecticut's very own  Conor Ryan and in his sound he perfectly captures the essence of relationships between friends and lovers, the restlessness of days both good and bad and the enduring spirit to carry on even when life keeps giving you the hits. His Wasted Nights LP was released earlier this year via the venerable Z Tapes . In 2017 he will be gifting us more music. Here is his list with some thoughts on his favorite artists that did not make the cut!

2017 has been an awful year in general, but an incredible year for music. If I were to have not given myself limits on this end of the year list it would have included Tyler the Creator, Paramore, Khalid, Lorde, Deerhoof, Japanese Breakfast, Fleet Foxes, Grizzly Bear, Phoenix, Big Thief, and so many others. However, I wanted to try to focus on some "lesser known" bands that in my opinion might not have gotten the exposure they deserved this year. For anyone that just wants to listen instead of reading my rambling, here's a Spotify playlist of all the songs on this list that are available on Spotify. I hope you find some new hidden gems with this list and if you can be sure to support these artists! They need you! 

01. Rose by Sam Nazz I can't pinpoint in words exactly what makes this song so magical. Sam's vocals are absolutely incredible and the melody melts my heart. The lyrics are still cryptic to me, but somehow still hold a lot of meaning. For whatever reason, listening to this song has helped calm me down on multiple occasions this year and has helped me through a lot. 

02. Dark Red by Steve Lacy Wow this song is....amazing. The lyrics on this song hit hard for me and talk about dealing with anxiety in relationships, "What if she's fine / It's my mind that wrong." Steve's vocals are executed so well and I love the way the arrangement flows. There's a whole lot of amazing ideas packed into this three minute long song. This is going to be a bop for years to come. 

03. Lake by Flossy Clouds First of all, I want to say that this entire album is amazing. As a whole, it lives in a very special sonic world all on its own that I love to revisit, especially when I need to step back from the things running through my mind. This song in particular is a highlight that blends a borderline trap drumbeat with cycling acoustic guitars and emotional auto-harmonized vocals. Lyrically, like the last song, it touches on anxiety in relationships, but ends on a hopeful note, "But I remember when we're on the road / It doesn't matter where we go"

04. Footscray Station by Camp Cope Everything about this song is so special. The way this song unfolds rips my heart apart and makes me feel some kind of hard to pinpoint nostalgia. The lyrics are packed with such specific imagery that by the end of the song I feel like I've just finished reading someone's diary. Not to mention that the vocal delivery is so packed with emotion that it's hard to not hear this song without having tears in my eyes. 

05. Fault by Alex Napping Welcome to the heartbreak song with one of the best choruses of the year. It's a reflective song about feelings of guilt and blame in a relationship. The song builds a musical atmosphere that's painful and cathartic all at once. Not to mention, Alex's vocals are soaring on on this track, which elevates it to a whole other level. 

06. Makin' Excuses by Mister Heavenly Here's another song where it was hard for me to pick just one song from an album. Mister Heavenly is an indie supergroup composed of Honus Honus (the front person of Man Man), Nick Thorburn (the front person of Islands), and Joe Plummer (the drummer of The Shins). This song is a bop through and through. It has an infectious groove that bursts into pure sonic fun during the impossible-to-not-sing-along-to chorus. Lyrically it's about the hesitation that can come with starting a relationship. That feeling of not wanting to open yourself up completely and just be yourself with another person. On top of all this, the video is weirdly endearing and super creative. 

07. The Bus Song by Jay Som I can't say enough about how much I love this song and how much it means to me. The production on it is absolutely perfect, which is even more impressive when you consider that Melina Duterte wrote and recorded the whole album almost entirely by herself. The song is impeccably arranged and unfolds so perfectly. It's easily one of my favorite songs lyrically that I've heard in a long time, "Take time to figure it out / I'll be the one that sticks around" hits me so hard every single time I hear it. I've cried to this song more times than I'd like to admit, but it's also helped calm me down more times than I can count and I'm just so thankful that it exists. Also the music video might possibly be the most uplifting music video ever created. 

08. Divinity by Jelani Sei Before I go on, you all should buy this EP immediately. Trust me, it's so worth it. The first time I saw this band live I was absolutely blown away. I'd never listened to their recorded material before, but I was absolutely floored by their performance and immediately fell in love with their sound. Listening to this song on headphones is such a special experience. The production is just so creative and well executed. The actual arrangement is so groovy with so many moving parts, but that all fit together into a cohesive whole. I love this band with all my heart and can't wait for them to become huge because they truly deserve it. 

09. Gone by Queen Moo A staple of the Connecticut music scene, I've seen this band play live more than anyone else. On their sophomore album, Mean Well, they capture their own special brand of punk that twists and turns with an almost infinite amount of catchy hooks packed in. "Gone" is a highlight for me because it ebbs, flows, and builds so effortlessly both musically and lyrically. If you want a truly unique experience, treat yourself and dig into to this whole album. I promise it's worth it.

  10. Bronxville (Gasoline Fantasy) by False Priest Holy shit. This song should be a an alternative rock hit immediately. This should be blasting as you're flying down a desert highway with the setting sun as a backdrop. I'm gonna admit that I've listened to this song 10+ times in a row because it's so damn catchy. Everything is mixed perfectly with each instrument having just the right amount of punch. The lyrics deal with feelings of restlessness and that creeping feeling we all sometimes have of wanting to leave a situation, whether physically or emotionally, "A full tank of gasoline / Is really all you could need."

12. Interstate Vision by Lomelda The lyrics to this song capture something special that a lot of artists try and fail to bottle in a song. The chorus is simple, but with Hannah's vocal delivery it becomes extremely powerful, "Can you feel me now? Do you know me yet?" I feel a whole lot of random nostalgia while listening to this one. It's a magical song. 

13. Fit to Be Found by Harvey Trisdale This song is really special to me. It's the first single from my friend Jeremy's new band, who you might know as one of the songwriters in the band Furnsss (and his can't miss hit "Where Did My Pets Go?). We've been friends since 4th grade and he's one of the most talented musicians I know. Fit to Be Found is just ridiculously catchy and the dynamic builds throughout the song are perfect. Keep an eye out for the full album next year because it's going to blow you away. 

14. Jacuzzi by Cheem Bop bop bop bop this is a major bop. Cheem's sophomore LP, "Downhill," is definitely one of my favorite albums of the year. Short songs packed to the brim with an incredible amount of extremely well-executed musical ideas. The chorus of "Jacuzzi" is catchy as hell, there's an awesome musical breakdown, the two vocalists (Sam and Skye) have some amazing vocal interplay, and the production is spotless. Lyrically it hits hard because it touches on dealing with mental health while trying to maintain a relationship, "You don't even know, the pressure that keeps me so low / Hold me close, I'll float away if you let me go." 

15. Anywhere by Fuvk This song is from an album that's technically two EPs put together in one. These collections of songs are both heartbreaking. The production, especially when listened to on headphones, is all encompassing. Everything feels so close and painful words pour out over gently plucked guitars and instruments that pop in and out in these beautiful arrangements. "Anywhere" is the opener and it immediately sucks you in. It's best experienced while lying on your bed staring at the ceiling. 

16. Need to Feel Your Love by Sheer Mag How can you listen to this song without grooving to it? I love everything about this song. Hooky guitar parts, powerful vocal delivery, a sweet bass groove, and "toasty" production to tie it all together. I love the lyrics for this song because they talk about wanting, as the song title says, to actually feel the love of someone else they're interested in. Both of the people in the song have been hesitant about opening up to the possibility of truly loving again, "I've been holding back so much / But at what cost?" In the end though, the chorus rings out as a proclamation of being willing to try again after all. It's a triumphant and dangerously catchy song that stays on repeat every time I put it on. 

17. On Top by Hoops Is this a perfect dream pop song? Hell yeah it is. There's a real warmth to this production that brings the instrumental arrangement to the next level. First of all, "On Top" is ridiculously catchy, which as you can tell by now is something that I'm a sucker for. The real reason I love this song though is the lyrics because the chorus is essentially cheering you on through those hard days, "Keep your head up, you're doing fine / I know it's hard but you'll be alright." This sounds wildly cheesy, but when I'm having a bad day and I put this song on it really does help me to push through. Thanks, Hoops, for rooting for me.

[anothersievefistedfind]

Photo © LasVegas360.com, taken July 6, 2013

Fugazi, Huntridge Theater, Las Vegas, NV USA 3/05/99 (FLS #0904)

The Huntridge Theater in Las Vegas, Nevada is another venue to be added to the list of remarkable places Fugazi played over the years.

In fact, Fugazi played Las Vegas only two times, once in 1993 and then again as part of the 1999 West Coast tour, with both shows taking place at the 1000 cap Huntridge, also known as the Huntridge Performing Arts Theater, reportedly “a Streamline Moderne building located in Las Vegas, Nevada. The Huntridge opened October 10, 1944. The theater is said to have been the first non-segregated theater in Las Vegas. The building was designed by S. Charles Lee and is listed on the United States National Register of Historic Places. The Huntridge Theater closed on July 31, 2004.”

According to Las Vegas Weekly, on July 28, 1995, 

“[j]ust hours before the Circle Jerks are to play, the roof of the building collapses. Although a few employees were inside, there were no serious injuries. Despite this, the Circle Jerks contributed one of the most cherished memories to the Huntridge folklore when they play to a group of onlookers still hanging around. As lead singer Keith Morris would relate years later: ‘As soon as we got there, we were told that the roof had collapsed and the show was canceled. We didn’t have anywhere else to go, so we just set up our equipment in the parking lot and played for the 30 or 40 people who were still there.’ The result was an impromptu mosh pit that showed endlessly gyrating kids thrashing frantically on the outdoor pavement.”

Footage related to the event can be found here.

As to the Fugazi recording presented here, let me cut right to it. While this show is a fucking rush for the most part, there are a couple of reasons curbing the experience for me personally.

First off, Birthday Pony is one of few songs I never managed to get into. To see it pop up in any set list, and here even as set opener, kind of puts me off.

Also, while I love the song Instrument, and I think it actually can serve as a most suitable set closer because of its ominous build-up and cathartic qualities, it doesn’t quite pack the necessary punch this time, and leaves me a bit hanging.

Further, while the sound quality of the recording basically is top-notch in my book, the vocals and instrumentation crisp, clear and overall well-balanced, the mix only settles about a minute and a half into Cassavetes, which leaves the introductory remarks and first two songs somewhat flawed. Plus, later on in the set, most of the Arpeggiator instrumental is missing.

As such, I consider this particular recording really good, but not truly great. Also, as unfortunately is the case with the other 1999 recordings I have been listening to, the audience is hardly discernible other than in-between songs, which I generally consider a significant drawback compared to early Fugazi live recordings.

Still, aside from all of the above, this recording still offers a lot to enjoy once Break takes off. The band is firing on all cylinders, and delivers a flawless execution from beginning to end (note that Ian’s guitar play is off going into Waiting Room, but he recovers gracefully).

The order of the songs works really well in my opinion, at least as far as the main set is concerned. I feel the sense of direction falters somewhat after this, while the songs are still performed to a T in their own right.

Counting a total of 28 songs, this is one of the longest gigs of the 1999 West Coast leg of the tour, topped only by the stellar DV8 show in Seattle (29 songs). 

Enclosed here are songs taken off of Furniture EP (1), End Hits (9), Red Medicine (6), In on the Kill Taker (4), Steady Diet of Nothing (3), Repeater (3), Margin Walker (1) and 7 Songs (1). This includes, by 1999 standards, rare-ish live renderings of Caustic Acrostic, Lockdown, or Downed City.

The set list:

1. Intro 2. Birthday Pony 3. Cassavetes 4. Interlude 1 5. Break 6. Place Position 7. Interlude 2 8. Reclamation 9. Do You Like Me 10. Facet Squared 11. Caustic Acrostic 12. Interlude 3 13. Closed Captioned 14. Lockdown 15. Interlude 4 16. Waiting Room 17. Recap Modotti 18. Last Chance for a Slow Dance 19. Shut the Door 20. Turnover 21. Long Division 22. Target 23. Encore 1 24. Arpeggiator 25. By You 26. Interlude 5 27. Back to Base 28. Downed City 29. Interlude 6 30. Stacks 31. FD 32. Merchandise 33. Interlude 7 34. Number 5 35. Five Corporations 36. Fell, Destroyed 37. Instrument

[usgunn]

October 20, 2019

CLICK HERE for the October 20, 2019 playlist

I’ve been bad about annotating the playlist recently.  It takes a bit of time, which is not something I always have.  But, luckily, this week I managed.

1. Faust - “Jennifer” (1973)

From their fourth record, aptly titled Faust IV.  One of the great German krautrock purveyors.  Maybe their most “pop” moment?  Which, I mean, still isn’t very pop.  

2. Barbara Howard - “I Don’t Want Your Love” (1969)

Forgotten soul singer from Cincinatti, married to long-time Cincinatti civic leader Steve Reece.  This non-album single, along with a contemporaneous album, On the Rise, were recently reissued by Ohio label Colemine Records.

3. Funkadelic - “Standing on the Verge of Getting it On (Single Edit)” (1974)

I’m sure Mr. Clinton needs no introduction.  This is from the album of the same name, probably my favorite all around Funkadelic collection.  Luckily found a single edit so we don’t have to hear him ask someone to pee on him for the first minute of the song...

4. Black Eyes - “Deformative” (2003)

DC post-everything band with two drummers, two bassists, and one wild guitar player.  We saw this band open for Q And Not U at the Caledonia and it was awesome.  They imploded after their second album and that was it.

5. Fog - “Inflatable Ape, Pt. 3” (2007)

Andrew Broder is a Minneapolis dude who has never settled on a genre, which is probably a large part of why no one really knows who he is.  After a couple of murky lo-fi records he landed on Lex Records, an experimental hip-hop subsidiary of Warp Records, but his second record for them was, essentially, an indie-rock record.  This song comes from that album, Ditherer, one of the smartest, quirkiest albums of the early 2000′s.

6. The Mauskovic Dance Band - “Same Heads” (2019)

Wacky, genre-hopping band led by a Dutch drummer.  On Soundway Records.  Recent discovery, but I’m intrigued.

7. Jef Gilson - “Choro in Blue” (c. 1960?)

Gilson was a French jazz pianist, composer, and arranger, and unfortunately there’s not that much out there to read about him.  This song might be from 1960 and might have been featured in Jean-Luc Godard’s Breathless?  Or possibly neither of those things are true.

8. Disconnection - “Bali Ha’i (Radio Mix)” (1982)

Weird, no-wavey take on a song from South Pacific.  Like, the Broadway musical.  Targeting a pretty specific market.  This came out on Y Records, the same label that put out the Tesco Bombers track from a few weeks ago.

9. Peggy Gou - “It Makes You Forget (Itgehane) - Edit” (2018)

South Korean-born, Berlin-based DJ and producer.  I first heard about her when she put out a DJ-Kicks mix earlier this year.  Her own catalog is fairly sparse, but this song in particular is a lot of fun.

10. Parsley Sound - “Spring’s Near” (2003)

UK band that released one album, the creatively named Parsley Sounds, and then disappeared.  I had never heard of them until Mac McCaughaun from Superchunk randomly tweeted about them the other day.  Weird, dreamy psych-pop that wouldn’t sound out of place next to Olivia Tremor Control--although this track is a little more electro and instrumental.

11. Tages - “One Day” (1967)

Before her passing in 2011 the legendary Trish Keenan from Broadcast created a mix, Trish’s Mind Bending Motorway Mix, full of obscure 60′s psych tracks that I, for one, had never heard.  Among them was a track by the Swedish band Tages, "You’re Too Incomprehensible.”  This is another track from the same album, Contrast.

12. Robert Lester Folsom - “Biding My Time” (1976)

Folsom was a South Georgia boy who grew up in Adel, Georgia, the county seat of Cook County, halfway between Moultrie and Valdosta.  He managed to get into home recording with a tape deck he bought from Sears, and after several years making home recordings, he made one full length record, Music and Dreams, at Lefevre Studios in Atlanta (which was on Ellsworth Industrial just down from Bone Garden Cantina).  Folsom serendipitously grew up next door in Adel to Don Fleming, who would go on to play guitar in Gumball and produce at least one stone-cold classic (Teenage Fanclub’s Bandwagonesque)--Folsom produced a record for Fleming’s first band, The Stroke Band, at Lefevre in 1978.

13. Eric Matthews - “Fried Out Broken Girl” (1995)

Matthews was (at least at the time) a Boston-based composer, arranger, and songwriter who had made a splash in the band Cardinal with Richard Davies from the Moles.  This is from his first solo album, which came out on Sub Pop as grunge was fading, and featured significant contributions from another 90′s pop auteur, Jason Falkner of Jellyfish and later of Beck’s band.

14. John Foxx - “Europe After the Rain” (1981)

Opening track from Foxx’s second solo album, The Garden.  Foxx previously fronted a pre-fame (or at least, pre-financial success) Ultravox.  His solo records are interesting, dramatic takes on new wave.  He’s most recently been collaborating with some of the Ghost Box Records crew.

15. Turning Shrines - “1/4 Circle Black” (1985)

Primarily the project of Boston-based Fred Giannelli, there must be a story here I don’t know.  This comes from his first EP, produced by Genesis P-Orridge of Throbbing Gristle, but the band otherwise didn’t do much else (they put out one album in 1988, which I randomly found at a record store in Charlotte a few years back, but that album is mostly atonal, strung-together pieces).

16. Julia Holter - “Sea Calls Me Home” (2015)

I feel a bit embarassed that I just don’t really get most of Julia Holter’s work, which is fiercely adventurous and avant-garde, but not exactly in a way that pulls me in.  So it’s more embarassing that my favorite work of hers is her 2015 album Have You In My Wilderness, her most direct set of songs by a country-mile, of which this song is an obvious highlight.

17. The Week That Was - “The Airport Line” (2008)

Well, I managed to get to Week 13 before putting any actual music from Field Music’s Brewis Brothers on the playlist (the Slug song from a couple weeks back, produced by them, doesn’t count).  While on a break between Field Music albums two and three, older brother Peter Brewis put out a record under the name and title The Week That Was, and it remains a highlight of the Brewis’s catalog.  Big, bold music in the vein of Japan or Kate Bush and laden with wonderful string and horn arrangements.  This track is a highlight, with a truly mesmerizing drum beat that I get lost in every time.

[thisisheavynews]

ROMEO AND JULIET Featuring Indie Rock Band The Family Crest

The Family Crest, The Den Theatre and Jacaranda Collective are happy to current the Chicago premiere of ROMEO AND JULIET: A Spectacular Retelling of The World’s Greatest Love Story, Shakespeare’s timeless story cinematically reimagined utilizing stay music carried out by indie rock darlings and NPR music favorites The Family Crest, whose distinctive and sweeping orchestral sound completely scores essentially the most well-known love story ever advised.

The solid consists of Alex Quiñones (Romeo), Halie Robinson (Juliet), Bailey Savage (Benvolio), Kade Cox(Mercutio), Dan Lin (Tybalt), Susan Fay (Nurse), Jess Ford (Friar Laurence), Terence Sims (Capulet), Ashlea Woodley (Lady Capulet), Gaby Labotka (Prince), Julie Brannen (Dancer), De’jah Jervai (Lady Montague, Dancer), Michael Gee (Montague, Dancer) and Manisha Mahaldar (Dancer).

Directed by Sam Bianchini with choreography by Julie Brannen, this progressive mixture of actors, dancers and stay music by The Family Crest will play a restricted three-show engagement from November 7 – 9, 2019 on The Den Theatre’s Heath Main Stage, 1331 N. Milwaukee Ave. in Chicago. Tickets are at the moment accessible at www.thedentheatre.com, in particular person on the The Den field workplace or by calling (773) 697-3830.

Somewhere between a rock live performance and a basic Shakespearean play, ROMEO AND JULIET finds new life by enigmatic staging, partaking choreography and an emotionally expressive soundtrack. Treated as get together friends, the viewers is dropped into the center of this sensational epic in an immersive evening that seems like a music video come to life.

The night options favourite hits from The Family Crest, (a few of which may be heard of their iconic Tiny Desk live performance), mixed with never-before-heard tracks from their upcoming album, The War: Act II, which debuts in 2020. The grandiose, symphonic sounds of those classically educated musicians gives the inspiring soundtrack to the acquainted story and paints the image prefer it’s by no means been seen earlier than.

The collaboration between The Family Crest, The Den Theatre and Jacaranda Collective creates an excellent recipe for a particular occasion. They welcome you to hitch this unforgettable expertise.

Pictured: Kade Cox (Mercutio) in a publicity picture for The Family Crest, The Den Theatre and Jacaranda Collective’s world premiere of ROMEO AND JULIET: A Spectacular Retelling of The World’s Greatest Love Story. of Photo by Audrey Palumbo.

The manufacturing staff up to now consists of Emily Smith (scenic design), Alon Slotter (lighting design), Gaby Labotka (battle choreography) and Amanda Jean Grissom (stage supervisor).

PRODUCTION DETAILS:

Dates: Thursday, November 7, Friday, November eight and Saturday, November 9

Times: Doors open at 9 pm; present at 10pm

Tickets: $33. A restricted variety of VIP tickets can be found for $60 (VIP Tickets embrace premium mezzanine desk seats, a digital album of The Family Crest music from the present, together with three new tracks off the not-yet-released TheWar Part II, and a signed collectible poster). Tickets are at the moment accessible at www.thedentheatre.com, in particular person on the The Den field workplace or by calling (773) 697-3830.

Pictured: (left to proper) Ashlea Woodley (Lady Capulet) and Terence Sims (Capulet) in a publicity picture for The Family Crest, The Den Theatre and Jacaranda Collective’s world premiere of ROMEO AND JULIET: A Spectacular

About The Artists

The Family Crest (Music) The brainchild of composer, vocalist and multi-instrumentalist Liam McCormick, orchestral indie rock band The Family Crest was began as a recording undertaking in 2009 with co-founder John Seeterlin (bass) as a last launch earlier than bowing out of the business. Instead of leaving music, they had been impressed by their friends to got down to reinvent how a band could possibly be created, beginning The Family Crest with an audacious and daring imaginative and prescient of cultivating a musical group. “We always liked making music with people – getting a bunch of people together and singing. So we put ads everywhere,” says McCormick. “We posted on Craigslist, distributed flyers, and emailed old friends from school.” The consequence was higher than the unique duo imagined, with over 80 folks credited on their first recording and over 500 musicians credited all through their catalog.

Beyond the core band of McCormick and Seeterlin, Anthony Franceschi (drums), Laura Bergmann (flute, piano, percussion, vocals), Owen Sutter (violin) and George Samaan (trombone), over 500 “Extended Family” members take part on recordings, stay reveals and throughout the creative spectrum. Known for his or her jaw-dropping stay performances, The Family Crest has toured extensively domestically and internationally, garnering the assist of followers and the press alike. Bob Boilen of NPR’s “All Songs Considered” mentioned of The Family Crest, “Seeing is believing. Liam McCormick is a knockout singer, you simply must hear him live… There’s a decent chance you’re about to discover your favorite new band.”

The Family Crest has launched three full-length albums and three EPs, together with their critically-acclaimed breakout Beneath the Brine, which SPIN journal known as, “…a masterfully arranged epic… sharp strings, galloping percussion, and an ambition wide enough to swallow you whole.” Most lately, the band has been releasing items of their present musical idea album collection, The War. “The War represents the next version of The Family Crest,” says McCormick, and certainly, the album reveals a band extra in tune with its personal large-scale Baroque eclecticism. Jim Vorel of Paste Magazine described their first providing, The War: Prelude to War, as “A sound so big, it feels like it could collapse in on itself at any moment to form a black hole… One thing is certain: These guys are just as explosive as ever, and these songs are going to bring the house down in a live setting.” The War: Act I, the second installment within the idea collection led to comparable sentiments as EARMILK said, “The Family Crest deliver complex arrangements with such confidence that each varying sound produced is done with effortless intent and is never perceived as an afterthought… a stunning explosion of color and emotion and just another reason why I’m continually captivated by this group.” They are at the moment slated to launch the following chapter within the collection, The War: Act II in 2020.

Sam Bianchini (Director) is a director, actress, author and producer who has labored in LA, NYC and Chicago on each the stage and display. She started her skilled profession within the storefront Chicago theatre scene at 17, whereas acquiring her BFA in Acting from Roosevelt University’s CCPA, which formed her creative voice and provocative, clever and heartrending fashion. She went on to obtain her MFA in Acting from UCLA. Since then, Sam has been writing, appearing and producing immersive and awe-inspiring items of theatre and movie. A meticulous eye, consideration to rhythm, and musicality of emotion are essential staples of her distinctive route. Recently relocating residence to Chicago, Bianchini’s achieved voice and daring imaginative and prescient carry recent concepts and electrifying storytelling to the Chicago Theatre scene. Select West Coast credit: Romeo and Juliet (LA and SF), A Midsummer Night’s Dream, The Cherry Orchard, Down within the Face of God and Talking Blues (director). Select Chicago Credits: An Ideal Husband, Crumbs from the Table of Joy, The Nebraska Project, My Name is Rachel Corrie (director) and Mad Like Us (director). TV/Film: Chicago Fire, The Next Big Thing (movie), Lost Angeles (author). www.sambianchini.com

Pictured: Dan Lin (Tybalt) in a publicity picture for The Family Crest, The Den Theatre and Jacaranda Collective’s world premiere of ROMEO AND JULIET: A Spectacular Retelling of The World’s Greatest Love Story. of Photo by Audrey Palumbo.

About The Companies

Artistic Director Ryan Martin opened The Den Theatre in 2010 with a single theatre area. Seven years later, The Den boasts 5 intimate and distinctive theaters on two flooring starting from 50 – 200 seats, in addition to two further areas primarily used for courses and rehearsals. The Den can be outfitted with two bars enveloped by a endless discipline of lounge area for audiences and like-minded tradition hounds to drink, speak, learn, watch, assume, pay attention and stay. The Den is residence to 5 resident theatre firms together with First Floor Theater, Haven Theatre Company, The New Colony, Broken Nose Theatre and Firebrand Theatre. Hundreds of different firms from Chicago and past have additionally known as The Den residence, using its theaters, studio area and simply convertible cabaret area to accommodate a stream of programming, together with performs, musicals, movie screenings, classical and jazz performances, dance, improv and stand-up, seminars and talking engagements. For further data, go to www.thedentheatre.com.

Jacaranda Collective is a multi-media manufacturing firm shaped upon the precept of making artwork to discover each the battle and the great thing about existence, with out claiming one Truth. Just because the Moon isn’t seen in full, we acknowledge and rejoice all phases of Life, whereas permitting the viewers a secure area to navigate their very own private panorama. At Jacaranda, we aspire to encourage your perception in magic, and your potential to create it.

Jacaranda Collective burst onto the Chicago theatre scene earlier this spring with their knockout manufacturing of My Name is Rachel Corrie, produced at The Den Theatre. The firm arrives as a passionate and provocative addition to Chicago’s storefront phases. Spearheaded by creative director Sam Bianchini and affiliate creative director Halie Robinson, Jacaranda combines huge, energetic imaginative and prescient and placing storytelling with precision and care. Bianchini and Robinson got down to make theatre that could be a present to the viewers. For further data, go to www.jacarandacollective.com.

Pictured: Bailey Savage (Benvolio) in a publicity picture for The Family Crest, The Den Theatre and Jacaranda Collective’s world premiere of ROMEO AND JULIET: A Spectacular Retelling of The World’s Greatest Love Story. of Photo by Audrey Palumbo.

from Heavy News https://thisisheavynews.com/romeo-and-juliet-featuring-indie-rock-band-the-family-crest/

[albumtalks]

Review: Bearpark - What Goes On In Our Souffles

Artist: Bearpark Album: What Goes On In Our Souffles Release: Jul 14, 2017 (UK) / Jul 17, 2017 (International) Label: Independent Genre: Garage/Indie Rock Length: 42:20 Track Listing:

Household Appliances Are Of Poor Quality (2:19)

What Goes On (Inside Our Souffles) (5:20)

Various Colored Threads (3:15)

Choke Them Out With Virtues (2:21)

Helpin' My Uncle Like a Bastard (6:01)

Clever Librarian (feat. Tupac) (4:47)

Looking For Snacks (0:43)

NATO - No Action, Talk Only (8:26)

Exclamation of Disappointed Surprise (4:10)

Outbreak of Salmonella Every Five Minutes (6:08)

When talking about the new renaissance of Garage Rock-inspired Indie Pop, pioneer trio Bearpark is always one of the first names on anyone's lips, and that's why it shouldn't be surprising that their first full-length album in nearly 16 years has been a hot topic lately. After their constant streams of EPs and singles stopped in 2005 they hadn't been heard from, aside from a brief stint touring with Florence + The Machine and Garbage in 2013. Yet suddenly, fans got a tantalizing social media post announcing a tentative "July 2017" release date, it quickly hit "Trending Worldwide" on Twitter and was the talk of music media for weeks. But without a single word of update from the band or label fan enthusiasm quickly turned to confusion. Was the long-awaited new Bearpark album some kind of bizarre prank? Well, sixteen long months of waiting later, and we finally have an answer. But the question still hanging in the air is a big one: Is it worth the wait?

The answer is a resounding "ehh" sound, and utter befuddlement. Bearpark have chosen to eschew all labels and make something so vastly unlike their previous material that it's hard to even feel right calling it a Bearpark album at all. Especially confusing is how all the elements are present in spades (in particular the raspy, desperate yells of lead singer Brian Humphreys and the unhinged solos of guitarist Reynolds Johansson) but somehow it sounds like another band altogether composed these songs and Bearpark is simply covering them.

Household Appliances kicks the album off with a promising garage-rock riff that sounds like an outtake from Bearpark's debut album, and a vocal line that kicks off almost immediately with a direct delivery reminiscent of They Might Be Giants. But in its short 2-minute runtime it doesn't express much of an idea and sputters to a stop before going anywhere interesting, leading directly into the fast-paced drums that open title track What Goes On. Of course by now this song (and album's only single to date) has seen its fair share of radio play, and it isn't a bit surprising considering the generally infectious rhythm and some of the most coherent and memorable lyrics of the band's catalogue. The deviation from the band's less radio-friendly roots is actually welcome, although the addition of an (uncredited) keyboardist feels entirely forced.

The album lumbers on after that with three completely forgettable songs, the mid-tempo rocker Various Colored Threads and the slow, sappy acoustic duo of Choke Them Out With Virtues and Helpin' My Uncle Like a Bastard, which are so unnecessarily similar in tempo and composition that I was, on first listen, completely unaware they weren't a single, overlong track. Luckily the last minute of Helpin' picks up the tempo and adds some layered synths to liven things up, but it's much too little too late, not to mention completely out of place.

Clever Librarian (feat. Tupac) comes plodding in after as a solid example of the cover-band sound the band has taken for this album, with a composition that weaves back and forth between sounding like a folksy new Mumford & Sons track and a swaggering-but-forgettable Rolling Stones B-side. It's not a bad track but you'll probably find yourself reaching for a copy of Sticky Fingers to play instead. Showing the band's bizarre sense of humor, rapper Tupac is entirely absent from the track despite its name, but short interlude/skit Looking For Snacks makes a note of this discrepancy as the track features the sound of drummer Phil Veer seemingly rummaging through a refrigerator while talking to his agent on the phone, asking "Can we get Tupac to guest on the album?" before learning, to his dismay, that the artist in question is long dead.

The first and only genuinely guitar-driven track on the album, NATO - No Action, Talk Only, launches into gear immediately with a rare instance of the band utilizing multiple guitars as guest axeman Tommy Filbilt (from sister band Wisconsin & Southern and Post-Grunge supergroup Bottom Rock) starts the track by rampaging a searing solo atop a beating drum line and driving arena-rock riff. It could be either a lost Scorpions or KISS classic for the first 45 seconds but NATO instead slows into a middle-fast-paced rhythm and starts to take on more of that depression-laden Bearpark sound just in time for the vocals to kick in. The song doesn't let a traditional structure hold it down, instead ditching “verse-chorus-repeat” in favor of a campfire-story-esque lyrical structure as Humphreys aggressively belts out a tale of a soldier's love that blossoms and tragically withers. A true highlight of the album, but its extended length sometimes feels unnecessary as Johansson and Filbilt's dueling guitar interplay drags on solely for the sake of time without leaving behind any memorable moments. NATO winds up being a high point for the album that could really shine with a producer who knows when to cut a track to size.

The last two tracks of the album immediately put the brakes on any hopes you might have had about the band's return to their rock-heavy style, however, as they instead present a muddy synth-heavy sound that strays much farther from the Bearpark we know than ever before. Instrumental track Exclamation of Disappointed Surprise starts with a heartbeat sound that maintains to the finish, gradually being smothered under increasingly dense electronic orchestration and a winding guitar line that doesn't seem to know where it wants to go. Under other circumstances this might be a fascinating experimental jam session but it leads seamlessly into the overly-synthetic Outbreak of Salmonella Every Five Minutes, which adds auto-tune (yikes) and a drum machine to the mix to fully push the album out of a rock mindset.

If you came into the album looking for a sequel Bearpark's last few albums you'll probably be disappointed, but for new fans or a music aficionado looking for something unique it might just scratch an itch. Unfortunately it just couldn't capture me the way their older music did, and I see myself skipping all of Souffles the next time I spin their discography.

~Richard M.

[deadcactuswalking]

REVIEWING THE CHARTS: 14th April 2019 (Khalid, BLACKPINK, Jonas Brothers)

The BBC page I usually use for this show was an absolute mess with so many incorrect placements when it first debuted, so I’m glad they changed it.

Top 10

For what I believe is its seventh freaking week, somehow, Lewis Capaldi once again fends away competition with “Someone You Loved” still sits at the number-one spot.

Also, we have another whopping increase in positions this week right at number-two, where thanks to Billboard being racist, apparently, and a remix being released, “Old Town Road” by Lil Nas X, now featuring Billy Ray Cyrus, now places, up 37 spots from last week. It’s Lil Nas X’s first top 10 and top five hit in the UK, as well as Cyrus’ third top 40 and second top 10 and top five hit over here, becoming his first hit in more than 20 years since 1992’s “Achy Breaky Heart” and “Could’ve Been Me”.

At number-three, down one spot off of the debut last week, we have “bad guy” by Billie Eilish.

Thanks to the immense boost for “Old Town Road”, Calvin Harris and Rag ‘n’ Bone Man are down one spot to number-three with “Giant”.

The biggest boost of last week, “Piece of Your Heart” by MEDUZA and Goodboys is up five to number-five, becoming both artists’ first ever top five hit over here in the UK.

At number-six is Tom Walker, with “Just You and I”, which is down only two positions from last week, but the BBC page says it’s “down 21”, and as much as I wish it was, it’s sadly still here in the top 40.

Jonas Brothers are down two spaces to number-seven with “Sucker”.

Dave’s “Location” featuring Burna Boy is down only a single spot to number-eight.

Thanks to the release of his album Free Spirit over the weekend (I’ve heard it, it’s actually pretty good for a relatively sleepy album of pop tunes), “Talk” by Khalid with production from Disclosure re-peaks up seven spaces to number-nine.

Also after album hype dies down, Billie Eilish’s “bury a friend” is down four spots to #10, rounding off our top 10.

Climbers

We just have two notable climbers this week, those being “MONOPOLY” by Ariana Grande and Victoria Monét boosting up 17 spaces to #23 since it didn’t have a full tracking week last time, as well as “Swervin” by A Boogie wit da Hoodie featuring 6ix9ine moving up five to #29, for some reason.

Fallers

We have a few more here, but much less than last week, with Ariana Grande’s “break up with your girlfriend, i’m bored” finally starting its exit, down six spaces to #15, perhaps due to streaming cuts but maybe just the start of a natural decrease. Naturally off of the return last week, “wish you were gay” by Billie Eilish is down eight spots to #21, while “Keisha & Becky” by Russ splash and Tion Wayne continues its fall down five spaces to #30, as does “Murder on My Mind” by YNW Melly down five positions to #35. Finally, “Streatham” by Dave unfortunately but understandably is barely clinging onto the top 40 chart as it drops seven spaces to #40.

Dropouts & Returning Entries

First of all, “Better Man” by Westlife prematurely drops off from the #26 spot it had last week, but I’m still shocked by how their success in 2019 is actually lasting much longer than I thought. I guess boy-band nostalgia is hitting recently with Backstreet Boys and the Jonas Brothers, but I didn’t think it reflected on the UK boy-band scene from the early 2000s as much. Other than that, “Thotiana” by Blueface has its streaming numbers cut off as it drops out from #28, and other drop-outs include “Please Me” by Cardi B and Bruno Mars from #32 and finally “High Hopes” by Panic! at the Disco from #37, as well as “7 rings” by Ariana Grande from #38. There are no returning entries so it’s time for the main attraction.

NEW ARRIVALS

#39 – “Cool” – Jonas Brothers

Produced by Ryan Tedder and Zach Skelton – Peaked at #23 in Scotland and #27 in the US

The Jonas Brothers are back... again, I guess. I wasn’t a fan of “Sucker” and it’s safe to say I didn’t expect much at all from a follow-up single. It was going to be cookie-cutter and boring, with weightless production... but I didn’t expect what we got in the end, which is about Nick and Joe Jonas just being so damn cool... which they’re not, really, are they? At least if they are, we don’t know because not only can I not tell Jonas from the other Jonas, but these lyrics for their fifth UK Top 40 hit do not give me any reason for me to believe that they are cool in any way. If every little thing you do is cool, then please break from your painful falsetto chorus and lay down some facts about you that are cool, instead of saying you “feel like Post Malone when you get home” and that you’re waiting like Game of Thrones... what? Listen, not only is the vocal mixing shaky and the guitar solo one of the worst I think I’ve ever heard, mostly because you can both barely hear it but also because it has no strength or punch that guitar solos are supposed to have, it’s not ethereal either, it’s just a waste of studio time. The immature subject matter and forced references to current pop culture moments are what to expect of Jonas Brothers, surely, but when they were teenagers making music for Disney films, that was okay. When you’re adults who have all made attempts to distance yourself from that cutesy image and have made rough, sexier music in the past, this doesn’t work. I hope that this Jonas Brothers comeback ends up a fluke, and also that Post Malone feels embarrassed he brought this song onto the world, because you just know they thought of that one line after hearing Post’s Jonas reference in HIS hit “Better Now”, and built an awfully rushed song around it.

#36 – “Let Me Down Slowly” – Alec Benjamin featuring Alessia Cara

Produced by Sir Nolan and Aaron Z – Peaked at #1 in the Czech Republic and #79 in the US

So this is rising star Alec Benjamin’s breakout hit, with a remix and/or duet version from Alessia Cara, who was in Benjamin’s place a few years ago, however she’s since disappeared from off the face of the Earth, so we’re left with this collaboration between the two that might actually be pretty damn good. I love the smooth guitar melody that is backed up by a nice bass and cloudy backing vocals acting like synths behind Benjamin’s almost childish voice that makes his high-pitched hook feel perhaps naive, which is helpful since it is a ballad about wanting a break-up, albeit expected from Benjamin, to be a slow process instead of immediate or emotionally intense, as Benjamin just wants to have some sympathy, but both feel like they’re not as invulnerable as they felt when they first got together, losing their “dignity and grace”, with Alessia Cara’s vocals sounding as great as she did on her three other UK Top 40 hits on this mellow beat that is dramatic but not too melodramatic this time, instead having a pretty slow-build up with the climax being Benjamin repeating one line, “And I can’t stop myself from falling”, as the strings and synths get louder, representing his desperate frustration. Yeah, I like this – I wasn’t necessarily amazed as I’m still not into Alec Benjamin’s vocal tone really, but it’s pretty good, and I can definitely see this being Benjamin’s first hit.

#33 – “Kill this Love” – BLACKPINK

Produced by Teddy, R.Tee, 24 and Bekuh BOOM – Peaked at #1 in Malaysia and #41 in the US

“Kill this Love” is the most recent single and EP from K-pop girl group and now international starlets BLACKPINK, and it’s probably the song that explains what I think of K-pop as a whole. While I don’t mind the horns that are often present that can often sound like very cheap, FL Studio default plug-in loops, and K-pop as a whole often feels very behind Western pop, this in particular sounding like 2014 EDM, specifically the trap genre (Not trap-rap, I should add). Most of the BLACKPINK girls aren’t necessarily bad at flowing and they all have charisma, with the singers sounding okay but there’s no real flow here, and that’s one of my main issues with the genre. It can feel very hodge-podge and slapdash a lot of the time, without much effort put into actual structure or forming some kind of natural build-up into the drop. Whatever part the song gets to, none of it stays long enough to really be familiar or even catchy, and that’s the part of K-pop I love – how there are so many bloody hooks in one song, but this song is lacking in both those hooks and really any notable melodies, mostly because it doesn’t give any of them room to breathe. All in all, much like “IDOL” by BTS the year before, BLACKPINK’s second UK Top 40 hit is more of a mess than it is an effective hit single, and I think this’ll drop out quickly after the initial wrath of K-pop stans racking up YouTube views comes to a halt. Sorry, guys, but I’m not a fan.

#32 – “My Bad” – Khalid

Produced by D’Mile – Peaked at #10 in New Zealand and #55 in the US

Now I personally quite liked Khalid’s new album Free Spirit, even though I know for a fact a lot of people didn’t. While Khalid’s brand of “sleepy music” personally appeals to me as it feels much more genuine and well-crafted than most other pop or R&B that’s coming out right now, I understand how it may seem too cloudy or lacking of substance, and this song in particular is not one of my favourites, and while not the worst on the album, exemplifies what I think everyone is seeing as Khalid’s weak points. While Khalid sounds nice here, he just sounds “nice” and it’s not enough to really make up for the really janky beat with some drums and a guitar that really feel like they should switch places in the mix, and the 808s hitting like a truck on innocent civilians. The song itself is about Khalid feeling bad about ignoring a text from his significant other and accepting all the blame, but if that really hurts your relationship that much, then I’m not sure about the shaky state of your relationship to begin with and it feels like just a bit odd of a subject matter to take this seriously, with the bridge essentially just being Khalid vocally riffing for 30 seconds. This is pretty boring and disappointing from Khalid’s 11th UK Top 40 hit – he has much better on the album, specifically “Bad Luck”, “Right Back”, “Don’t Pretend” with SAFE, “Self”, “Heaven” and “Twenty One”.

#25 – “All Day and Night” – Jax Jones, Martin Solveig and Madison Beer

Produced by Jax Jones and Martin Solveig – Peaked at #10 in Belgium

Of course the highest new arrival is from a bunch of EDM DJs featuring a female vocalist making what is probably going to be some vaguely tropical or vaguely deep poppy house music, because that’s all the EDM we get on the charts. I’m not saying none of it is good, though, in fact, I’m a fan of a lot of electronic dance music, ESPECIALLY house, so a lot of it I actually like to some extent or can at least see the appeal in. This is the first single from currently buzzing DJs Jax Jones’ and Martin Solveig’s upcoming collaborative studio album Europa, featuring vocals from underrated pop singer Madison Beer. Honestly, this really isn’t of note, its base synth melody sounds like a Wii Shop Channel loop and while I love Beer’s voice I’m not entirely sure if the mixing is doing her wonders here, and the build-up to the drop is basically nonexistent, with just a few clattering synths coming in pretty much out of the blue, with a generic big room house drop, which is what I expected but there’s no real groove to back it up. It’s not funky like Jax Jones’ other stuff and it’s not really fun at all, which if you haven’t figured out EDM is supposed to be. Overall, it’s a bit of a dated, minimalist bore that barely even lasts two minutes before growing old.

Conclusion

I see a new branch of Summer hits debuting here, actually, and I’ll be interested in seeing how all of these songs go after their debut, all of which are in the bottom half so they all have that risk factor – they could grow and become bonafide smashes or they could get caught in the shuffle, but even in the songs I don’t like (which to be fair is most of them) I see possible hits. Worst of the Week is definitely going to the Jonas Brothers for “Cool”, though, and even though I don’t hate “All Day and Night”, I don’t like it, and Jax Jones, Martin Solveig and Madison Beer are sadly getting the Dishonourable Mention. None of the other songs really show up as highlights except the Best of the Week, which is going to Alec Benjamin and Alessia Cara for “Let Me Down Slowly”. I really see that one succeed. Follow me on Twitter @cactusinthebank for more pop music ramblings and Top 20 rankings, and I’ll see you next week!

  �H��

[imascientistofmusic]

Im a huge fucking nerd

final LYRICS FOR ENDOLPHINS AND MC FOUCAULT EP Welcome to Kirby’s Memeland (MILLIPEDES FOR THE MOLEMEN) Got it so hot y'all give me standing ovations while I'm spamming the squat[1] like my whole family's Croatian if my dad's Jackie Chan[2] am I Hispanic or Asian? please understaånd this equation ()[3] me no panic just blazing at any random location i’m your romantic liaison killa Beys in formation[4] the doctor's[5] now handling patients I put the wots in tarnations[6] I put the spots on dalmatians I move the block with my cadence Now time just stops when i say shit But the beat goes on cause i made it Alex Strong[7] in the paint and Singing So Long[8] to fake friends We can roll out the Save ends[9] Y'all kittens tryin my patience I need to find an oasis Pass me that blunt and i'll face it Why y'all stuntin so basic? Im kinda something like LASIK[10] take your quirk and erase it[11] If there's something to say then I'm Malcolm Little and Dakin[12] Welcome to Kirbys Memeland[13] Im a giant herbing with green hands[14] Defiantly serving up steamed hams[15] Yo shuhei hold up i got remands[16] Misery[17] in the moment Missouri in the mornings[18] Mysteries in the motions Miss her seas in this ocean[19] (oh shit) ALL AT ONCE (HOW HARD JAMES HARDIN GOES WHEN HE GOES HARD IN THE PAINT) One day i’ll kill all the white men take back the land we’re missin[20] Im Diego's street art and they're banksy's vandalisms[21] Like the second coming of yeezus[22] and he's risen Built a religion for giant robots[23] called it animism[24] My flow is so fucking preposterous Patrol the land rarer than rhinoceroses[25] Get your heads out the sand yall lookin like ostriches Didn't kill the cat[26] but we checked it into hospice I know yr feeling that and baby one i got this My boys swing the bats like my last name was ausmus[27] Best rappers who aren't black you know i top the list prophets foretold my path (my birth) it was an (heavenly) auspice Imagine how hard james hardin[28] goes when he goes hard in the paint Well i go harder than that On my level you ain't I'm smart as The Bat[29] I'm like double your rank I just started to rap But the devil remains In the details im valued retail theyre resale[30] i'll continue my never ending quest to impress you[31] I’m obsessed with the things that pens do Allah bless this mess because i swear i intend to Decompress and recollect about fucked things that friends[32] do Parenthetically my memes are better than y’all’s Im aesthetically[33] hiding in vectors too small Interjecting my dreams while dissenting all leans[34] Exquisitely dining on minds here at the end of all things [35] We bout those movers and shakers We bustin loose of the matrix[36] I get my fruit at bodegas Im bound to move to NEW VEGAS[37] Matthew McConaughey (HARRY AND THE HUMAN CENTIPEDES) Another space time anomaly[38] An Interstellar[39] odyssey Alright alright alright Im Mathew McConaughey Im unfuckingstoppable the impossible possible The whole world's my hospital not a gd thing is inoperable[40] Credentials are laudable Essentially i got it all Took a look at the d And then called an audible[41] Obliterate any Obstacle Precipitate like waterfalls Instigate a kinder cause Evicerate a haunted ghoul[42] When i fucks with physics the laws get more lax my words carry weight like the world's biggest snorlax[43] Come at me son yr gonna need more VATS[44] carried this town[45] for So Long[46] im getting a sore back their love for me like a tree to the Lorax[47] My lyrics paint pictures so i call them a Rorschach[48] my bones are telling me bad weathers on the forecast a storm is rolling in this is the calm before that Past five centuries all of them regrettable[49] Just like entropy i am inevitable[50] I was meant to leave my head it was full Fundamentally i'm so far ahead of these fools Down five hennessy's trying just to deaden this pulse[51] Iron sentry's lining the edge of the mall[52] 100% dying to dismantle this wall[53] Johnny five empathy no disassemble this bot[54] Quintessentially im X at the head of this school[55] Intermittently you slept in my bed it was cool incidentally we had sex in the end of the pool Human centipede[56] that ass it was my edible[57] G.O.A.T. (NIETZSCHE DIDN’T KILL GOD, I DID) Like JD[58] I’m the GOAT[59] Billy[60] hashtag Swag[61]gert[62] Worlds most accurate fact checking rapper This is a game to me Chutes and ladders[63] Here's where the bangers[64] be girl you know i had ‘er My flow the yangtze[65] i spit venom black adders[66] Opposite of banksy[67] or some bullshit “all lives matter”[68] Fuck the president[69] that dude cant get any badder[70] Cooking up some poppy tea[71] mix it up like cake batter HEY DON'T LOOK AWAY DON'T LET IT GROW ON YOU IT'S NOT OK Engrave the following on my headstone: “They[72] died getting head stoned peepin Tombstone[73] While eatin a tombstone pizza[74]" I’ve gone full blown nietzsche[75] said hello to the abyss "it was good to meet ya"[76] Behind this mask's a terrifying creature[77] Who would gladly cook you up and eat ya Every track i’m on mc foucault's the feature Threat level dragon[78] when im hittin the road again Like shang tsun out here looking for some souls to bend[79] Other rappers words are last years memes im so over them Like neil in the 80s its the weight of the world im shoulderin'[80] Tho ive been there once couldnt tell you where denver starts and boulder ends[81] Rockin california fishes like them pennsylvania colder pens[82] I spit fire like dylon[83] and i left the studio smolderin Sitch is Dire like sylons you used to know as older friends[84] Minds expired with prions[85] when i take theirs skulls and open em Im entirely high on the spirit taking time up and folding it[86] unlike battery acid im so hella caustic[87] Such flattering assets with a tongue so toxic Made saturn's rings spin on a cosmic cross stitch My staggering spit it god agnostic[88] [1] “Why do Slavs squat?” is a satirical catchphrase associated with imageboards and forums discussing Eastern European people and cultures http://knowyourmeme.com/memes/why-do-slavs-squat-slav-squat [2] My dad and jackie chan are aging to look like the same person [3] I use medical marijuana to treat anxiety [4] Beyonce - Formation https://www.youtube.com/watch?v=WDZJPJV__bQ [5] My initials are DRB and so many folks call me Doctor or Doctor B [6] “What in Tarnation?” is a rhetorical question meaning “what in damnation?”, which is often associated with Americans living in the Southern United States expressing incredulous bewilderment. http://knowyourmeme.com/memes/what-in-tarnation [7] Drummer of Endolphins and one of the progenitors of this particular beat [8] So Long is my queerpop band SoLongNaota.Bandcamp.com [9] A saving throw in D&D http://dnd4.wikia.com/wiki/Saving_throw [10] Corrective laser eye surgery [11] Boku No Hero Academia character Shota Aizawa “eraser head” who’s special power is erasing others’ special powers http://bokunoheroacademia.wikia.com/wiki/Shota_Aizawa [12] Church of The Three Cats is at the corner of Malcolm X (born Malcolm Little) and Dakin in Lansing, Michigan [13] Gamboy title Kirby’s Dreamland but with memes [14] https://en.wikipedia.org/wiki/Green_Giant but with Weed [15] Simpsons shitpost classic http://knowyourmeme.com/memes/steamed-hams [16] Once I beat magic the gathering hall of famer Shuhei Nakamura in a Grand Prix with a timely remand [17] The first Endolphins release was called North of Misery as a nod to their being in Iowa [18] In 2015 I toured with Endolphins and had two amazing mornings in St Louis, s/o to KPAX and calcifer [19] Sometimes you meet someone who forever changes the way you think about things like water, and then you drown in thoughts never actually able to grasp anything completely again [20] im native as fuck http://www.corteidh.or.cr/tablas/24777.pdf [21] Artist Diego Rivera vs Banksy [22] Kanye West's ego messiah and eponymous album [23] giant robot anime trope for example: neon genesis evangelion, flcl, gundam... [24] Animism but with Anime https://en.wikipedia.org/wiki/Animism [25] Rhino’s are near extinct everywhere https://www.savetherhino.org/rhino_info/rhino_population_figures [26] Slang for giving a person with a vagina multiple orgasms [27] Detroit Tigers skipper Brad Ausmus [28] James Hardin is a professional basketball Superstar [29] Comic book protagonist Batman [30] Price you get for selling an item new (retail) vs used (resale) [31] A certain person who since i have met has inspired most of my creative endeavors [32] See directly above [33] in a way that gives pleasure through beauty [34] biases [35] Comic book character Galactus, Eater of Worlds https://marvel.com/universe/Galactus [36] 1999 science fiction film The Matrix [37] 2010 video game Fallout: New Vegas [38] My favorite Star Trek trope [39] My favorite Matthew McConaughey film [40] See note #5 [41] In american football a quarterback will notice something about the defense and change the play at the line of scrimmage, this is called an audible [42] These are hearthstone cards [43] Snorlax is a very large and heavy pokemon that can only be moved by playing a special flute [44] Vault-tec assisted targeting system in Fallout video game franchise, the more skill points one has the more they can do in combat before an enemy reacts [45] I have been a pillar of the diy community in lansing michigan for 20 years [46] So Long Naota/Collective see note #8 [47] Dr Seuss character who is the protector of nature [48] The Rorschach test is a psychological test in which subjects' perceptions of inkblots are recorded and then analyzed using psychological interpretation, complex algorithms, or both. [49] Since Europeans have arrived on the shores of North and South America they have brought only misery and genocide [50] The second law of thermodynamics requires that, in general, the total entropy of any system can't decrease other than by increasing the entropy of some other system. Hence, in a system isolated from its environment, the entropy of that system tends not to decrease. [51] Drinking is a mostly self destructive behavior for myself and I tend to only do it when i wish to self harm [52] Episode 3 of the 1997 anime Beserk [53] Fuck borders fuck walls freedom is not possible when they exist [54] 1986 film Short Circuit about a robot that gains sentience and learns of death the term for which is dissassemble [55] Professor Xavier from the X-Men comics who runs a school for Mutants [56] 2009 Dutch body horror film Human Centipede tells the story of people sewn mouth to ass [57] Analingus [58] The Mountain Goats frontman John Darnielle or JD aka thrashkitten member of the sooper swag project [59] GOAT (Greatest Of All Time) is a term used in hip hop to talk about the best rappers ever [60] A billy is a male goat [61] #swag is a song by rapper GMCFOSHO who is a friend of mine [62] Jimmy Swaggert was a televangelist who was defrocked for multiple prostitution scandals [63] Chutes and Ladders is a metaphor for life. As such, it is arguably the most philosophical of all children's board games. Based on the ancient Indian game Snakes and Ladders. The historic version had root in morality lessons, where a player's progression up the board represented a life journey complicated by virtues (ladders) and vices (snakes). [64] Banger is a term for a particularly moving composition [65] The Yangtze is the longest river in Asia and the third-longest in the world. The river is the longest in the world to flow entirely within one country. [66] A venomous snake that lives in europe and east asia, also a nod to the lyric earlier about chutes and ladders (snakes and ladders) [67] “Some have criticised the "obviousness" of Banksy's work, and accused it of being "anarchy-lite" geared towards a middle class "hipster" audience.” [68] A slogan used to silence the #blacklivesmatter movement [69] Donald Trump [70] 1998 Arcade game Bad Dudes vs Dragon Ninja later ported to the Nintendo Entertainment System known widely for its intro cut scene in which the protagonists are asked if they are bad enough dudes to save the president [71] Poppy tea is any herbal tea infusion brewed from poppy straw or seeds of several species of poppy. For the purpose of the tea, dried pods are more commonly used than the pods of the live flower. The walls of the dried pods contain opiate alkaloids, primarily consisting of morphine. [72] I am non-binary and use they/them pronouns [73] 1993 Western Tombstone starring kurt russel and val kilmer [74] Very cheap frozen pizzas of dubious quality [75] Nietzsche claimed the death of God would eventually lead to the loss of any universal perspective on things, and along with it any coherent sense of objective truth [76] Nietzsche once said: “Beware that, when fighting monsters, you yourself do not become a monster... for when you gaze long into the abyss. The abyss gazes also into you.” [77] Nietzsche also said: “All great things must first wear terrifying and monstrous masks in order to inscribe themselves on the hearts of humanity.” [78] 2015 Anime and Manga One Punch Man’s shout out to Neon Genesis Evangelion describing a monster that is a threat to multiple cities [79] 1992 Arcade Fighing game Mortal Combat’s main villain who stole people's souls [80] Neil Young's sleeper Weight of The World from his amazing foray into new wave on his criminally unheralded album Landing on Water [81] I visited colorado for the first time on tour with Endolphins and tho enjoyable it was mostly mountains and urban sprawl and legal weed [82] The 2016 battle for Lord Stanley’s cup between NHL’s Pittsburgh Penguins and [83] Chappell show sketch about Dylon who thought he was the GOAT because “dylon spit hot fire” [84] Battlestar Galactica plot twist [85]Kuru is a very rare, incurable neurodegenerative disorder that was prevalent among the Fore people of Papua New Guinea. Kuru is caused by the transmission of abnormally folded prion proteins, which leads to symptoms such as tremors, loss of coordination, and neurodegeneration. Most people who develop it are cannibals [86] The quantum physics theory of time travel [87] Acids are corrosive and bases are caustic [88] God is dead. God remains dead. And we have killed him. How shall we comfort ourselves, the murderers of all murderers? What was holiest and mightiest of all that the world has yet owned has bled to death under our knives: who will wipe this blood off us? What water is there for us to clean ourselves? What festivals of atonement, what sacred games shall we have to invent? Is not the greatness of this deed too great for us? Must we ourselves not become gods simply to appear worthy of it? — Nietzsche, The Gay Science, Section 125,

[movietvtechgeeks]

Latest story from https://movietvtechgeeks.com/jeffrey-dean-morgan-negan-walking-deads-return/

Jeffrey Dean Morgan on Negan and 'Walking Dead's' return

Jeffrey Dean Morgan has always been a very busy actor, but as 2015 came to a close, his career warped into light speed hyperdrive. Most fans remember him fondly from his twelve episodes on "Supernatural" playing John Winchester, but while he was shooting the CW record-breaking show, Morgan was also filming "Grey's Anatomy." Both shows put him on the map where fans would recognize him. He frustrated "Supernatural" fans as the Winchester Brothers never could seem to unravel all of their father's secrets, but who could resist that grin? You'd think that would have been reaching the pinnacle of his success, but that was only just the beginning that kept Morgan busy becoming that guy you sometimes got confused with actor Javier Bardem. His luck was getting better as he landed quite the juicy role on the New York set of "The Good Wife" where he played Alicia Florrick's funloving cad who loved flashing that devilish grin at his co-star Julianna Margulies. He was on that series for nineteen episodes, but things were changing as AMC's huge hit show came calling for him to play the over the top bad guy Negan. During his "Good Wife" time he was also jetting down to the Georgia to sink his teeth into that pure evil role for the Season 6 finale of "The Walking Dead." Not to mention getting acquainted with Lucy. After years of fans wondering who would play the role, Morgan had landed Negan, that grinning, swaggering bully who, with his co-dependent worker bees, began terrorizing Rick Grimes (series star Andrew Lincoln) and his crew. While Morgan didn't know who he would be killing, he knew that it would be a "Walking Dead" favorite meeting their end at the end of Lucy, Negan's barbed wire wrapped baseball bat. That scene was a two-night shoot, but the producers weren't about to film who was killed this early in the game as it was of utmost secrecy...although it did slip out before the premiere which we had to report. It wasn't until May 2016, when Season 7 production started (just four weeks after that season horrifying Season 6 cliffhanger) when they were back filming that same bloody night did Morgan learn of the shocking reveal. He knew that he would be getting hate mail and plenty of online hate once it aired. Then 17 million fans watched the Season 7 premiere to witness two of their most loved characters, Abraham and Glenn, get their skulls pounded beyond recognition. The reaction was as expected and then some as many felt the show had gone too far. The scene with Glenn's eye was extremely gruesome, even for "The Walking Dead." The producers said they needed to establish Negan as one hardcore nasty guy that could tear tough guys, Rick Grimes and Daryl Dixon, down to levels they'd never felt before. This one scene divided fans, and they are still split on their feeling of Negan. Some feel he's too cartoonish now, while others can't find themselves wanting to hate Sam and Dean Winchester's father. Some "Supernatural" fans aren't ready to let go of Dean Winchester yet. Ratings have dropped since the premiere episode with some wanting Negan gone, but for that group, Morgan's going to be around for a while yet to keep the carnage going. Producers have said the violence won't be as extreme coming back, but it's not just the violence that makes Negan's actions so uncomfortable. Playing such a polarizing character can be a blessing for the actor who plays him, but it can be mixed. "There are people out there who hate my guts, and I hear from them, too," says Morgan with that knowing laugh in a recent interview. "But overwhelmingly the fans have welcomed me as a part of this weird, dysfunctional family. "The relationship this show has with its fans," he adds, "is unlike anything I've experienced before." Morgan officially began acting in the early 1990's, but he's not forgotten his very first role and the struggle that all actors go through on their way to landing that role that changes your life. "It was in third grade, and it was a fairytale, the guy that falls asleep forever ... I remember I played the character that was asleep the whole time. I was the big leader of the show, mind you. But I spent the whole time lying on the floor asleep. It was awesome. That was first little theater thing in third grade. A friend of mine, Billy Burke, was my roommate in Seattle for a big portion of my life, and he's an actor—he was in all of the Twilight movies, and now he's on something called Zoo—and he was doing a movie in Seattle, I think it was the late '80s, and I was an extra as his best friend. That was my first time on a movie set. I had no intention of being an actor ever. I was an artist—I fancied myself an artist—I sold paintings at bars to pay my rent. And then four years later, I moved to Los Angeles and met a casting director named Eliza [Roberts] and went from there. Then I spent 20 years struggling trying to figure out how the fuck I was going to make a living and feed my dog. And now we're doing okay. Now we're Negan." He's played many memorable characters on tv shows that got fans worked up. John Winchester had so many secrets, some "Supernatural" fans and critics would get rather frustrated trying to figure out exactly what he was about. Morgan is still such a fan favorite that "Supernatural" Executive Producer Andrew Dabb let it be known that John Winchester could return to Sam and Dean's world. “I don’t really worry about that because by the time he comes back, I’m sure [Supernatural] will have been on for 20 seasons at that point, and The Walking Dead will be long over,” he says with a laugh before noting that “Jeffrey’s an amazing actor… He plays such a great bad guy. But at the same time… if you give him really good material, he can go back to being someone we know and love and someone we can empathize with. “I have full faith in him as an actor,” the EP adds, “and I’m excited to see [him return as John] if it ever comes to pass.” Since he's played his share of villains, some people have forgotten that he's also played many good guy roles too. "If you look at my résumé, I've more often than not played a very solid, decent human being. I've got back-to-back things that are super villainous right now with Desierto and this. I love playing a villain. I think that there's something freeing about that, and it's a different kind of challenge. More than anything, for me as an actor, it's about challenging myself and doing as many different things as I can. I don't know that I feel comfortable playing a villain; as a matter of fact I probably don't feel comfortable, which is why I like it so much. It's just an opportunity to try something different. And Negan, in particular, is unlike any character I've ever played. I don't ever look at these guys as villains per se; I always try to figure out, I wouldn't say the justification of them, but look for the reasons that Negan is Negan. I have to understand that, otherwise I don't think it works if I just play him as a bad guy—I think that's pretty one note and it would be boring for you as a viewer, and it wouldn't be that fun for me to play. So I just try to get into that character's skin as much as I can, and understand why he is who he is. Negan is a trip though, man. He's a brutal son of a bitch, but there are also parts about him that I find kind of endearing. We'll see if the audience responds to it. I think that the first episode is going to be rough, and people aren't going to be real fond of me or Negan, and I think as time wears on and you get to know him a little bit more and understand his way of thinking, there could be a shift in that. Maybe they'll love to hate him as opposed to just hating him." His many credits include love-her-and-leave-her freelance gumshoe Jason Crouse on "The Good Wife," a memorable stint on "Supernatural," two seasons as the harried Miami hotel mogul on "Magic City," and - keeping "Grey's Anatomy" devotees sobbing - as Izzie's bedridden lover who was desperately awaiting a heart transplant. Not one of these roles prepared him for "The Walking Dead" fan base. "It's a life-changing experience," says Morgan, who comes across much like you would expect with an easygoing manner and quite the magnetic smile. "I can't walk down the street anymore. I got to look in my rear-view mirror to make sure I'm not being followed home. Now, that's all part of my reality." Morgan was quick to learn that "Walking Dead" family can work as tightly, sometimes ever better than, the CIA when it comes to keeping things under wraps down in the depths of Georgia. "Everything," he marvels, "is shrouded in secrecy. We kind of live in a bubble. I hang out a lot with Reedus—Norman—we spend a lot of time together. Literally, we go to a fucking gas station in the middle of nowhere and within three minutes of us stopping to get gas, a couple of phone calls that people make, and there's 100 people blocking us, and we can't get out. We take pictures with everyone, and I've never seen anything quite like that. That being said, we do live in a bubble, as long as we keep our motorcycle helmets on and go about our business. " Since Morgan knew he was entering a very tight-knit cast that would soon be minus two major ones, he also knew there would be a shift in the dynamic upon his arrival. "Obviously, they're such a tight cast, and we've all heard stories about it and read about it for the last six years—even I had heard it was like that—and they certainly are. I knew that immediately walking in, and knowing what I'm about to do, there was a little bit of separation at first, but it was very brief. I can't tell you how great this cast is as far as bringing me into the fold, regardless of what my character has done and done to this show. They've totally embraced me and been nothing but supportive, on and off camera. Look, we've had some hard times—just as actors it's been hard—and I understand that there's been a great deal of pain for these guys as people. They're losing a friend that's been with them for a long fucking time. So it was a hard time initially, at first especially, and this year we've had some speed bumps as far as that kind of stuff. But I'll tell you, as soon as we say cut, there's lots of hugs going around for everybody, and we've managed to get through it. But it was a little a weird going in initially when I didn't know anybody really. I was careful not to be a dick, I guess. [laughs] Like, "Don't say anything inappropriate, Jeff." Now I can be inappropriate and tell jokes, and it's fine, but I was careful going in, because it was a fragile time for everybody, and I was very aware of it." That one horrific kill scene that Negan strutting and brandishing his bat, "Lucille," as he taunted Grimes and company with "Eeny, meeny, miny, moe": Each character was separately filmed being kill which was to help keep the "real" victim's identity a big secret, according to Morgan. Morgan learned that "The Walking Dead" producers also enjoy the art of misinformation too, "we leaked footage of me killing Maggie," whose quite vibrant and ready to take over. "That's a lot of time and effort to go through to try to save your story. But the cast and crew, they're all used to living in this world. "There's a real sense of family when you go through an experience like this," Morgan says. "It's why the cast is so tight. We put ourselves in this bubble while we're shooting - and while we're NOT shooting. Even now, I have to watch every word I say. I'm still not used to that." Speaking of family, have you felt Norman's pranks yet? [laughs] "No. Little stuff, but that's really the two of them, Andy [Lincoln] and Norman. I drive a motorcycle, and Norman will respect the motorcycle more than anything else. We're more in cahoots than anything else at this point, although I do kind of feel bad for Andy. I feel like I need to get Andy's back and help him get Norman at least once real good." Like many actors coming on the show, Morgan was a huge fan of the "Walking Dead" comics as well so he was well-versed in Negan before he even knew he'd be part of the family. "I'd watched the show for years. It was one of the few shows that I would DVR and pay attention to; I've been working so much the last few years that I don't watch anything very regularly, but that was one of them. I've also been involved in lots of comic book stuff; I've done numerous films based on comic books and TV shows. I remember five years ago when they had written the role of Negan—when [Robert] Kirkman first introduced Negan in the comic books—I was at a Comic-Con actually, I think it was in San Diego, when somebody came up to me and said, "Have you seen Kirkman's new book?" I said, "No," and they said, "There's this character Negan. You should be Negan." Probably three or four months later, I actually did pick up a copy of The Walking Dead comic book, which at that point I hadn't read; I had only followed the show. I picked up the introduction of Negan and thought, "Oh yeah, that would be fun to play." Cut to five years later, I was doing The Good Wife and got a call one night from my agent who said, "The Walking Dead is offering you the role of a villain." I said, "Well, what's his name?" And they were like, "You know, they won't tell us, it's a secret." And I knew immediately—I knew because I watched the show and knew where we were—and I'm like, "It's fucking Negan! And I'm going to fucking do it." [laughs] And really that was it. Then it was just about working that last episode last year into the schedule that I was doing on The Good Wife, and clearing a couple of days so I could go do it. We managed to do that and now here we are." Many fans still don't realize that Negan's backstory is he was a high school teacher and ping-pong coach. "That's right. That changed; Kirkman originally had said he was a used car salesman previous to the zombie apocalypse, and that made sense to me too. Then after I was cast, Kirkman decided he would do a kind of prequel—Negan's life before the apocalypse hit—with a little background on him. He became this PE teacher and ping-pong coach, married to a woman named Lucille, and it gave a good foundation for me to work on. I kind of like the ping-pong coach aspect; it somehow fits, and I don't know how because Negan is a weird character, but it fits." "I find him fascinating," Morgan says. "The most important thing to realize is how smart he is. That's easy to forget, because you see him come on with his bravado and the smart-ass quips. But whatever you're thinking, he's already two steps ahead of you. He's always poking at your rib cage and wearing that grin. Remember those assholes in high school? He's that guy! But on this show, you can't run home to mama. "He's a larger-than-life character," Morgan sums up with pleasure. "Still, at some point, Negan's gonna have to get his head cracked by Rick. I can't say when, or how, or even if I know. But he's gonna HAVE to!" This really makes Morgan light up as he knows it's going to be a killer scene to shoot shrouded in plenty of "Walking Dead" secrecy.

Movie TV Tech Geeks News

[noiseartists]

French Shoegaze, Dream Pop & Noise Pop, a quick guide, Vol. 2

In our Volume 1 you discovered / revisited Welcome to Julian (90’s), Dead Horse One, Stuck in the Sound, Venera 4, Soon she Said, Automatic Fiction, Candelabre (see our collaboration) and the Sigh (90’s).

You are here again for a other musical treat, as we continue to introduce you to some of the fantastic bands that France has (had) in our favorite genres. This second volume, like the ones to follow, includes past, present, big and small bands in no particular order.

First a big thank you to Elisabeth (Kill the Moose), Margot (Tapeworms), Michel (Lucie Vacarme), Evol (Dead & Nothing Collective), Yann (Marble Arch), Pierre (Dead Mantra) and their bandmates for taking the time to ensure that their band’s information was accurate.

LUCIE VACARME (90’s)

Lucie Vacarme, from Toulouse, is one of the main and most influential French Shoegaze (called ‘Noisy Pop’ then) band of the 90’s. This the first recorded musical experience of Michel Cloup, known for having worked in one of the major bands of the French scene of the 90s, Diabologum. They disbanded in 1993.

The band was known for their saturated and hazy sound, at the limit of the audible, especially in concert (those of Toulouse and Bordeaux in the first part of Lush were known to have caused tinnitus).

Despite the support of Bernard Lenoir (the French Equivalent of John Peel), Lucie Vacarme did not break through.

All readers of ‘Les Inrocks’ knew the band even if it was not easy to get their CD’s. I for one had the CD’s copied on tape as I could not get the CD proper (always out of stock when I looked). Unfortunately, I have lost the tape since unfortunately.

The band had more influence on the limited ‘Noisy Pop’ French musical scene as the time that they think. Many bands (my band Smiling Marianne, The Sigh, …) knew Lucie Vacarme’s music and we were inspired by some of it, if only to know that French bands could make such great music. Milkyway was to our opinion one of the best Shoegaze album around. Thanks guys.

There is a little story as Kim Gordon (Sonic Youth) featured on the band’s album, as detailed in Michel Cloup’s interview in ‘Soul Kitchen’

“We sent our first EP to Thurston Moore. He sent us a postcard back. We had suggested to Kim, at the time when they recorded ‘Dirty’ to make a featuring on our song "Kelly Kiss". She did it over the phone with a very bad sound and accent. Fortunately, we wrote her name on the booklet and people were able to know she featured”.

One of their songs, ‘Souffle incandescent’ features on DKFM ‘Shoegaze classics and rarities vol2’ that can be found here on Mixcloud.

The band’s lineup was:

David Amsellem : guitar, voice

Michel Cloup : guitar

Patrice Bellanti : bass

Valery Lorenzo : drums

The music work is as follows:

1990: Metalvox, EP

1992: Milkyway , Album

1993: Audioscope, EP

Some of the songs we love:

ALCEST

The presentation of the band on Wikipedia tells us that Alcest is a French Post-Metal band from Bagnols-sur-Cèze, founded and led by Neige (Stéphane Paut). It started in 2000 as a Black Metal solo project by Neige, soon a trio, but following the release of their first demo in 2001, band members Aegnor and Argoth left the band, leaving Neige as the sole member.

In 2009 drummer Winterhalter from Les Discrets (and formerly Peste Noire) joined Alcest's line-up, after eight years with Neige as the sole full-time member.

Since its creation, Alcest has released five studio albums and a number of EPs and split releases. Their fourth album, 2014's Shelter, marked a dramatic shift towards a distinctly Shoegaze sound, however their latest album Kodama marks a partial return to their earlier Blackgaze sound. The band are widely credited with pioneering the Blackgaze/Post-Black metal genre, particularly through their EP ‘Le Secret’ released in 2005.

Alcest's fourth effort, entitled ‘Shelter’, was released on January 17, 2014 via Prophecy Productions. It features a guest appearance by Neil Halstead (Slowdive). Stylistically the album is a radical departure for the band, dropping all traces of metal from their sound and fully committing to the Shoegaze side of their sound. Neige later said in an interview that

"We are proud of it, but I think it was maybe a bit too influenced by other things. I really was obsessed with Slowdive at that time. Shelter still sounds very ‘Alcest’, but maybe not as much as the other records.”

On January 22, 2019, the band announced that they would start recording their next studio album the following day.

The current line-up is:

Neige – lead vocals, guitars, keyboards (2000–present), drums (2000–2009), bass (2001–present)

Winterhalter – drums, percussion (2009–present)

The current live musicians are:

Zero – guitar, backing vocals (2010–present)

Indria Saray – bass (2010–present)

The music work to date is:

2005: Le Secret (2005, re-recorded version in 2011) EP

2007: Souvenirs d'un autre monde, Album

2010: Écailles de Lune, Album

2012: Les Voyages de l'Âme, Album; BBC live session

2014: Shelter, Album

2016: Kodama, Album

2019: Spiritual instinct, Album

Some of the songs we love:

NøTHING COLLECTIVE

The Nøthing Collective is a Collective of like-minded French bands within the Shoegaze / Noise Pop / Altrock / Dreampop genres. They include an extensive lineup of some of the best current French artists.

They present themselves as follows:

“No matter where, no matter who and no matter how. What matters is the sound. What brings us together is the desire to have one. What binds us is the will to defend it. What we are passionate about is the desire to reveal it to you.”

The bands part of the collective so far are: A V G V S T, Future, Dead, Dead Horse One (see our Volume 1), Marble Arch (see below in this guide), Maria False, Saintes, Seahorse Hunter, Still Charon, Venera 4 (see our Volume 1), Beat Mark, Cavale Blanche, Des Roses, Giirls's facebook, Hermetic Delight, Mara, The name of the band, San Carol, Shadow Motel, Soft Blonde, Volage, Tapeworrm (see below in this guide), La Houle, T/O, Bank Myna, Good morning TV, Big Wool, Soon She Said (see our Volume 1), Brace! Brace!, Son of Fonos, That Green, The same old Band, Boy Head, Soon, Beat Mark, Boreal Wood, Maara, My lovely underground, Shadow Motel, San Carol,

The compilations that include the bands above to date are:

2013: We want nøthing more than nøthing #1

2014: Songs from Nøthing #2

2015:nøthing #03, nothing #4

2018: nøthing #05

There are too many songs and bands to choose from and we invite you to look / listen to their Bandcamp page and enjoy the quality and variety is contains.

Needless to say, Nøthing Collective was one of our main resources to source great bands for this Guide. More bands form the Collective will be included in the next volumes of this guide.

  MARBLE ARCH

As stated on the band’s social media, “Like the white marble monument -located on the West end of Oxford Street- from which the group borrowed its name, Marble Arch was cut for triumph. Having perfectly digested Shoegaze and Dream Pop's secrets, their music has been oriented toward childhood and experimentation.

After the first DIY record, Yann Le Ravazet had some time to think about the musical tone and sounds of his new record. He didn’t want it to be labelled Shoegaze nor Dream Pop. As a matter of fact, we’d be more likely to hear reverberated pop (Remeniscence), saturated pop (the infectious song “I am on My Way”), nostalgic pop (Moonstruck), synthetic pop (Instant Love) or even contemplative pop (Gold).”

The band has indeed evolved between the first and second album, though still into the music world of reverberation.

Les inrockuptibles (the French NME) did a very good interview of the front man from which this is extracted:

"In 2014, we discovered Yann Le Razavet with 'The Bloom Of Division', album entirely designed by the light of his bedside lamp. Under the name of Marble Arch, the young musician flew far away from the noisy shoegaze of his first band, Maria False, and delivered many of titles full of foggy nostalgia and twilight lyricism. Full of an elegance and finesse rather rare in France, 'Children Of The Slump' is without a doubt a very good record, and even when wholly mustering our critical mind, there is not much at fault."  -- Les Inrockuptibles

Band Members are:

Yann Le Razavet, vocals, guitar and keyboard

Thomas Tan, Lead guitar

Adrien Vernet, guitar, backing vocals

Thomas Beilles, Bass

Danny Kendrick, Drums

Music work to date

2013: echidna, EP

2014: The bloom of division, Album

2016: The Sand, single

2019: Children of the Slump, Album

Some of the bands’ songs we love:

KILL THE MOOSE 

Kill The Moose is an alternative rock band, strongly influenced by the British Shoegaze scene of the early 90's.

It was founded in 2015 by Elisabeth and Alex, in Nice, on the French Riviera. Kill the Moose is a concentrate of noise energy mixed with melodies that remain in the forefront. The songs are ethereal, pop and sweet, drenched in a wall of sound, full of reverb and distortion, with the beats of a deep bass and powered-up drums.

Note that the name ‘Kill The Moose’ is not a tribute to Shoegaze's British band ‘Moose’, but a reference to a Monty Python piece.

The lineup is:

Elisabeth Massena, Vocals

Alex Ornon, Guitar

Alexis Fedunizin, Bass

Nicolas Bonnet, Drums

Arthur Arsenne, Guitar

 The music work to date is:

2017: Demo #1

2018: Good Girl EP; The World Is Your Oyster EP; Contented Eye (Adorable cover); To The Moon And Back EP; Suzanne (Moose Cover)

2019: Into My Arms (Nick Cave And The Bad Seeds Cover)

Some of the songs we love:

DEAD

Dead is a Coldwave / Noise / Electronic band from Rennes. Their music errs more towards the Early Cocteau Twins and The Cure (disintegration period). Their combination of synth waves and reverb guitars give a beautiful cold and dark feeling.

The band present themselves as follows:

"What more can you say about a band called DEAD that hasn’t already been made abundantly clear at first glance?

The fact that these French mercenaries of noise can conjure up such a powerfully dark aesthetic before even hitting a note is impressive, but when they finally do, they unleash a far more potent beast entirely. If DEAD aren’t already mapping out the future destruction of the planet, they’ve sure as hell written the soundtrack.

Bleak, confrontational, but with a firm command of rhythm and deep grooves, this might be the dancefloor antidote we’ve been waiting for."

The line-up is:

Berne Evol, vocals

Brice Delourmel, guitars

Bernard Marie, drum machine & keyboard

Musical work to date is

2012: Transmission, EP

2014: Verse, EP

2016: Voices, Album

2019: Dreams, EP

Some of our favorite songs from the band:

TAPEWORMS

Tapeworms is “3-piece rock band, mostly eating French fries, listening to Smash Mouth and watching Evil Dead. From Lille, they're trying their best to produce some noisy, dreamy, aggressive but kind music.”

An interview in Section 26 summarizes the band in a few words: ‘Do It Yourself’ is in the DNA of the band, which is outlined in the former student room of Theo, when they have fun with Margot covering Sparklehorse or Drop Nineteens on an online beat box, with an old cassette player as recorder. Eliott, used to play with his big brother, then started on the drums "We began to rehearse my grandmother’s attic. Tapeworms is really born at that time, fed with her pies and 90’s music. " Tapeworms has a shoegaze sound, noisy pop, immersed in the tradition of the 90's.

The band members are

Margot Magnière: Bass, Vocals

Théo Poyer: Guitar, Vocals

Eliott Poyer: Drums

The music work to date is:

2016: All Stars, EP; Tapeworms, single; macadam star, single.

2018: Everything Will Be Fine, long EP

Some of the songs we love:

DEAD MANTRA

Dead Mantra were created in 2009 in le Mans. The define their music as being “Gregorian Shoegaze”. They are part of the record label Cranes Records with Dead Horse One

The inrockuptibles give a very good overview of the band’s sound

"The maliciously saturated guitars sneak around a powerful rhythmic base. From this wall of sound, a veritable ice-cold and cavernous maelstrom, pierce the dark and delicate dark-pop melodies of The Dead Mantra. Young Manceaux, spotted by the Cranes Records label, stand as worthy French heirs of the Black Rebel Motorcycle Club for swirling psychedelism and The Jesus & Mary Chain for shoegaze violence. Perfect harmony between devastating fury and sinuous writing."  -- Guilhem Denis, Inrocks

The lineup is:

Paul, guitars and vocals

Pierre Hamelin, drums

Louis, guitars

Henri, Bass

The music Work to date is:

2018: Saudade Forever, Album

2015: MXEICO Remixed

2014: Nemure, Album

2012: Split EP with Dead Horse One

2010: Path Of Confusion, EP

Some of the songs we love to discover the band:

For once we include a Music Video as ‘Mxeico’ is a genuine original piece worth watching and listening. As a warning, it contains male nudity.

[lagroupie]

Interview: Gus Dapperton (ENG)

Gus backstage at Bleu Lézard

I was looking forward to meeting Gus Dapperton last month for his first European tour- we found ourselves talking in a very small backstage room right before soundcheck at Bleu Lézard. What I found fascinating about him was how young he was- yet he was already touring overseas (and here in Lausanne, Switzerland!), gathering fans wherever he went. Dropping out of school to pursue a career in music and/or art can be scary, yet he did it the moment he knew he was ready. He was very open about his childhood and his life in the US as well, and I thank him for that. Here’s our conversation- we also talk about his fans/friends, my favorite song off his 2nd EP You Think You’re A Comic!, Beyond Amends , creating visuals with his best friend Matthew Dillon Cohen, and much more.

Welcome to Switzerland Gus! Is it your first time in Europe?

Gus Dapperton: Yeah, I love it! Overall it’s just nice to be out of the United States to be honest. I really like the people- I like the crowds at the shows. I think more people dance than in the States. Which is great, because I dance on stage. It’s nice when people can match that energy.

What is your life like in New York?

Well, going on tour and putting music out- this all happened fairly quickly. I grew up in a farm town in upstate New York. It’s only about an hour and a half away from the city but it’s very conservative, not subject to change, traditional- I really didn’t enjoy the society growing up there. But it’s very beautiful, and I definitely felt like I could be alone because there wasn’t so many people on top of each other. But yeah, I just grew up making music mostly. I just kept myself busy and made music constantly. And then, I moved around a lot. Since then, I went to school in Philadelphia for 2 years, at Drexel University. And  when this opportunity arose I dropped out and decided to do this. But I would spend summers in New York City and I would also spend summers at the Jersey Shore- so I would move around a lot.

I guess I would say that my life back home is very nomadic and I haven’t really settled in anywhere yet. I’m “living in Philadelphia” now. But I just make music out of there. I think that when my lease is up, I’ll probably move to the Jersey Shore, just to build a studio and work on music. Because New York is too… I know a lot of people there. I just run into too many people I know.

I feel the same way about my town! (laughs) You said you dropped out of university, was this a definitive decision or do you plan on going back sometime in the future?

Hmm… I don’t want to go back to school, although it was a good learning experience. I don’t know, I never really wanted to go to college but I convinced myself that I had to go. Just to spend more time until I was ready to pursue music full-time, because I don’t think that I was ready yet at that point – before I went to school. I guess I was planning on not graduating on the 2nd year of college. And by then, I was like “I’m going to take a break for a while”.

And look at you now! You’re living your dream!

Yeah, it was probably the best decision!

I wanted to talk about your 2nd EP, You Think You’re A Comic! Why did you choose this title?

So, honestly I haven’t talked about this EP much yet because I released it pretty casually- I just gave a one-day warning and released it as soon as we were done with the artwork. But I came up with the name… I think in the Fall, and I guess it had something to do with being in touch with reality and understanding that in order to be moments of pleasure, there needs to be moments that are unpleasurable. I think it’s like being content with despair and tragedy, that it’s almost funny. So basically, that relates to me saying “you think you’re funny?” to someone that broke my heart. But yeah, I think it’s just being content with the fact that it will be okay, even though they broke your heart.

I also know that you’re producing your music. Was it the case with this EP as well?

Yes, yes!

That’s awesome. Did you learn producing just by doing it?

Yes, so basically I started out as a producer first, before I started singing and playing instruments. It happened when I was in 8th grade music class. One of our teachers basically forced everyone to- (ndlr: he laughs) I mean, it was a project. We had to make a song, but the part where I feel was forcing is that you would fail if you didn’t sing and do your vocals on it. Which- like what, there was maybe two kids who were comfortable singing in the whole grades! Though coming from a super-conservative town, portraying emotions through art was super crazy. So I was like “oh my God, this is awesome.” I would stay after school- they had a computer lab with basic software on it, like GarageBand. They didn’t give us much lessons on how to do it, we had to just play around in GarageBand. So I spent so much time on it. Whoever made the best song by the teachers’ opinion would be played on the town’s radio station. So I won the contest, and I always wanted to make music ever since then. But mainly production- I started making hip-hop beats for all my friends who rapped. So I produced up until I was 15 or 16. And then I started singing and playing more instruments when I was 17.

Wow. You started so young! That’s so great that you found very early on what you wanted to do.

Yeah- originally I drew and painted, and that fulfilled me. And then I would film and make edits of mostly just rain and skits… skateboarding and whatnot… but I always had something that I felt fulfilled with, that I could put my emotions into. But music was the ultimate one. So once I found that, I was just converted over!

Are the people on the cover of the EP your friends?

Now they are! (laughs) I casted them for this- Basically, me and my creative director Matthew Dillon Cohen do things on the fly. We come up with an idea and try to get things done quickly. So we did the Prune, You Talk Funny video and we knew a couple of other songs that were going to be on the EP. He basically just said “Let’s just photograph 20 different people”, and I was like “great!” Because one of the things I like to do is cast people. So I basically just cast my fans – that were local to the New York City area - to be in it! And then we got in the studio and photographed everyone.

I wanted to talk about the songs on the EP as well- I think we can really identify them as Gus Dapperton songs because of this particular sound, for example the light synthesizers. Did you play all the instruments yourself while recording?

I play most of the instruments, sometimes if we’re doing live drums I’ll get my drummer Tommy to record. More recently, Yen has been playing most of the live bass on the record. But sometimes I’ll use a synth bass. I basically do all the production, mixing, drum sequencing, recording on guitar and synth.

Did you produce it the same way as you did on the first EP?

This was a bit different, just because I used a lot more live instruments on this EP. The last one was a bit more simple, as far as the elements go, and kind of precise. This one was more like… Lots of layers and things. So I guess it’s just the phases I go through – not that one is better than the other, I’m back to my old ways with just keeping it very simple and exact, with elements with a lot of character, as opposed to layering it up. But this one has a lot of layers… I guess I went about recording a bit differently.

I bet everyone asks you about it, but I wanted to know more about the video for Prune, You Talk Funny. Was it your idea?

Basically, all my videos are directed by Matthew Dillon Cohen. He’s my best friend, I lived with him for a period of time and we have very similar tastes. When it comes to art, I have trouble trusting people to portray myself visually. Basically, what I’ll do is that I’ll show Matt the process of the song for months until it’s done- because it takes me quite a while. So I had been working on that song for about a year. Due to financial circumstances, I don’t have the ways and means to record a song how I would like to. So basically, he heard it for 6 months and I’ll write the lyrics and come with an analysis of the song, and give that to him. And then he comes up with a basic idea and puts it together. So I’ll give him an analysis of what the song is about and then he interprets it, how he would like it to be visually. And I’m almost always on the same page as him.

I really like that video. It’s like a presentation of who you are and your world.

Exactly! That’s exactly what it is. I don’t know if you’ve seen the video for Moodna, Once With Grace, but that’s also trying to put you in a world that I would thrive in. And I’m Just Snacking is more like a narrative, a story of the song. Prune is more trying to put you in that atmosphere that I would thrive and exist in.

I also wanted to talk about my favorite song from the EP, Beyond Amends- I think it’s also a bit different from the others. What is the story behind it?

So, Beyond Amends is more of a ballad. Actually, I wrote that song- let’s see… I’m about to turn 21 now, and I think I wrote it when was 17. So that’s 3 and a half years. I made it through 2 or 3 other times, but it just wasn’t right. I finally honed it at the place I was at when I wrote it- I mean, the place where it kind of came about in my head. I just went back and finally made it happen. I think it came out exactly how I wanted to. Basically, that song is about- like in most of my songs, my emotion is heartbreak or along the lines of that. Because that’s the most powerful feeling to me. Love is very powerful and then tragedy is very powerful. But when you combine the two it’s extra. So basically, my feeling was heartbreak but I relate the two – someone passing away and not being able to tell their loved ones goodbye, but consciously seeing it from their point of view as a spirit, and looking down upon their loved ones. “I wish I could tell you that I didn’t want to go”. But it also relates to a relationship and heartbreak.

Finally, what can we expect from Gus Dapperton in the future?

Well, I haven’t thought about it too much but I’m just really focused on this tour and performing well for everyone, because I’m not particularly a singer or a musician. You know, I’m more of a studio person. So performing in front of people is very new to me, but I definitely feel comfortable on stage and performing. But yeah, so definitely just constant art and – I’m constantly making music and being on tour doesn’t restrict me. Just a lot more music and a lot more visuals, things like that.

https://www.facebook.com/gusdapperton/

https://soundcloud.com/gus-dapperton

[justkeepshuffling]

21 Albums From 2017 Ranked

I probably don't need to explain anything since nobody really seeks my opinion on these matters, but this isn't a "Best Of 2017" from a guy who digests ton's of releases.  These are albums that were (mostly) already on my radar by bands I already enjoy and I'm listing those particular albums in order of my level of enjoyment.  It's been a few years since I've done this, but I'm working overtime until 4am and what better way to stay awake and stimulated?  Ah, music...

21) Circa Survive - 'The Amulet'

I literally downloaded this album and never listened to it.  I think I checked out two music videos and thought, "This seems pretty Circa Survive".  I technically still haven't fully digested 'Violent Waves'.  Sometimes that happens for me.  Someone puts out a record before I've fully absorbed the prior one and I just never catch up accordingly.  My full listen through 2014's 'Descensus' did nothing for me, unfortunately.  I'm not sure if these guys are doing any reinventing.  It mostly feels like mid tempo monotony. 

20) Maroon 5 - ‘Red Pill Blues’

This album holds a special place in my heart since my daughter really took to the single “What Lovers Do (Feat. SZA)”.  When my wife told me this was her favorite song I thought she was just being a cute Mom.  Winds up no matter how fussy she is, the baby stops and smiles when the opening starts.  I could go on about how I miss Maroon 5 having real drums and how little James Valentine gets to let his guitar shine (especially after releasing such a beautiful signature model Ernie Ball guitar), but there’s catchy material all over the place. It’s the Adam Levine show and nobody wants to get off that money train, understandably.  At least I can always think of a beautiful little newborn enjoying music with her beautiful Mama when I think of this album.

19) Kelly Clarkson - 'Meaning Of Life'

Yet another album I never got a front to back session with.  When tracks come up on shuffle I'm usually impressed though.  Once again, I never gave 2015's 'Piece By Piece' a full front to back, nor 2011's 'Stronger'.  I was too busy being in love with 2009's 'All I Ever Wanted', which still stands as her masterpiece. 

18) Less Art - 'Strangled Light'

If you know anything about me, you're probably aware my love for anything Thrice related.  This band features the brotherly rhythm section of Riley Breckenridge (drums) and Eddie Breckenridge (bass in Thrice/guitar in Less Art) so I had to investigate.  While the post hardcore soundtrack is within my taste, the vocal delivery, sadly is not.  I'm a melody man, myself.  I cannot say enough good things about the production.  This is how guitars should sound.  The low end is so thick and distinct.  Everything cuts through.  The guitars are heavy but you hear every note within the chords.  Just beautiful.  Hats off to the engineer, producer and mixer for achieving tonal supremacy.

17) The Killers - 'Wonderful Wonderful'

I may have fizzled out on this band with 'Battle Born', but I was hopeful.  After a full once over, I don't find myself coming back to this often.  Standard rock record, but maybe a little wavering and uninspired.  If they continue putting out records for another decade or so, I'd be curious what gets played from this particular collection.

16) St. Vincent - 'Masseduction'

There's something about Annie Clark.  When I stop and think about her entire catalog, I sometimes ponder if she's overrated.  I honestly think she's just so damn cool that it's hard to say anything negative about her.  She certainly has some great songs and she's a phenomenal guitarist.  I tend to cherry pick with her songs.  I was a bit thrown off by the creative choices on this album.  I certainly don't worship at the altar of Jack Antinoff so I don't understand why everyone seeks him out as a producer (Note: his taste in women is uniquely questionable).  The production is bare, all electronic drums, and less guitar than I would have hoped.  Standout tracks like "New York" and "Los Ageless" are catchy but not much else gripped me.  Expectations are high post Grammy win.  I felt a little let down.

15) Katy Perry - 'Witness'

Speaking of high expectations...  Katy's part of the pop machine now.  The songwriting credits on this album are absurdly astronomical.  2013's 'Prism' was mature and inviting with real raw moments mixed in with the colorful fun.  The few moments on ‘Witness’ that had real possibility didn't pop where they needed.  "Chained To The Rhythm" had a ton of potential but the chorus lacked the brightness to make it stand out.  It just fell flat, like most of the album.  The pre-release tag of “Purposeful Pop” bit her in the ass post-release.  My theory, there were probably 30+ songs written (some of which were, in fact, social conscious) but didn’t make the final cut.  A week prior to the release, there were still only two titles out of about thirteen that were listed on iTunes, which I feel proves she was slighted by the powers that be.  If you don't have full say in your career decisions, maybe don’t make bold statements about your upcoming album.

14) Weezer - 'Pacific Daydream'

I walked into this album expecting disappointment.  2016's self-titled "White Album" was right on par with every other self-titled color release in their catalog as their best work.  Seeing another album coming down the pipe a year later that had an off title left me uneasy.  This album is in a similar vein, albeit not as great as it's predecessor.  It plays a bit more like a good b-sides record from those album sessions.  Very worth the listen, and makes up for some of the mess that 'Hurley' and 'Raditude' left on their hands.

13) Envy On The Coast - 'Ritual'

This EP has been explained as a revisiting of old idea's through the lense of the reformed present.  While Envy On The Coast is "back", it's missing three original members.  When your drummer is as incredible as Dan Gluszak, it's noticeable when he's not there.  I've had many discussions about how a band is never the same after losing their drummer.  It's such a strong part of the blueprint.  I'm not overly familiar with Dillinger Escape Plan's Billy Rymer, but the drumming on this release could have been done by anyone.  Envy vocalist Ryan Hunter drummed on 2010's 'Lowcountry' with descent results, I'm not sure why they didn't go that route again.  Songs like "Virginia Girls" sit right in play with where they had left off.  The songs are a bit straight forward/on the nose.  Perhaps some of the songwriting flare left with the eloped members.  I think this release was to get the lingering idea's of the past out of their system so they can properly attack a full length album next.  Considering how meandering all the post breakup projects were, I'm excited for the future.

12) Glassjaw - 'Material Control'

Fifteen years between full lengths is not ideal.  Most began to give up hope on this mystery record.  That Billy Rymer kid played on this album too!  Unlike 2002's 'Worship & Tribute', some of the songs tend to blend together with only a few true standouts.  Further parallels with Envy on the Coast include writing songs without an official drummer.  With Daryl and Beck doing all the heavy lifting, I can't help but feel that when the time comes to show a studio drummer 12 songs, structure gets watered down.  The tracks lack a sense of adventure, complexity, hard left turns. The vocals are buried in the mix at times, which lends itself to the aggressive bite of the guitar/bass attack.  Alas, it's just nice having something come out finally.

11) Foo Fighters - 'Concrete & Gold'

As my wonderful bass player Joey P. said, "After two career defining albums late in your career, this is the inevitable letdown".  The man is a wordsmith.  Sad but true, and yet...  it's worth noting their mediocre effort is still better than most.  The Greg Kurstin production choice makes zero sense, still.  I think Dave thought it would yield something incredible and people would be amazed by his oddball idea that really paid off.  It did not.  The musicianship is always crisp, so they can hang their hat on that since the songs aren't something you'll come back to again and again.  This is sadly a mostly forgettable album by the biggest band in the world.

10) Haim - 'Something To Tell You'

I waited years for this album.  Chomping at the bit.  Anxious.  Excited.  Impatient.  Guess what...  I barely listen to the damn thing.  I was obsessed with their debut.  Every song was perfectly crafted.  There's some real head scratching moments on this album.  Like producer Rostam Batmanglij using an obvious vocal effect he used on Vampire Weekend albums.  One song features awkward silence as a bridge.  The closer "Right Now" has this off beat drum loop that is damn near impossible to follow which takes you way out of the song because you're trying to nail down the confusing timing.  The girls still shine, and perhaps I just forget that the album is there but I thought with the amount of time invested in writing and recording it would be at least on par with their first album.

9) Brand New - 'Science Fiction'

The elephant in the room.  Sexual misconduct allegations aside, I'm going to concentrate on the music because there's three other band members who invested everything into creating this album and discrediting them would be a disservice to their efforts.  That being said, I listened to this album a lot.  People lost their minds over this surprise release.  I did not.  I was excited, yes.  But let's be clear, peoples obsessive nature for this band clouded their judgment.  It's a good album.  It's not the masterpiece people sold it as.  Considering their penchant for reinvention via back to back releases like 2003's 'Deja Entendu' and 2006's 'The Devil And God Are Raging Inside Me', which both served as career defining milestones, an eight year wait should have yielded a much more refined and impressive product.  Still, this record is more tainted by Jesse Lacey's admittance of exploiting his status to take advantage of female fans more than the fact that a very good record isn't a great record.  Who'd have thought that their cheeky T-shirts saying "Brand New 2001-2018" was a much more ambitious timeline than they had anticipated...

8) Portugal. The Man - "Woodstock"

Just a good catchy rock record from a great workhorse of a band.  "Feel It Still" getting radio play should be a victory for us all.  There's a lot of winning moments on this record.  They deserve every bit of success they've worked so long to achieve. 

7) Bush - 'Black & White Rainbows'

Yes, I like Bush.  Gavin is the reason I switched to guitar and became a front man.  Since their "reformation", this music has been questionable, at best.  I hadn't realized how much Nigel and Dave reigned in the songs until they were absent from the process.  Most of Gavin Rossdale's lyrics in the 2010's are complete garbage.  Just meaningless phrases thrown against the wall.  How many ways can one phrase "Don't lose yourself", you ask?  Aside from "what the hell does that even mean?", too many ways apparently.  Here's the thing about this album for me...  I loved the production.  The dry, tight drum sound spoke to me.  The guitars/amps had a vintage pawn shoppe vibe.  It was Hi-fi Lo-fi done to perfection.  Then, out of nowhere...  months later the album is re-released as a "Remaster" with a completely different track listing, two new songs and the lead single has an extended outro chorus.  Lead guitarist Chris Traynor didn't have an answer as to why this happened.  It helped the drums cut through harder and the kick became more vibrant.  It was the right call.  I just wish I was able to blast this album with windows down without feeling embarrassed someone's going to hear the lyrics and lose all respect for me.

6) Dreamcar - 'Dreamcar'

What happens when you mix all the core dudes from No Doubt and AFI's Davey Havok?  You get 80's pop rock bliss!  I was super excited to hear this album and I probably don't listen to it as often as I should.  Not having any expectations or label constraints truly comes across in the music.  It's the musicianship you've come to expect from Tom, Adrian and Tony with the vocal theatrics of later-era AFI with touches of The Cure, Kraftwerk, and countless other New Wave/Post Punk influences.

5) SAINTE - 'Smile & Wave'

I wasn't familiar with Tay Jardine's prior band We Are The In Crowd.  I'm not even sure how I stumbled upon this band.  Maybe Youtube?  Either way, this 7 song EP blew me away.  The production is pristine.  The drums sound huge, the guitars and bass are so full, almost like an Eric Valentine produced record without the gritty/metallic/digital tinge he sometimes gets.  The melodies soar, they're memorable, they're fun.  I wish they had perhaps waited and recorded another 3 songs to make a proper full length.  I can't imagine the challenges of being a female rock vocalist in a post-Paramore landscape but if this is a band finding it's leg's, the future is incredibly bright.

4) Minus The Bear - 'VOIDS'

I'm realizing drummers are a recurring theme in this post.  Minus The Bear traditionally wrote the foundation of their records with guitarist Dave Knudson and drummer Erin Tate.  After Erin's vague dismissal, they had to regroup.  It's odd hearing a release without the heavy handed hi-hat work, but it still feels like a Minus The Bear album.  A casual listener may not take notice, but it's certainly an adjustment with keyboardist Alex Rose taking lead vocals on 3 of the 10 tracks.  While some tracks hit the mark, there's a few slow drones in the mix.  The only unfortunate moment is the climactic ending on closer "Lighthouse". The "A Day In The Life" style noisy build to a cool 16-bit, glitchy, audible seizure seems like an idea they tacked on to a song that was in the same key but doesn't quite follow the songs chord progression.  It confuses the musician in me.  Sometimes you have to let an idea go, no matter how much you love it.  Serve the song.  This was a transitional period navigated better than most.  The next release will be the true test of their ability to gel with the new method of songwriting.

3) Incubus - '8'

So many polarizing, conflicting feelings with this album.  How do you wrap your head around an album with such catchy songs yet such garbage production?  Let's start with the negatives.  This album is really only 9 songs.  The instrumental track is a total throwaway and the mariachi joke song "When I Became A Man" should have been a hidden track at best.  If you combine the prior EP "Trust Fall Side-A", you have a proper full length to be proud of.  Now let's talk production.  Holy hell, it's God awful.  Dave Sardy apparently made Brandon do a million vocal takes and when his voice was good and shredded, used the last wreck of a take.  Guitarist Mike Einziger, a Harvard grad, and a wildly underrated and innovative guitarist had the batshit crazy idea to have Skrillex come in and mix the album.  Dr. Wubwub Laptop Millionaire went even further and restructured songs and removed pre chorus' on top of it.  I'm hoping for the 20 year anniversary edition of this album they'll release the album we should have received.  I want to know Incubus' vision and perhaps a proper mix that doesn't sound like noisy kids trying to blow out your car speakers.  The redemption?  It's hooky as hell.  There's a reason these guys are huge.  They write catchy rock songs.  There's a few odd lyrical moments, but I can get past it.  Lead single "Nimble Bastard" is way to similar to the aforementioned EP's "Dance Like You're Dumb".  I'm still hoping to find out the "vision" for this album.  If I had to guess, they wanted a hard hitting gritty garage rock sound that was a nod to their debut full length 'S.C.I.E.N.C.E.' to compliment/balance the more refined rock they currently create.  Still, nothing will touch 2011's Brendan O'Brien produced 'If Not Now, When?'.  This album might have been a knee jerk reaction to the atmospheric, sparse, mellow vibe of that record.  I would have been equally as happy with a continuation of that mindset.  Though, a hard rock record still feels right for this band.

2) Paramore - 'After Laughter'

The last time I did one of these lists was 2013, and Paramore's self titled album was my number one pick that year.  Here we are in 2018, reviewing 2017 and boy was it close.  So close!  I probably listened to this album the most over the course of the year.  Negate the artsy back patting exploration of "No Friend", which serves nothing more to the album than a self indulgent excuse to have the Me Without You singer inaudibly mumble over a painfully droning outro to "Idol Worship", and you have a perfect record.  Now that we have that out of the way, we can discuss everything they did right with this album.  The 80's aesthetic even has a place in the experience.  After the prior albums brilliance, it was a logical move to stick with producer Justin Meldal-Johnsen.  Where the prior album had bells, whistles and flourishes all over the place; 'After Laughter' has a more spacious sound.  Not to say if you don't pay close attention you won't find wonderful additions all over the place, but the production and mix on this album was a bit more bare bones.  The structures are simpler, the songs are dancier, and the flow is damn near perfect.  The guitars shine when necessary, and the neck pickup finds it's place on the bouncier riffs.  Zac Farro's return to the drum riser shows off what he learned in his time away.  Groove.  The drumming is not that of a rock drummer.  It's someone who's peppering in rhythmic atmosphere and holding back when necessary.  I was so invested in the upbeat tone of the music that I hadn't noticed the writing on the wall.  The lyrics should have tipped me off that things weren't so great in Hayley Williams' camp.  When she announced her very quick post nuptial split from NFG microphone hog Chad Gilbert, the information was in front of us the entire time.  The dark lyricism over the backdrop of uplifting tunes is reminiscent of early Saves The Day records, which, considering the reach of their influence was likely a conscious decision.  This might not have been a step forward in their sound, but a playfully necessary sidestep for a band that felt they were maturing faster than they wanted to.

1) Michelle Branch - 'Hopeless Romantic'

Oh the shit-eating grin on my face right now.  I didn't expect this either.  But holy effing hell!  What an album!  I downloaded this out of sheer curiosity.  2017 was the year of overdue albums and this one beat Glassjaw and Brand New by a mile.  It seemed odd for such a big pop star to go without releasing a full length for fourteen years.  Then to find out she had the Black Keys drummer Patrick Carney producing/performing seemed really interesting.  Winds up the guy is incredible at producing.  Every song is a perfectly crafted pop song.  Not bubble gum pop, but rock songs that could all be radio singles.  If I had to chose a criticism, it would be that "Knock Yourself Out" sounds too Michelle Branch-y.  Like, the Michelle Branch of the early aught's.  There's a vintage feel to the soundscape.  The bass is plucky, the drums are dry and punchy, and the melodies are what dreams are made of.  This collection has been a reminder that you can worry about a million aspects of a song, but a solid catchy melody is what we're all looking for.  It's brought me back to what truly counts in song writing.  A song you can sing along to.  There's not much more I can say about this album.  My inability to dissect this album is truly it's strong suit.  When a great song works, it just works.  Sometimes it comes together so quick you can't even explain the process.  Imagine that 12 times over.  Sometimes it's that simple.